You won't find a whole lot of schmaltz or sugar-coated themes in Italian multi-reedman Alberto Pinton's music. Recently a resident of Sweden, the artist once again pursues fire and brimstone with his latest quintet effort, which is packed with ominous intentions. Pinton and his crew display the utmost fortitude here. And whether he's performing on baritone sax, clarinet or flute, the leader injects gruff tones and powerful blowing frenzies. It's not music without form or substance, partly due to vibraphonist Matthias Stahl's counterbalancing treatments and multihued solos, often leading to an abundance of spellbinding mini-themes.
Pinton, trombonist Mats Aleklint and the others generally launch an attack that is akin to an armed militia positioning for battle. On "Lallah the quintet pursues a jazz-boogaloo motif, subsequently bursting into a punishing swing vamp. Then on "Big Mondo, the musicians execute a rambunctious escapade into the free zone via raw power founded upon tension and angst. They work rather nicely on the inside, as well as when they soar into the avant garde. Sure, the improvisational element is an important cog in the wheel for these players, yet they also integrate various contours and angles into their grand scheme. Ultimately Pinton is a force to be reckoned with!
Track Listing: Glassbaren; Soul Insider; Nettuno; Lallah; Paradox Revisited; Ugglalooken; One Leg Step; Big Mondo; Live In.
I love jazz because it is in my blood. It is the only original American art form. It is sacred. The greatest musicians are jazz artists.
I was first exposed to jazz in 1961 listening to my father's records of Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole, Ben Webster, Coleman Hawkins, Lester Young.
I met Sonny Stitt, Wayne Shorter, Branford Marsalis, Joey Calderazzo, Michael Brecker, Cannonball Adderley, Walter Booker, Dave Liebman, Joe Lovano, George Benson, Mike
Stern, Stanley Turrentine, Billy Harper, Skip Hadden, Charlie Haden.
The best show I ever attended was Joe Lovano with Soundprints at the Wexner Center in Columbus Ohio in 2014.
The first jazz record I bought was Miles Smiles.