Sicilian pianist, composer, and teacher Luca Aletta graduated with honors in jazz music from the Conservatory of Trapani and studied with Salvatore Bonafede, Lauro Rossi, and Gian Carlo Mazzu. In other words, Aletta has jazz flowing through his veins. Equipped with such knowledge and vast experience, Aletta has created an album that personally reflects his emotions and passion for his craft.
"Il Ciclista" opens Il Dodicesimo Nano with a stellar example of a musical creation that is modern, edgy, and has a lot of range. Like its namesake, this track is like a cycle of emotions. Listening to it is like travelling through a series of slopes that go up and down, in and out. The excitement gradually builds up as the song goes on. Despite the complexities in the song, the musicians are able to play cohesively and create a smooth transition all throughout its duration. What a good way to put a scintillating track at the start of the album.
"O Cao O Gato E O Rato" is more on the adventurous side of things as it has the mood of festivity and celebration. It is a fast-paced and fun-filled cut perfect in awakening the grooviness in one's soul. Listening to this one can surely make a person upbeat. It may not be as explosive as another track on this album ("Samba of the Little Wing"), but it is guaranteed to be just as equally stimulating to the ears. Personal, climactic, and reflective are the three words that best describe "Riff Ballad," which mainly emphasizes on Aletta's talent and skill in playing the piano. Aside from being relaxing, it is also one of the more emotional songs on the album. The accompanying instruments do not overpower the keys and they do provide good support that makes the tune dramatic in a very beautiful way.
Il Dodicesimo Nano is a wondrous collection of Aletta's outlook and feelings that give life to his music, showcasing his skills and taking listeners on a festival of emotions.
Track Listing: Il Ciclista; Gravi-Danza; Lo Sguardo Triste Di Una Portoghese Malinconica; Per Mari E Per Gismonti; Il Dodicesimo Nano; Dream and Dreams; O Cao O Gato E O Rato; Piuttosto Alto Vivo E Lampone; Riff Ballad; Sig. Giudice Siamo Tutti in Bonafede; La Stanza Segreta; Samba of Little Wing; Impastorius Colours; La Nave Di Carta Blu.
Personnel: Luca Aletta: piano and compositions; Javier Girotto: soprano and baritone sax (1, 3, 7, 10, 12); Giovanni Di Mauro: oboe (11); Stefano Cardillo: double bass; Alessandro Borgia: drums; Fabrizio Scaparra: violin; Pietro Vasile: viola; Joanna Pawlik: cello; Melchiorre Bernardone: double bass.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.