Alexis Ffrench: Classical Soul Vol.1
Sony Classical

Pianist Alexis Ffrench has issued chart-topping albums such as Evolution, Truth, and Dreamland, but perhaps none better captures his sound than Classical Soul Vol. 1, his first studio recording in two years. A mesmerizing blend of classical elegance, soulful warmth, and nostalgic feeling, the generously packed set couples covers of soul classics from his late father's record collection with a sterling set of originals. The five interludes Ffrench interpolates into the twenty-one song collection tell you everything you need to know about the listening environment the pianist grew up in, with heartfelt takes on Roberta Flack's “Killing Me Softly With His Song,” Sam Cooke's “A Change is Gonna Come,” Etta James's “At Last,” Dionne Warwick's “I Say a Little Prayer,” and Bill Withers' “Ain't No Sunshine” the songs included. When he describes Classical Soul Vol. 1 as “the soundtrack of my life … [and] an ode to the music that has shaped me,” he's clearly not exaggerating.

If twenty-one tracks seems like a lot, be aware that they're all concise, the interludes naturally the most succinct. Variety of presentation adds considerably to the hour-long album's impact, with poignant solo piano settings appearing alongside more sumptuously arranged pieces for piano and orchestra. The former exude intimacy, naturally, whereas the sweeping latter showcase the more effervescent side of Ffrench's sound. He smartly performs the interludes with little embellishment, the pianist aware that simply delivering the songs' classic melodies directly is the wisest strategy (the penultimate track's a reprise of “I Say A Little Prayer” that's completely orchestral, however). As lovely as those renditions are, it's Ffrench's own pieces that hit hardest. Abundant in stirring melodies, his music registers with immediacy and communicates emotion with unfiltered directness. His gifts as a composer are evident throughout when one memorable phrase after another distinguishes his writing. While any number of pieces would suffice by way of illustration, “Chasing Yesterdays,” “Together Without You,” and “Returning To You” are particularly memorable for their melodic splendour.

Largely recorded at Brad Pitt and Damien Quintard's renowned Miraval Studios in France, the music sparkles magnificently from the first note to the last. The gorgeous solo piano opener “The Way It Was” points the way forward with a delicate, wistful expression guaranteed to induce chills. The refinement of Ffrench's playing is used in full service to emotional articulation, and the listener comes away captivated by the dignified melancholy of the statement. “Reverie” both anticipates the gentle interlude, “Killing Me Softly With His Song,” that follows and draws from the lustrous beauty of French composers such as Debussy and Fauré; the song's also the first to augment Ffrench's piano with strings, and their addition proves enhancing. Ffrench's refined classical side is also called upon for the orchestrally lush “Everything Changes” and “Sanctuary,” whereas a bluesier undercurrent runs through “Suddenly.”

“Soar” does precisely that when this uplifting album highlight adds the soulful voice of Congolese singer-songwriter Fally Ipupa and cellist Kevin Olusola to the mix, and an orchestral backdrop and choir only intensifies the music's anthemic power. While “Soar” is arguably the album's peak, there's very little drop-off when the others register powerfully in their own ways. Beatboxing by Olusola works its way into the grooving “Fate,” noteworthy also for its imaginative treatment of the familiar theme from Beethoven's fifth symphony. While the motif retains its dramatic quality in this context, it becomes part of a track brimming with affirmation and ecstatic joy.

December 2024