Mar 5 2014
Stefano Savini – “Musica Semplice”
Musica Semplice, the charming new release by guitarist & composer Stefano Savini, is a wide open blend of jazz, folk, and classical, and though he utilizes a 20-piece ensemble, they rarely appear in the same room at once… there are solo pieces, duets, small and large combos augmented by string accompaniment… different configurations dependent on the particular theme, and resulting in an expansive sound that is enticingly intimate.
Your album personnel: Stefano Savini (guitar), Walter Zanetti (guitar), Ottavia Sisti (soprano voice), Davide Di Iorio (flute), Stefano Rava (oboe), Mauro Vergimigli (tenor sax), Gian Maria Matteucci (clarinet), Enrico Farnedi (trumpet), Francesco Bucci (trombone), Guido Facchini (piano), Francesca Sgobba, Patrizio Castiglia, Stefano Martini (violin), Manuela Trombini, Elisa Floridia (viola), Fabio Gaddoni, Giacomo Gaudenzi (cello), Mauro Mussoni, Stefano Ricci (bass), and Daniele Sabatani (percussion, vibes).
The boisterous levity of “Gombar” matches the serious-minded drive of “La Marcia,” whereas “Danza Lieve” and “Danza Pesante” bring a more contemplative mood to the affair, with piano establishing the ambiance and the direction.
The three-part “Melodia Sentimentale” is, arguably, the album’s high point. It opens with the lilting beauty of classical guitar and flute, then moves into the second part’s thick, lovely harmonies from strings paired, also, with flute. Part three has reeds gliding into the scene,with piano following nearby. The interlocking parts possess a sharp precision and a stately elegance, both rich in beauty.
“Elogium” is a guitar reverie, hinting at both glory achieved and the heartbreak of losing it.
The seven-part “Pennichella” has strings developing from a patient thoughtfulness up to a frenzied perambulation, then hitting a landing spot in a state of calm and repose.
The album ends with the stunning “Angiluì,” a song that rides the comforting sway of cello and vibes, and soars with the oboe of Stefano Rava and the soprano voice of Ottavia Sisti. The jaw-dropping beauty of oboe & voice melodically intertwined while in flight ends too soon, as does this outstanding album.
Released on Dodicilune Records.
Jazz from Italy.
Available at: eMusic | Amazon MP3
*****
Other things you should probably know:
I highly recommend searching this site for more albums released on Dodicilune Records. They will share similar traits, notably a mix of jazz, classical, and Italian folk music, and every year, they release a couple that just rock my world. Musica Semplice is one of them.
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Mar 7 2014
David Helbock’s Random/Control – “Think of Two”
Thelonious Monk has a singular voice on piano. Instantly recognizable, and a sound that, in all the ways that count, has always belonged to just him. Hermeto Pascoal played music of the earth, both in its elemental nature and the array of instruments he’d avail himself of… proper instruments alongside toys and household objects and found pieces from nature. The music of both possesses a cadence all their own, each breathing out life like none other. It’s really not that strange that Helbock would think to build a theme around both, as one.
Your album personnel: David Helbock (piano, inside-piano, toy-piano, melodica, bass drum , clave, percussion, toys, electronics), Johannes Bar (trumpet, Flugelhorn, piccolo-trumpet, bass-trumpet, baritone horn, tuba, Helicon, sousaphone, alphorn, didgeridoo, beat-box, percussion, electronics), and Andreas Broger (tenor sax & soprano saxes, clarinet, bass clarinet, flute, slide-trumpet, bass drum, percussion, electronics).
The trio affords itself of compositions from both Monk and Pascoal, throwing in an original composition of their own and a track recorded by Pascoal specifically for Helbock after being presented some of their own music inspired by the composer.
Pascoal’s “Voa, Ilza” has a spastic cadence warping melody into shapes unforeseen. Monk’s “‘Round Midnight” has a moody intro that makes its way through the darkness, drawn to the light of Monk’s original melody. Pascoal’s “Nas Quebradas” is a series of boozy histrionics, interrupted by the occasional moments of lucidity when an astute melodic phrase is beautifully elucidated. Monk’s “Raise Four” is a carnival collection of rhythmic oddities, and the melody is led down a funhouse corridor of mirrors, its misshapen reflection as fascinating as the original’s.
The trio brings an armory of instruments to the affair, often switching between them within the duration of a song, flitting about with the same intense unpredictability as their music.
The rendition of Monk’s “Pannonica” is especially inspired. A mix of space age warbling of melody, brief echoes of the original that shimmer out of recognition, and circuitous pathways leading up, around, and over the composition. “Trinkle Tinkle,” with Helbock’s use of a toy piano, has a particular charm all to its own, whereas Pascoal’s “Floresta” is a rare display by the trio of restraint and pure melodic beauty.
“Palhinha do Hermeto e da Aline” was recorded for Helbock specifically by Pascoal and Aline Morena. It’s sixty seconds of frenetic motion that emanates a strange though comforting warmth. It leads perfectly into the sole Helbock original, “Para Hermeto,” a song light on its feet and full of the abounding energy represented by the trio and the musicians that inspired them to record this very intriguing, very fun album.
Released on Traumton Records.
Jazz from the Berlin scene.
Available at: eMusic | CDBaby | Amazon CD
| Amazon MP3
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By davesumner • Jazz Recommendations, Jazz Recommendations - 2014 Releases • 0 • Tags: David Helbock, Traumton Records