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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 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.