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The first project of Hugues Mayot under his own name, L'Arbre Rouge (The Red Tree), unites families who seem to have been divided, or even enemies, like the Capulets and the Montagues. People think that Jazz and Contemporary Music never hang out together. In reality, they have intermarried countless times, borne shared children, and share daily routines. And who better than one's own family to implement this union? At his side to record his first CD for the BMC label he had not only his partner, the bassoonist Sophie Bernado, but also his second daughter Alma, who was curled up in her mother's womb during the recording sessions. And the godfather of the little Bernado-Mayot is no other than the double bassist on the CD, Joachim Florent. The saxophonist has known violinist Théo Ceccaldi since 2014 when they were both in Olivier Benoît's Orchestre National de Jazz. As for the cellist in this wind-string quintet, it's none other than Théo's brother Valentin. If the music of Hugues Mayot is welcoming, it's because it is woven at the family hearth. But family and welcome do not necessarily mean peace and indulgence in every room of the house. There are storms, crises, reconciliations too. And all of that can be found in The Red Tree. But there's also lace, craftwork, homemade goods. Like a cocoon in which it's good to live, even if sometimes it's too cold or too hot. Because an artist should avoid the tepid at all costs. Even if it means getting burnt. The Red Tree remains welcoming in spite of all traces of burns, and this is far from being the least of its qualities. Mathieu Durand

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L'Arbre Rouge is an exceptional example of transforming classical instrumentation with the creative sensibility of Jazz. Saxophonist Hugues Mayot's alchemy is unique among artists experimenting with these celebrated art forms. Moving from oddly familiar to uncharted and back, Mayot's arrangements don't just straddle the divide between genres, they invent new forms that exist on their own terms. Champ d'Insouciance and La Timidite des Cimes use of space, time, structure and spontaneity, position saxophone, violin, cello and bassoon in ways that make for an exhilarating, brilliant and remarkably satisfying new muse.

     —Michael Ambrosino, 33third.org/best-2019