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On Change of Mood, her third release for the Black Saint label, Italian saxophonist Carla Marciano displays her aggressive alto and sopranino playing on an all original set of straight-ahead blowing, featuring the swinging rhythm section of pianist Alessandro La Corte, bassist Aldo Vigorito and drummer Gaetano Fasano. The native of Salerno, Italy bares her musical soul with the same level of heartfelt passion displayed on her previous release, A Strange Day (Black Saint, 2006).
With a tone that is boisterous and dry, Marciano cuts through the raucous 6/8 groove of "Hypnotic Touch" with a jagged, Coltranesque edge. The title cut, a light-as-air waltz with hints of Wayne Shorter, reveals the saxophonist's more lyrical tendencies, all the while maintaining her fiery edge.
The disc's eight tracks, all composed by Marciano, contain many memorable moments, including the Latin-to-swing transitions on "Unaware," the breathy, unaccompanied alto intro to "Padgorica Bridge," and the relaxed saxophone/bass duet on "Red Blossom."
Marciano's bandmates are all first-rate. La Corte pounds out clustery block-chords and cascading lines with intensity and grace. Vigorito manages to steer the music on course with swinging, punchy bass lines and soulful solos. Fasano's drum rumblings and crisp cymbal work is articulated with dynamic sensibilities.
With well-conceived writing and no-nonsense blowing, Change of Mood is a captivating listen. Marciano fans the flames of hard-bop with honesty and integrity.
Track Listing: Hypnotic Touch; Change Of Mood; In Front of My Eyes; Unaware; Podgorica Bridge; Blues at 2 PM; Sunday Morning; Red Blossom.
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 ...