With the release of his new album The Blue Land, saxophonist Matthieu Bordenave is set to enter another phase in the develpment of his music.

With the addition of drummer James Maddren to the long term trio heard on his ECM debut La traversée Bordenave has juxtaposed his unique compositions that draw influences from chamber jazz, classical music and improvisation.

Of his all-time top ten albums, Matthieu says:

Lee Konitz – Live at the Half Note

An album in which the beauty of the melodic lines reaches a climax. The playing and timbre of Lee Konitz and Warne Marsh are perfectly complementary. All is lightness. No clichés, just the courage to invent music based on listening and inventiveness.

Bobo Stenson – Serenity

One of the finest albums by the Bobo Stenson Trio. The repertoire is varied, written, improvised, concrete and abstract, but the group plays with one voice. This common sound guides the listener through a multitude of climates that are unheard of for a group made up of three instrumentalists. The quintessence of European jazz.

John Coltrane – First Meditations

The last studio recording by the Classic quartet and even though Coltrane had decided during his lifetime not to release the album the music remains sumptuous. Closer to a suite for quartet, with each member finding his own setting, the analogies with the Crescent album are numerous. Coltrane declaims a universal jazz through a sound filled with humanity, where power echoes fragility.

Bill Frisell – In Line

Bill Frisell’s debut as leader at ECM. Although he was present on other recordings of the label before this production (Eberhard Weber, Jan Garbarek…). This record has always fascinated me because of the way Frisell develops an absolutely unheard-of world of sound. Many of the themes have become iconic, but beyond the magnificent writing, the culture of an absolutely singular sound is fascinating for a first recording.

Keith Jarrett – Personal Mountain

Everything on this record reflects the joy of playing. Thinking about music together, moving collectively into a trance where the themes develop and metamorphose. And then there’s Garbarek’s sound, powerful, sharp, with a lyricism that envelops the whole band. Keith had three groups at the time (Trio, American Quartet, European Quartet), each a musical summit in its own right.

Miles Davis -Live at the Plugged Nickel

This series of concerts recorded in Chicago in December 1965 by Miles’ second Great Quintet has always represented for me a leap into the unknown. The way each musician steps out of his comfort zone and redefines his own playing with each track. Each piece in the repertoire is played with a desire to discover new possibilities.

Paul Motian Trio – I Have a Room above her

This album is a miracle. A miracle of balance and beauty. Each musician voluntarily forgets the role that would be naturally predestined for him. Their sole aim is to make the music resonate through the group’s weightless sound. The connection between Joe Lovano and Bill Frisell is telepathic.

Charles Lloyd – The Call

Charles Lloyd’s lyricism brings together two ideals that might at first sight seem distant: the voluptuous, vaporous playing of Lester Young, and the evocative power and poignant intensity of Coltrane. On this album, on which he finds a wonderful accompanist in Bobo Stenson (echoing his quartet with Keith Jarrett in the 60s), Lloyd also achieves the perfect alchemy between composer and improviser.

Wayne Shorter & Herbie Hancock – 1+1

Certainly my record for a desert island. It’s all there: listening, creativity. The music seems to live every second. And Wayne on soprano is surely the greatest assimilation of an instrument by a musician. We no longer hear a saxophone but just the voice of one of the greatest improvisers of the twentieth century. A dream blower.

Hommage a Messiaen, Pierre-Laurent Aimard

Suspended melodies, colours, changing light. These pieces are like resonant melodies from a fantastic world. The young Olivier Messiaen opens the doors to a world where the sounds of Debussy and Ravel permeate the atmosphere but where the musical line of the twentieth century is already shaping the horizon.