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This recording session of the trio of reed player Matt Renzi, bassist Stefano Senni and drummer Jimmy Weinstein was accidental. The trio had not planned to make a recording, nothing was discussed before the four recorded improvisations, and the session was completed in one day, recorded direct to disc with no edits, and presented in the same sequence as the tracks were laid down.
The improvisational stories unfold patiently and organically, stressing a calm and intimate atmosphere, where every breath, phrase, touch or beat counts. There is no sense of urgency nor any attempt to feature any kind of virtuoso playing, just total commitment to in-the-moment musical creation.
Senni is the axis of these improvisations. His confident playing on "First Story" sketches a cohesive structure to this relaxed improvisation, assembling Renzi and Weinstein's gentle articulations around it. Renzi leads "Second Story," while Senni and Weinstein solidify his gently evocative and elaborate clarinet flights. "Third Story" surrenders to a rhythmic, dance-like pattern, with Renzi offering the melodic theme, but it's Senni and Weinstein who accentuate and expand its slow-burning narrative. Senni's powerful playing introduces "Fourth Story," anchoring its first muscular and later spare interplay.
This accidental musical meeting proves, once again, that true improvising musicians do not need more than like-minded comrades to produce excellent music.
Track Listing: First Story; Second Story; Third Story; Fourth Story.
Personnel: Matt Renzi: tenor saxophone, clarinet; Stefano Senni: bass; Jimmy Weinstein: drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...