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Thierry Titi Robin
© Sara Taleb

Ces vagues que l’amour soulève


Ces vagues que l’amour soulève It is undoubtedly one of the most romantic titles of the year. Yet Robin’s 2005 CD “Those waves stirred by love” is as gritty and vibrantly alive as it gets. “(Like a book) I hope it can be read by those in love on a balcony of a council highrise,” he explains on his website, “or at the terrace of a bar on a Sunday morning.” It is hard to imagine many French council estates or wine bars sharing such visions of Oriental refinement as the ones Robin offers on these 15 tracks, however.

As usual, the Angevin accompanies his compositions on the ‘oud, the bouzouq or his faithful guitar. He is ably shouldered by percussionist Ze Luis Nascimento and Francis Varis on the accordion. This is the trio that always share centre stage with the 48-year-old, and they form the backbone of this release on the Naïve label. Robin has once again invited guests of note such as the Flamenco singer José Montealgre and the Saadna Brothers (“Los Rumberos Catalans”). They provide the infectiously festive spirit of tracks like “Amantito” and “Gabriel”.

Yet, moments of intoxicating exchanges give way, more often than not, to a melancholy that we are not used to in Robin’s previous records. The meditative opener “Jarna” and a wrenching homage to “Lila” are much more representative of a certain cloud that hangs over the album. And not all is perfect, as certain songs like “Noces de pleine lune” slide into an uneasy kitschiness.

The moving poems Robin publishes in the booklet accompanying this album reinforce its brooding mood. “In any case/ I’ll wait/ I’ll go against my destiny/ Against yours/ I want you/ No matter what price I must pay/ I will dazzle your shadow/ With the sun of my heart.”

The ever-youthful Titi Robin seems at a crossroads in his rich career. He has transmitted much of his musical wisdom to his two daughters, Maria and La Coque, who now accompany him on his frequent tours. An unquenchable thirst for explorations of Oriental and Asian sounds – here demonstrated with his polished suites for the bouzouk and the ‘oud – are now balanced by a rare self-assurance in his musical marriages between East and West. Despite occasional lapses, this latest studio work will stir more than a few waves of admiration and respect.

October 2005

Daniel Brown


  

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