Sabino de Bari: Ashanti

After joining with vocalist Diana Torti for their 2023 duo release, It's All We Have, guitarist Sabino de Bari is back with an ensemble of his own on Ashanti, an enchanting album of tunes centered on the themes of rootlessness and wandering. Its poignancy is found not only in the subject matter but also in the music itself, which possesses a palpable sense of longing and wonder that is quite affecting.

Built around the imagined journeys of a young refugee in search of a home, the twelve tracks wind their way through a range of emotional registers, with ingratiating melodies in abundance. Many of the tracks are trio pieces, as de Bari's partners, bassist Andrea Colella and drummer Francesco de Rubeis find the essence of de Bari's compositions with patient grace. The suitably titled "Melodia," for instance, floats with a calming folkish quality, as de Bari's impressive technique is almost obscured by the generous warmth of the music. De Rubeis is often employed sparingly on percussion, and his subtle presence on "Breaking News" offers just enough support to allow de Bari and Colella to explore the lyrical dimensions of the track, particularly when Colella navigates the tune atop de Bari's gentle arpeggios. Then there is "Desert Games," an engagingly upbeat piece that takes things in a decidedly jazz-inflected direction, with a swinging tempo and especially dynamic drumwork from de Rubeis.

As strong as the trio pieces are, the music is elevated still further when bass clarinetist Luciano Orologi is added to the mix. The album's opener, "Ka-Be," is one of the record's strongest tracks, with Orologi's sinuous tone the perfect complement to de Bari; the two are intertwined throughout in an intoxicating blend of voicings. "Inside" is similarly riveting, with an enticing Middle-Eastern feel animated by Orologi's serpentine lines; and "Day After Day" is another triumph, with Orologi in a dancing exchange with de Bari that highlights both players' collaborative instincts. It is unfortunate that Orologi is only utilized on these three tracks, as his presence always adds depth and feeling to the music.

De Bari's compositions are so richly tuneful that it can become almost too easy to be lulled by them, thereby missing the guitarist's brilliance. The title track is a case in point: with a beautiful melody at its core, supplemented by the understated support of Colella and de Rubeis, one can miss the deft flourishes that de Bari so effortlessly employs. But needing an opportunity to relisten to this fine album in order to find its hidden charms is not a bad thing.