Composer and multi instrumentalist Gerald ‘GG’ Bonnegrâce is the driving force behind the exciting new fusion collective G’s Way. The band released its debut album, ‘Seventy Seven’, back in March of 2011 and now, with a fresh focus on marketing and promotion, is beginning to get noticed. With a fresh mix of jazz, funk and Latin grooves ‘Seventy Seven’ provides something for everyone and in particular those who hanker for the brand of fusion popularized by the likes of Ray Baretto and Eumir Deodato. Switching as he does between keys, percussion, trumpet, trombone and flute, Bonnegrâce certainly leads the way but is ably supported by remaining band-members Thierry Jean-Pierre on bass, Stefane Goldman on guitar, saxophonist Sylvain Fetis and drummer Christian Templet.
‘Seventy Seven’ quickly demonstrates its fusion credentials with ‘Latin Bubbles’ which rather than shimmering with the Brazilian vibes that the title suggests it might, is more of a rhythmic jazz fest which builds from a solid bass line, through to retro tinged keys and on to excellent work on trumpet from Ronald Baker.
Given that Bonnegrâce takes much of his inspiration from the aforementioned Eumir Deodato, it is hardly surprising that his frequent contributions on keyboards invariably find him at his funky best. This is certainly the case with the zesty Latin flavored ‘Catch Me If You Can’ and equally so with a high-octane rendition of ‘Parisisco’ where alto sax from Pierrick Pedron is totally off the chain. Bonnegrâce again hits the spot on keys for the entirely frenetic ‘Escapade’ while ‘Don’t Be Quiet’ (which is heralded in by a thumping bass line from Jean-Pierre) owes much to the collective artistry of the entire band.
Very brassy and all about the rhythm, ‘Kiss And Fly’ is a track that draws influence from world music and in this respect is in the good company of the seven-minute plus extravaganza that is ‘Dirt Road’. Starting out in moody style it quickly evolves into a thrusting example of intoxicating world beats that benefit from featured sax by JC Moine and more great keys from Bonnegrâce.
Thomas Koenig on flute takes center stage for the strident yet percussive ‘Faubourg Saint-Denis’ and when he returns for the horn infused title cut he adds to the hypnotic quality of a tune that may well prove to be addictive. It is clearly up there with the best that ‘Seventy Seven’ has to offer yet in terms of personal favorites, there is nothing to surpass the happy, brass driven vibe of ‘How U Doin’. This velvety number shimmers with a wonderful groove and a crisp performance on flugelhorn from Yan Schumacher.
‘Seventy Seven’ is for lovers of jazz-fusion everywhere and another great example of some of the excellent contemporary jazz now coming out of Europe.