Concert at Casa del Jazz, Rome, Italy, January 18th, 2015
It’s a fact: jazz in the Nordic countries doesn’t like to take itself too seriously or to put on airs. The best Finnish pianist, and one of the best pianists in Europe overall, can kid around with the audience as if it were all a great game and at the same time express such virtuosity that he renders them speechless. Rantala’s first important solo tour in Italy was a great success, likely to be repeated. The tour ended in Rome, where he was welcomed with enthusiasm, even though he is not at all as well known here as he is in central and northern Europe, where he fills the auditoriums.
Category Archives: Pieces – Musical reviews
New jazz’s most propulsive band Phronesis gives Life to Everything
Phronesis is one of the few European new jazz bands about which music critics of any generation are in almost total agreement, as has been noted in most of the major rankings of 2014. And their most recent work, Life to Everything, is a further leap forward in the already consolidated production of this group, whose leader is the magnificent Danish bassist Jasper Højby, also the composer of all the tracks in the band’s first two albums, and of most of the previous one. In Life to Everything, however, the boys shared the composition equally, each one responsible for three pieces. Most certainly, the band’s secret lies in the exceptional musical and personal balance of an ensemble in which each element stands out on its own so much that it is never subordinate to another, in an eternal playful game of tag. It is quite incredible: they always rise to each other’s heights. Not that in other bands the leaders crush the others, but Phronesis deploys not only a great pianist, the British Ivo Neame, but also the best double bassist and the best drummer (the Norwegian-Swede Anton Eger) of their generation. Phronesis overwhelms with its pulsating and propulsive style, maintaining a rock band energy that viscerally touches the listener, especially when live. This is why their album was recorded live instead of in the studio: it bears that seal of emotional contagion. No coincidence that the title of the album is the ending of a Plato quote, which is displayed on the CD cover: "Music gives a soul to the universe, wings to the mind, flight to the imagination, […] and life to everything".
New jazz at the nth power, innovation, groove and a mixture of rhythms, often Latin as well, from flamenco to Afro-Cuban, passing through Brazil.
The calm and mesmerizing tranquility of the Helge Lien Trio: Badgers and Other Beings
There is a special quality in Norwegian –and Icelandic− jazz that distinguishes it, even from its Nordic (Swedish, Danish and Finnish) "cousins": a deep, ancestral, almost mystical, even pantheistic, bond with Nature. As if each chord holds a vast, contemplative breath of a landscape, whether marine or mountainous – in Norway, the land and water are inseparable− or related to fauna or flora, or to the white blanket that paints the ground to a blank space for many months. That contemplation often becomes almost meditative introspection, which for some takes on a nuance connected to the divine (I think of Tord Gustavsen, for example) and for other remains close to the broad but also beautifully minute sense of Nature and its secrets. I think this may be why Italians −who have lost their own Eden through overbuilding, overcrowding and urban alienation− have a special love for Norwegian music: in it they find their Lost Paradise.
“Duo”, a huge small album by Karlsson and Markusson
There is something ancestral and mysterious in this album, despite its simple and straightforward appearance. A secret quality that makes it special, intelligible to many, even to those who do not follow jazz. A record that makes you slow down, listen, reflect. And even for those of us who have a visceral love for jazz, it remains a mystery how an album of just piano & bass can be so powerful. In truth, one of my favorite albums of all time is Barron and Haden’s Night and the City, so in my specific case there is a precedent; and indeed Duo, the first album of Daniel Karlsson (piano) and Thomas Markusson (double bass), has a similar feel to it: soft and intimate, often introspective, albeit less nocturnal. It too is likely to become a classic.
Magnus Öström finally back in Italy
Concert at Panic, Marostica, Italy, October 22nd, 2014
Not even a year has passed since I last saw Magnus Öström, live in Istanbul, but I was determined to go anyway: it had been the best jazz concert of my life, as I had tried to express here. I was wishing for a new similar performance, in the hope that the Venetian public would be able to offer an equally Mediterranean heat to the stage. Certainly, I did not expect an improved performance, I was going to be very content to have it at the same elating level. I was wrong. Incredibly. This concert was truly exceptional, as concurred backstage by all the musicians, so coming all the way from Rome was absolutely worth my while. The band was outstanding, beginning with Daniel Karlsson, who has definitely made a further technical leap in his pianism, filling up his playing with an indeterminable number of notes, struck with precision and passion. Andreas Hourdakis was splendid, and enthusiastic about his sparkling new Collings guitar, and the great energy of the immense Magnus Öström and the precise inspiration of bassist Thobias Gabrielson were both confirmed.
