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Live Reviews

Umbria Jazz: Days 1-3, July 10-12, 2009

By Published: July 15, 2009
Pieranunzi's quintet—trumpeter Flavio Boltro, alto saxophonist Rosario Giuliani, bassist Luca Bulgarelli, and drummer Mauro Beggia—is surely one of Italy's best. Boltro is a sterling virtuoso with a burnished sound like Freddie Hubbard
Freddie Hubbard
Freddie Hubbard
1938 - 2008
trumpet
, but more staccato and explosive. The opening "Entropy" found him delivering classic bop lines, but with a proficiency and passion that avoided cliché almost by default. Giuliani was even more impressive, sharing Boltro's classic feel without being indebted to any particular influence (save for a brief evocation of Lee Konitz
Lee Konitz
Lee Konitz
b.1927
sax, alto
on his ballad feature, "With My Heart in a Song"). That originality made him an immediate standout, particularly on the Latin "Aficionado" when he let loose some incredible, unrestrained blowing.

The front line takes nothing away from the rhythm section's abilities, however. Beggia showed off nearly as much as Boltro and Giuliani, trading pyrotechnic eights with them and Pieranunzi on "Entropy" and doing remarkable brushwork on "As Never Before." Bulgarelli, on the other hand, took only one solo ("No Nonsense")—but is among the most consistent, solid bassists this writer has ever seen.

Nevertheless, it was Pieranunzi's show all the way through. He held a peculiar command of the rhythm section: When Giuliani and Boltro gave their respective solos on "Extra Something," bass and drums followed not them, but the pianist, waiting for him to follow the soloists. Pieranunzi's own solo, based around a four-note vamp that he rode throughout the tune, was complicated with high trills, low-end ventures, and modal chordings that explored all the emotional possibilities at hand. Elsewhere, Pieranunzi remained the dominant character, whether establishing the tenderness of a ballad ("With My Heart in a Song," "As Never Before") or bringing the noise ("Aficionado"); the audience never forgot who was in charge.

For better or for worse, the highlight of the concert came early—in the second song, "No Nonsense." After a tense, waltzing head, Pieranunzi played a variation on his part of the theme, merging with Beggia's nervous ticking and crashing to ratchet up its tensions with every four-bar phrase; Giuliani followed with a lament that would offer a promise of relief from the anxious harmonies, then slowly restore them before resolution could occur. Worrisome Boltro gave no such promises, hitting one, anomalous brief note of contentment, while Bulgarelli on his only solo outing dwelled directly inside the song's tension. By the time the head returned, "No Nonsense" was a cohesive story of anxiety without reprieve; it might have been an excellent suspense-movie theme.

More than displaying the variety of jazz available in this country, Pieranunzi served as a reminder of how exciting and exploratory straight-ahead can be, even weighed against Rava's nontraditional, "ECM sound" approach. The local program is suddenly as beckoning as the international stars.


July 11—Tuck & Patti at the Caffe HAG Stage

The Arena Santa Giuliana has two stages: the mainstage, where the nightly headliners play, and the smaller Caffe HAG Stage, where husband-and-wife duo Tuck & Patti

Tuck & Patti
Tuck & Patti

guitar
holds court every evening.

Guitarist Tuck Andress and vocalist Patti Cathcart have been together for 30 years, and throughout that time have been among the subtlest, most expressive artists in jazz. Indeed, Andress virtually redefines the role of accompanist—though he plays both bass lines and chords, it isn't a steady background; merely enough to make his point and stay out of Cathcart's way. But she's no showoff, either; she's a talented improviser with tremendous range, but shuns histrionics in favor of directness and charm.

On Saturday night's "Heaven Down Here," Cathcart reached down to a very low, warm register—the Tracy Chapman register—and spent the song there, climbing upward only for an improv on the line "I don't want to wait for the angels." Andress, meanwhile, played short chords and made fascinating use of harmonics as accents. The duo also delivered a deep rendition of Rodgers & Hart's "My Romance" in which Andress relied more on resonance than on the few notes themselves, and Cathcart gave a quiet, confessional vocal that ranks with the song's most romantic, and most intimate, performances.

But Cathcart dropped out of "My Romance" for a guitar break that defied everything described above. Throttling speed, Andress inscribed broken, carefully staggered phrases onto the new rhythm. He began bending not only notes, but entire chords, settling once and for all any question of his chops—he's a fine guitarist—then dropped back to his gentle minimalism as suddenly as he'd risen from it for Cathcart's recapitulation.

Subtlety aside, however, both artists have impeccable rhythm, especially Cathcart. Bob Dorough

Bob Dorough
Bob Dorough
b.1923
piano
's "I've Got Just About Everything" had a lively gait that the singer handled with ease, throwing in a little melodic variation at first, then scat, from low-grade grumbles to soaring, precise articulations that sounded much like Italian words (and may have been). And that was only a warm-up for the Cathcart original "Ain't Seen Nothing Yet." The story of an old woman giving advice to a young couple ("This is a true story," Cathcart promised) was in 4/4, Andress walking on the bass strings and sparking an establishing chord just before each "3" beat, when suddenly the vocal whipped into a frenzy of hearty, percussive mouth sounds in 6/8 that astonished the crowd before zooming into "Better Than Anything," also in 6/8 and breathlessly in the pocket.

Unfortunately, "Ain't Seen Nothing Yet" also underscored Tuck & Patti's biggest disappointment: the lack of Cathcart's accomplished songwriting. Granted, with a show every night they need to ration their repertoire, and they also accommodated a request (in this case their transcendent Jimi Hendrix

Jimi Hendrix
Jimi Hendrix
1942 - 1970
guitar, electric
medley, "Castles Made of Sand/Little Wing"), but one original in a set? Perhaps the intent is to lure them in with the classics, and thus bring them back for the originals; with their superb work Saturday, they've earned the repeat business.






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