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Italian pianist Vito Liturri presents his sophomore CD release with From Beyond, a trio outing with a ten tune sequence that works almost as a suite. In fact, he tags the centerpiece, the four composition "From Beyond-Four Quadruple Suite." Part of the beauty and appeal of that suite, and the entire set, is the focus of Liturri's vision. He penned all but two one of the tunes, and those two exceptions he co-wrote. The continuity of mood and atmosphere of this disc is best appreciated in its entirety, in one sit-in-a-chair-and-listen session .
With a pair of simpatico band matesMarco Boccia on bass, and drummer Lello Patrunothis trio that sounds, by turns energized and ruminative builds an extended storyline of music, enhanced with Lituri's deft addition of electronics after he pounds out a portentous and percussive "Prelude" to the "Four Quadruple Suite." It's a vision expanding move, giving the sound an orchestral gravitas.
Liturri's piano remains center stage until the suite's "Interlude," a piece that has the effect of soaring into the stratosphere, electronically. "Beyond" brings back the acoustic piano on an introspective reverie that is spare and pretty at the same time.
After the suite, "The Moon, the Reverb and..." struts in on a reverberant bass solo leading into Liturri's searching piano, leading into the floating "Just a Dreamer."
From Beyond is a bold and beautiful statement, a superb piano trioelectronically enhanced in the middle of the disc's story arccreating a compelling sound.
Track Listing: Albe's Garden; The Black Temple; Timeless Grace; Prelude; From Beyond; Interlude; Beyond; La Luna, il Riverbero e...; Just a Dreamer; Una Stanza Voulta.
Personnel: Vito Liturri: piano, digital piano, synth, electronics; Marco Boccia: double bass; Lello Patruno: drums, percussion.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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