Sylvie Courvoisier Trio – Éclats-Live in Europe (Intakt, 2026)

By Kenneth Blanchard

Swiss native Sylvie Courvoisier has not escaped notice. She began her recording career in the 1994 and moved to New York four years later. Since then, judging by her faculty page at the New School College of Performing Arts, she has had no difficulties finding either work or fame.

Courvoisier received numerous awards including the United States Artist Fellow (2020); the Foundation for Contemporary Arts Grants to Artists (2018); Swiss Music Prize (2018); Switzerland SUISA’s Jazz Prize (2017); and Switzerland's Grand Prix de la Fondation Vaudoise de la Culture (2010). She received commissions to compose new works from The Shifting Foundation (2019) and the Chamber Music America's New Jazz Works (2016).

This recording documents two performances in Germany during a 2025 European tour. The trio features the superb bass of Drew Gress and Kenny Wollesen on drums and “Wollesonics.” The latter are instruments invented by Wollesen. You can see some of these fascinating creations at this link: https://www.15questions.net/interview/kenny-wollesen-about-drumming/page-1/ .

Éclats presents a series of compositions built around fairly simple lines. Courvoisier’s piano work ranges from heroic to sparkling. The pieces are coherent and, in many places, dramatic, or even romantic. “Requiem d’un songe” comes closest to telling a story, albeit in a variety of traditional accents. It reminds me of the compositional strategies (though not the sound) of Thelonius Monk.

“Imprint Double” begins with a thumping drive that would make a good soundtrack for a stagecoach scene in a Western. This action is broken periodically by short conversations between the piano and whoever is riding shotgun at the time. This gives way to a pensive conversation with enough space to let each instrument precisely define each moment. Then we are back to riding across the uneven landscape.

“Big Steps Toward Silence” is a lovely piece that might be the place to start if you want to appreciate what each member of the trio brings to the stagebut the percussion creates a soft mood just as effectively as the piano.

For much of the recording, I am never sure where the drums leave off and the Wollesonics begin. “Free Hoops,” however, begins with a very aromatic rattle that doesn’t sound like it comes from any drum kit I am familiar with.

This is a fine album. It makes for excellent background texture whether you are driving or washing the dishes. It also richly rewards careful attention. If it meets your approval, you might check out the Trio’s studio album D’Agala. Both recordings are available from Bandcamp or Amazon Music.