Chromatic harmonicas have never been common currency in jazz. Belgian Toots Thielemans probably came closest to popularizing the instrument in the context, but even his longevity and fecundity couldn’t propel it into a position resembling anything like lasting and widespread esteem. Enter Yvonnick Prené, Parisian by birth and post-college transplant to the Big Apple. New York Moments riffs autobiographically on that life trajectory with a program weighted with originals that illustrate the capabilities of his unconventional axe.
Prené’s project also benefits from the sizeable ace in the deck that is organist Brian Charette. With drummer Jordan Young completing the package they form a trio that doesn’t have any specific instrumental precedence in the music. Chops? Check. Solid setlist? Check. Group chemistry? Again, check. Where a subjective obstacle manifests is in Prené’s very vehicle for improvisation, something he ironically notes in the story of how he adopted the instrument. It’s that sort of candor that goes a good way toward countering any lasting concern.
Originally a student of the diatonic (blues) harmonica, Prené at first found the rounded edges and smooth action of the chromatic off-putting. Absent edges and metallic dissonance of its cerulean cousin it can come across like a neutered accordion, particularly in ballad settings. Prené’s versatility and agility with a line shore up some of the tonal deficiencies and sameness that can creep in across the program. His colleagues regularly recoup the rest with clever support and Charette’s consistently creative solos that refrain from stealing the show.
The material is also uniformly engaging from the Charette-scripted Sonny Rollins contrafact “Air on a Sunny String” to a cover of “Milestones” that Prené personalizes intensely via a link chain of luminous choruses. “46th Street” nods to his side career as an educator and founder New York Harmonica School with a syncopated groove and slow-burn melodic release that is precisely Charette’s forte. The album caps with “Bad April Fool,” another original where this time Prené breaks out his old diatonic over an old school blues shuffle. The difference is immediate and striking with the perhaps unintended effect of posing the question: what if he had approached the entire album with it instead?
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