“Alba Lux” CitizenJazz.com, 02 Febuary 2009

CD of the Month

Review by Jérôme Gransac

A Frenchman by adoption since five years ago, Tam-Lynn de Villiers, of British origin learnt music from a young age with Tommy Smith in Scotland and then in Leeds, in the north of England. In 2003, he moved to France, and continued his studies at the Conservatoire de Montreuil and played with Marc Ducret (who is full of praise for his former student), Fabrizio Cassol and Stéphane Payen. Next he formed his quartet with David Prez, the excellent drummer Karl Jannuska and the double-bassist Bruno Schorp, who attracted some attention with his “Colors Sextet” last year (Prizewinner at the La Defense 2008 Jazz Competition and the “Trophées du Sunside” 2008 competition).
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“Alba Lux” Jazzman, January 2009, No. 153

Review by Jean-Marc Gelin

Un-complexed. Tam de Villiers is a particularly promising young guitarist. After having lived several years in Scotland, he moved to France where studies took him under the guidance of Malo Vallois and Marc Ducret. If our feelings are not wrong, we can hear that, along with his musical comrades, he is attracted to a very contemporary New York jazz style. However, we hear rapidly throughout his compositions and especially his playing that he also knows how to keep his distance.
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“Alba Lux”, UK reviews

starsJAZZWISE MAGAZINE, September 2009 This ex-Leeds College jazz guitar student was taught by Mike Walker, and now back in France is working in a similar contemporary jazz-rock vein with nods to Krantz via John McLaughlin.

JAZZ UK, June/July 2009 Venturing further out, guitarist Tam de Villiers releases Alba Lux (Yes Or No), a kind of hard bop into free bop sort of thing with playing as sharp as razors.

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“Alba Lux” Jazz Magazine, December 2008, No. 598

Review by Franck Bergerot

It’s a strange modernity which delights me here. The same that I looked for at the end of the 1980’s in the music of Marc Ducret, Malo Vallois and Serge Lazarévitch. The guitar, its limitations and its heritage made them write music which really gave wings to the knowhow of improvisation during that epoch. A modernity which now dates twenty years: the age of “jazz hot” at the time of bop.
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“Alba Lux” culturejazz.net 31, October 2008

Review by Thierry Giard

Tam DE VILLIERS Quartet: illuminated guitar. In Jazz music, the guitarists are legion, as are pianists. If we exempt the wild Manouche, and the die-hard swingers and boppers, who distinguishes those incarnate of the post seventies generation, after Hendrix, The Who, McLaughlin or Santana and others? The quest for the unprecedented created new norms which ultimately resulted in a trivialization of sound research (technical equipment and effects), styles and phrasing, most often, inherited from the new schools.
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