Michel Godard

Used to operating between early music and jazz, the tuba player and serpent-player, Michel Godard has always sought to bring a subtle harmony to these two genres, often by utilising improvisation. In this album, he captures the music of a Venetian choirmaster with all the ardour of teenage fans.

At an early age, Godard found himself profoundly moved by Monteverdi's opera, The Coronation of Poppea which occupies the historical place between Renaissance and Baroque. Thus, ‘Pur ti Miro', which opens the album on the finale of Monteverdi's last opera, is a calm dialogue between the theorbo and bass, a duo which evolves to become the basis of the album's rhythmic drive. It is as much a pleasure as a surprise when Carla Bley and Giuffre join the musical fray, playing basso continuo enthusiasm fully apparent.  

Very quickly we forget the perceived distinction between early Baroque and jazz as we are introduced to an entirely new landscape of contrasts courtesy of the ever-adventurous violinist, Fanny Paccoud whose highlight is the beautiful ‘Prelude in F', the pivotal point of the album. Another high point is the wonderful complicity between Godard's serpent playing and the performance of baroque saxophonist, Gavino Murgia.

In this sextet, Murgia has a unique position, his technique almost providing a duet with the remarkable vocalist, Guillemette Laurens. Murgia's vocal technique is rooted in traditional Sardinian songs and his cavernous throat singing gives ‘The Abbess' a pagan side that fills the recording venue with a captivating sense of otherworldliness.

Monteverdi: A Trace of Grace is an album filled with light and timeless melodies which is sure to delight any listener.