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Simon Moullier at Takoma Station Tavern

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By Robert Bellafiore
October 9, 2024
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Simon Moullier
Takoma Station Tavern
Washington, DC
October 5, 2024

Vibraphonist Simon Moullier was honest with his uncertainty about what was about to happen: "I met these musicians for the first time two hours ago." But the audience at Takoma Station witnessing his Washington, DC debut had nothing to worry about. The challenge, and the thrill, of performing with strangers—pianist

Janelle Gill

piano

" data-original-title="" title="">Janelle Gill, bassist

Obasi Akoto

bass

" data-original-title="" title="">Obasi Akoto, and drummer

Lenny Robinson

drums

" data-original-title="" title="">Lenny Robinson—made for two outstanding sets of standards and originals.

Moullier—a Frenchman currently based in New York—began with "Oriental Folk Song," which concludes his new album, Elements of Light (Candid Records). As played originally on

Wayne Shorter

saxophone
1933 - 2023

" data-original-title="" title="">Wayne Shorter's album Night Dreamer (Blue Note Records), the tune is somber and mysterious, but Moullier transformed it into a bluesy barnstormer. Here and in the following number,

Kenny Garrett

saxophone, alto
b.1960

" data-original-title="" title="">Kenny Garrett's "November 15," Moullier's solos—aggressive, energetic, but never out of control—demanded much from his bandmates, who were more than up to the task. Pianist Gill's solos throughout the evening frequently saw her hands climb the keyboard until reaching a sustained climax at the top, making for a nice contrast with Moullier's rapid runs up and down?the length of the vibraphone. Both players were well supported by Akoto and especially Robinson, whose attuned engagement with the rest of the band was a highlight of the evening.

The band dialed back the intensity for the standards "What Are You Doing the Rest of Your Life?" by fellow Frenchman

Michel Legrand

piano
1932 - 2019

" data-original-title="" title="">Michel Legrand, and the closing "Begin the Beguine," which featured an extended Latin intro by Robinson.

By the second set, Moullier and each member of his crack band had learned enough about the others to fully let loose, starting with a minor blues by Moullier. A knotty melody, as well as a sneaky allusion to

Charlie Parker

saxophone, alto
1920 - 1955

" data-original-title="" title="">Charlie Parker's "Segment" during his solo, attest to Moullier's appreciation of bebop's?frenetic energy. Another Wayne Shorter tune, "Wild Flower" (from Speak No Evil), and another blues in the form of

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane's "Cousin Mary" (from Giant Steps) kept the fire coming, with Moullier continuing to give his?new bandmates plenty of time to speak for themselves.

The bebop mastery and affection for Shorter and Coltrane on display continued themes from Moullier's recorded catalogue. His 2023 album Inception (Fresh Sound Records) includes Shorter's "Lost," and 2021's Countdown (Fresh Sound Records) features Coltrane's "Countdown" and a blazing rendition of bebop standard "Hot House."

A slow rendition of Kurt Weill's "Speak Low" offered a much-needed breather, showing, as with "What Are You Doing the Rest of Your Life?" earlier in the night, that Moullier can impress even without frenzied tempos or winding melodies. One risky bet, speaking to Moullier's newfound coordination with Gill, was a vibraphone-piano duet on "Green Dolphin Street." It more than paid off, showing Moullier's ability to bring new insights to even the most well-known tunes. Closing the second set was another fast original, "Mr. Hutcherson," in tribute to the great vibraphonist

Bobby Hutcherson

vibraphone
1941 - 2016

" data-original-title="" title="">Bobby Hutcherson.

If there was anything to criticize that night, it would be the conclusions of several tunes. Multiple numbers ended with extended vamps that gradually decrescendoed into silence. Given the absence?of virtually any rehearsal among Moullier and his colleagues, these were probably safer moves than any attempt at a dramatic finish. But as Neil Young put it, "It's better to burn out than to fade away." More definite endings, even without necessarily sticking the landing, might have offered a more appropriate conclusion to such consistently rousing performances. On "Begin the Beguine," the fade-out strategy made for a surprisingly anticlimactic finish, leaving the listener wondering what exactly was the final note to an otherwise terrific set.

But this is a quibble.?Moullier introduced himself to DC in style, and he and his colleagues gave the audience a?masterclass in deep listening and execution amid uncertainty and risk. DC should hope that this debut prefigures many more performances in the future.

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