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Interpreting film score themes that have affected us for the past forty years, the Tommaso-Rava quartet draws upon various moods that have been inspirational to millions. Cool, calm and collected, the four artists expand upon each theme's original impression and create dreamscapes that grow out of what has passed before us.
Trumpeter Enrico Rava remains a powerful force in modern jazz interpretation. His respect for tonal beauty couples with his fluid technique to allow him to express these film score impressions clearly. Bassist Giovanni Tommaso adds a powerful rhythmic and harmonic foundation and steps up to solo frequently. Piano and drums surround their thematic material with colorful swirls and additional creative fire.
Rava's "Il Sogno di Hitchcock," a waltz, captures the free spirit that accompanies many film scores. In the movies, lead cinema characters typically take the time to travel, meet others, romance a little, and dig deep into their adventure, while the music keeps the audience on high ground. Comforted by the music, we can view the film and absorb its plot accordingly.
"La Dolce Vita" receives a twelve-minute interpretation that's filled with creative energy. The quartet swings incessantly through various landscapes, capturing moods that follow from the film. Passionate one moment and spasmodic the next, Rava and his musical partners explore all the nuances of this floating journey. Steeped in tradition, the film's score provided a clear path for communication. Here, the Tommaso-Rava Quartet interprets the music faithfully, but within its own boundaries. Recommended, La Dolce Vita honors a loving musical tradition through the creative jazz of a stellar quartet.
Track Listing: Profumo di Donna (Scent of a Woman); Mondo Cane (A Dog's World); Cinema Moderno; Ammazzare il Tempo; Il Sogno di Hitchcock; La Dolce Vita (The Sweet Life); Il Postino (The Postman); L'Aventura (Adventure); Il Prato (The Meadow); La Prima Volta; Cronaca Familiare (Family Diary).
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.