Michel Petrucciani - Both Worlds Michel Petrucciani

Both worlds : two worlds...
at the same time ! As in "the best of both worlds," where one undoubtedly wants to have everything but also offer the best of each universe.
Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project.
Dualism, then, but also balance.
Geographical, from Paris to New York, and cultural, with three European musicians and three Americans.
Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible.
For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer.
The result is a magical undertaking, retaining that particularly distinctive "two worlds" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections.
Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers & Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloé Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer).
Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light.
For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements.
While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one.
Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint.
If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation.
Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas.
Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible.