Pianist Arrigo Cappelletti's third album for UK-based Leo Records merges the best of many jazz propositions. With fellow Italians manning the frontline and the Norwegian rhythm section tendering sympathetic accompaniment, the musicians focus on melodic content, used as a vehicle for numerous song forms and extrapolations. Extremely tight and well-rehearsed, Cappelletti directs the quintet through knotty time signatures, spanning modern bop and sojourns into the free-zone. Other works combine softly woven horns, idiosyncratic thematic developments and motifs fashioned with controlled firepower. Each piece stands on its own, highlighting the leader's all-embracing approach to composition.
Cappelletti's guileful "Isafyordur 1" commences with bassist Adrian Myhr's edgy arco phrasings setting the stage for a sequence of flourishing thematic intervals, subsided by moments of restraint. The pianist subsequently aligns classical inferences with lush jazz phrasings but creates breathing room as the hornists intersect and provide shadings, while Cappelletti assumes a command and control role and builds a theme on a linear ostinato. Moreover, he delicately drives the momentum into a series of mini-motifs, casting an emotional roller coaster ride. Otherwise, Cappelletti's skillfully engineered arrangements caress numerous inferences of the jazz vernacular. It's an album that should not go unnoticed.
Personnel: Arrigo Cappelletti: piano; Giulio Martino: soprano and tenor saxophones; Sergio Orlandi: trumpet; Adrian Myhr: double bass; Tore Sandbakken: drums.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.