The classification »doomed jazz-noire« for Charles-Eric Charrier seems more than suitable. Not only because it describes the music adequately, but also because it links it to the cineastic aspect it implies. Right at 21 Echoes Short there’s this Western-moment: slow shots, heavy pictures on broad screens and – Ennio Morricone’s music. However, this comparison weighs so heavily at parts that Silver can’t shake off that burden. One chord by Morricone did transport pictures, emotions, memories. The films needed the Italian’s music. Charrier’s music, on the other hand, doesn’t necessarily need pictures because it can’t produce them on its own. At least not when the stealstring-acoustic-guitar is being used. It gets really good, though, when Charles-Eric Charrier and his companions Ronan Benoit and Cyril Secq slacken the reins (to keep up the metaphor), like in 12 From, or when they just leave the working of the strings to the intuition of the moment, as practiced in 9 Moving. Than it becomes Blues and Klezmer, mourning, loneliness, pain and the will to live at all costs. Then it’s »morricone-ish«, at least in my understanding. ’cause who would want dull country-adaptations in dolby surround, instead?
Silver