Daniel Karlsson’s talent explodes in his new album “Fusion for Fish”
Writing about this album should be quite difficult for me, because I lack the detachment that’s supposedly needed for a subjective elaboration. Metaphorically, if I touched the grooves of this vinyl recording, I’d be able to recognize every tiny trace, sound, "unclean" piece of recording, the finger pressing on the black key, on the white, the bow on the string, the brush on the drum skin. I’ve followed this CD’s path since before it was born, as my artistic collaboration with Daniel Karlsson had already begun with his previous album, so I had the chance to listen to many of the tracks before they were recorded, letting images arise in my consciousness: some of them materialized in the video that turned out to be one of my favorites, “Mrs. Mermaid”.
But shall we start at the beginning? I’ll try [she wrote with a smile].
Maria Pia De Vito: narrowing the gap
“Remind the gap” concert at the Roma Summer Jazz Festival, September 3rd, 2014
Maria Pia De Vito: voice
Claudio Filippini: piano, keyboards
Luca Bulgarelli: bass
Walter Paoli: drums
There are many gaps that the Empress of the Italian vocal jazz filled in with this precious gig at the Rome Summer Jazz Festival. Starting with being back in concert again with her band from Mind the Gap, her very refined album from 2009 that contained original compositions and covers, from Hendrix to Björk. And while we thought we had just paid the price of a concert ticket, we had instead the privilege of assisting to a reunion, and witness a vibrant joy that filled the stage with twinkling smiles, glances, gestures and playfulness.
The Sirenades by Lina Nyberg: jazz grandeur
An extraordinary woman, as well as a great musician: 16 albums in a 20-year career. And apparently, no desire—or need—to stop. Quite the opposite. This new album is decidedly in anything but a casual or minor key. Despite the unarguable crisis in the buying of non-digital formats in Scandinavia, Nyberg has created an object that really must be held in your hands, read, caressed. Without question, a double CD to be purchased, with its powerful graphics and artistry, thanks also to the photos by Miki Anaguris and illustrations by Matilda Ruta—a concept album that has much to say about the musical and almost metaphysical ability of one of the most important voices in the illustrious Scandinavian panorama.
Kekko Fornarelli’s Italian nu jazz
Sometimes a country feeds on a reverse provincialism, taking for granted and thus nullifying the talents it possesses, that others experience and enjoy at full. Kekko Fornarelli belongs to those who are struggling to be recognized in Italy but on the contrary are loved abroad, where they make international tours. Hopefully this will not be the case for too much longer.
In his latest work, Outrush, Fornarelli expresses much more than a talent for piano playing: the composition is very powerful, new, innovative, free. Each piece a narrative that contains dozens of ideas, a succulent abundance that comes with each new listening without decreasing the smoothness of this album, that captivates you from the very start.
In the best new jazz Svenssonian path, Fornarelli with his fellow accomplished musicians (Giorgio Vendola on double bass and Dario Congedo on drums) creates a unique, innovative, happy world. Seven instrumental tracks and a sung one, so movingly interpreted by guest singer Roberto Cherillo, with whom Kekko has toured half the world.
City Nights: Sweden’s most rockish jazz
A very solid, powerful and conscious debut by City Nights, Swedish band composed by some of the best and most requested Swedish jazz musicians from the younger generation. Andreas Hourdakis, to begin with, guitarist of Magnus Öström (Esbjörn Svensson Trio), Nils Jansson, the most interesting trumpet player of his generation, the great groover Martin Höper on bass, and Chris Montgomery on drums, with his rich and versatile punctuation.
The album touches and immediately goes beyond jazz rock, almost creating a new style, if one had to give a genre definition. Freedom from jazz and rock becomes the most distant point from both poles, making the fusion free from usual schemes. There are elements of rock, indierock, jazz and progressive, often used in an innovative and unprecedented, unexpected way. And the fantastic interplay resulting from the fusion of instruments and inspiration is really the alchemy that makes each piece interesting and easy to remember.