Pietro Ciancaglini: Consecutio

Acknowledged as one of the leading acoustic bassists in Italy, Pietro Ciancaglini branches out into new territory on Consecutio. In addition to his double bass, he plays Fender jazz bass, six-string electric bass and five-string fretless bass. He is supported by his long-time wingman Pietro Lussu on piano and Fender Rhodes, drummer Armando Sciommeri and vocalist Maria Chiara Orlando. Orlando is a surprise package, using her voice as an instrumental resource, usually to wordlessly harmonise with the bass. Despite the lack of words, she is still able to convey delicacy, passion and sincerity.

This is the fourth outing as leader from Ciancaglini; he further refines his style and approach, following on from Second Phase (Jando Music, 2014). He has a rich history having played and recorded with Lee Konitz, Paolo Fresu, David Kikoski, Randy Brecker and Joe Chambers. The album consists of ten original compositions balancing electric and acoustic sounds. There is a general mood of the contemporary rather than the post-bop of previous records. The arrangements are stylistically fluid but with carefully planned rhythm arrangements, all combining into an entertaining album

The Fender Rhodes and piano of Lussu combine with the drums of Sciommeri to provide a variety of settings for the bass excursions, which are at the front of every tune. The album opens with the title track and immediately the bass is driving from the front—being played in lead guitar style over Lusso's repeating phrases. The bass melody is further enhanced by Orlando who uses her wordless vocals as an instrument in "7.45 AM," complemented by an interesting solo from Lusso with Ciancaglini multi-tracked, playing both melody and rhythm.

Those intense wordless vocals offer many tonal nuances; they make an impact in the summery Latin vibe of "Two Wings" and the relaxed fusion of "Big Souls," turning both into catchy ear-worms. They sometimes harmonise with the bass and sometimes take the lead, with fast and precise phrasing. Despite some unusual and agile time shifting, that relaxed feel is there again in "Deep" and "Things That Change." The former has some neat piano from Lusso, the latter building with some sharp drum interventions.

This is an interesting and elegant work offering a variety of song-like styles. Fusing acoustic and electric, there are tight arrangements, contemporary improvisations and a few surprises along the way. In the hands of Ciancaglini, the electric bass has a strong treble tone and a snarl in the mid-range. It is used for both solo melodic work and for interpreting rhythmic structures and it is this bass playing which elevates the album above the crowd.

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