As a graduate of Geneva’s Haute École de Musique, he’s a key artist within the much spoken about French new jazz scene. With a notoriety that goes beyond the borders of Europe, this Franco-Swiss musician paves his own path in his own way, alongside his faithful quintet of: Arthur Alard (Drums), Rémi Bouyssière (Double Bass), Gauthier Toux (Keyboards) and Zacharie Ksykowski's (Trumpet).
Over its 10 tracks ‘Stress Killer‘s perhaps the most major and remarkable point is that no machines or electronics were used in its creation. Despite its sonic shelving so close to the nightclub sounds, it is made using traditional jazz instrumentation.
Embracing ideas and desires to make people dance by approaching jazz as club music, the first single from the album 'Fuck Yeah' highlights that goal perfectly. With its nods to the techno pioneers of Detroit, the deep house of Chicago and drawing from Leon’s previous collaborations with Laurent Garnier.
Across this record tracks are arranged in a club music style, builds and drops that use breaks, climbs and loops - immediately making you think, "Fuck Yeah".
The saxophone remains the ringleader and master of ceremonies across the album, fusing jazz codes with detailed electronic etiquette, notes and ideas speak to the bodies of dancers and club goers, making you want to move.
On the J Dilla inspired ‘Idylla’, we have the first feature on the album, coming in from Heavenly Sweetness / Pura Vida label mate, K.O.G. A behind the beat groove allows K.O.G’s spoken word to sit over Gaultier’s keys, intertwining beautifully together with the rest of the track.
More mellower and reflective moments are to be found courtesy of ‘Balanced Action’, showing just how great Leon’s sax lines sound doubled with Zacherie’s trumpet.
A second vocal feature as Cameroonian born, Los Angeles based, Lorine Chia, she adds a sultry yet affirmative performance on ‘Something Inside’
Then over onto side two, title track ‘Stress Killer’ does just that with its uplifting and playful hook. Feet get tapping and necks get snapping as Arthur’s snare drives the track towards an almost psychedelic ending, Gaultier showing off some synth sonics that could melt minds.
Only once does Léon look back into the rear-view mirror, towards the masters who explored the saxophone like no other. An interpretation of John Coltrane’s ‘Naima’, features deep rhodes tones before the unmistakable sax and trumpet melody arrive.
Album closer, ‘Clarity’ rounds off the record beautifully with a nostalgic yet familiar, hope filled chord progression, allowing the rest of the band to fill the spaces so tastefully.
A record that has really captured all energies, be them eyes down on dark nightclub dance floors or squeezed into sweaty basement jazz clubs. The sound of Léon’s album may sometimes resemble that of machines, but it always retains its humanity.
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