Fra reminiscenze dolphyane, in particolare quando imbraccia il clarinetto basso, o piuttosto riconducibili all'Original Quartet ornettiano, per l'estetica complessiva, Alberto Pinton si ricollega in maniera nient'affatto supina o scontata alle fonti di quell'avanguardia storica (nonché, ovviamente, storicizzata) a cui evidentemente sente di appartenere.
Dei sei brani complessivi, ripresi nel corso di un'esibizione al Glenn Miller Café di Stoccolma di fine luglio 2015 e tutti a firma del polistrumentista veneziano (e del resto ormai da più di trent'anni svedese d'adozione, non senza qualche puntata newyorkese), la metà oltrepassa anche di un po' i dieci minuti, consentendo a una data estetica di liberarsi in maniera piena ed esauriente, generalmente vibrante, vitale, scevra da certi eccessi di cerebralismo che talora annebbiano chi pratica questa stessa sponda stilistica.
Un disco e un gruppo (qui alla sua prima incisione) che vorremmo poter gustare ogni tanto anche alle nostre latitudini.
Track Listing: Krigarens Väg; Tangible-Intangible; Magnetism; Lacy; L’Aquilone; Kapten K.
Personnel: Alberto Pinton: baritone saxophone, clarinet, bass clarinet; Niklas Barnö: trumpet;
Torbjörn Zetterberg: bass; Konrad Agnas: drums
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.