Pianist Antonio Farao and trumpet player Stephane Belmondo have collaborated for many years. On Do It!, they are joined by the rhythm section of Thomas Bramerie on double bass and Benjamin Henocq on drums. The result is an eclectic mix of tracks, involving free-flowing improvisation along with an intrinsic dialogue that comes when you place two jazz masters together with stellar support.
From the outset, there is a joy flowing through this music – not only in the playing but in the depth of communication between the musicians. The opening track, “Otti,” is a track of two halves, with the first half being led by Farao’s distinctive, intricate piano playing, while in the second half, Belmondo delivers some superb brass lines across the top of the steadfast rhythm section, the notes cascading freely. Bramerie’s double bass is given the floor before the rest of the quartet rejoin, under a seven-note repeated motif from Belmondo to complete the track.
Next is “Remembering Duke,” which is a gentle track, the trumpet’s melody line rising and falling in complexity with Belmondo inserting subtle, tricky grace notes into the lines, making intricate phrases sound easy. The lead is passed to the piano, and Farao echoes the theme, making full use of the octaves the keys allow. The lead is swapped to and fro, all the while supported by a rock-solid rhythm section. The final stages see Belmondo excel with improvised rolling ascents and descents.
“Around” is a swing-inspired track with the musicians in an explorative mood. A wonderful conversation between trumpet and piano over a bass line that swings the rhythm like a pendulum is at the heart of this track, and both Farao and Belmondo find lines that meet, and diverge. Held together by a sound motif that is repeated at different times, this is a joyous track. “My Little Dancer” is a beautifully honed piece with the piano’s gentle introduction, followed by the equally gentle melody of Belmondo, caressing the melodic lines with expression and lyricism. Again, the solid bass and steady percussion provide the platform from which both soloists rise and return. Bramerie’s bass rises for a solo, delivered with style.
Herbie Hancock’s “One Finger Snap,” the only non-original track on the album, sees Belmondo unleashed as he ferociously delivers trumpet lines that make the hairs on the back of your neck stand up. Fast-fingered delivery, energetic improvised parts, and a beautiful insertion from the piano make this track a beauty. The relentless pace is held throughout by the quartet. Antonio Farao’s lines are beautiful, poised, and interrupted with wonderful off-kilter clashing chords that surprise and delight. Henocq’s solo shows his uncanny understanding of the music’s energy and rhythmic patterns. Breathtaking.
“Joey’s Smile” is a joy to listen to, with a tender touch as the brass flows over the piano in emotive phrases, the piano echoing the gentle nature of this number. The title track is exuberant and uplifting with the piano adding percussive and melodic lines, echoing at times, the percussion patterns which Henocq holds steady. The piano on “Do It!” is outstanding while Henocq and Farao deliver a wonderful counter rhythm section towards the finish.
“Melancholy of Rita” is emotive, downbeat and gloriously swingy post-introduction. It combines traditional jazz patterns with improvised, free-flowing solos across the top of the melodies. “Sweet” is a track that initially sounds like it is setting out to be a gentle, melodic track, but develops into something of a showcase for the improvisation of both Faro and Belmondo, yet it is contained within a gentle, tender delivery.
What is striking about this album is how it unites traditional jazz influences with improvised, free playing, creating a unique, stylized delivery that is attractive to both the free jazz and traditional jazz listener. There are many nods to the traditional language of jazz, alongside individual touches and improvised sections that come from a deep understanding of how jazz music can be a vehicle of expression and lyricism. Henocq’s drumming and Bramerie’s double bass are worthy of note, as it is their resolute rhythm that holds much of the music together, allowing the piano and trumpet to soar over their solid foundation. The music is shaped and tailored, honed and moulded with room allowed for virtuosity.
Howard Mendel, president of the Jazz Journalist Association, once said of Antonio Farao, “If this guy’s a beast, he’s one who summons rare beauty.” Mendel, as ever, got it in one.
- Rachel Sutton – ‘Realms’ (2026) - March 8, 2026
- Antonio Farao and Stephane Belmondo Quartet – ‘Do It!’ (2026) - February 22, 2026
- Benjamin Dean Wilson – ‘Until the House Falls’ (2025) - December 28, 2025
