Lambert

Lambert is today an enigmatic star of Europe’s neo-classical scene, sustaining an impish mystique since condemning his given name to obscurity and donning an ever present, horned Sardinian mask in 2014. Before his current, strange fame, though, he was a dashing melodic improviser in Bill Evans’ tradition, a jazz man to his bones. During recent gigs, as he’s played highly melodic, limpidly minimalist piano in the style that made his new name, attentive audiences will have discerned the ghosts of that old life, in passages of assured improv. The jazz musician inside him was otherwise buried deep.

Now with his eighth album, All This Time, tellingly to be released on the great jazz label Verve (in partnership with his home label Mercury KX), Lambert’s musical mask is off - the improvisation unashamed, the freewheeling melodies unchained. Teaming up with bassist Felix Weigt and drummer Luca Marini, the trio blend jazz, modern classical and electronic elements and find a contemporary sound reminiscent of the likes of EST, Gogo Penguin and Portico Quartet but one very much their own. As his delicately bluesy piano rolls through “Cry Me A River”, immersing himself in its smoky mood as electronic washes shimmer, and on the title track “All This Time”, an affecting soundscape that demonstrates a delicate, reflective touch, Lambert is playing in the virtual jazz club of his dreams. As he recalls, it took lockdown’s privations to bring him musically home. “I called Luca and said, ‘Please, I want to make some jazz music. During the worst lockdown, maybe this way of making music might connect us.’ It didn’t bring me back to jazz, though. It never went away. When I don’t know what to play, it’s always jazz I reach for.”

An event by a.s.s. concerts & promotion GmbH.