Stefano Rielli: So Far

The aptly titled album So Far marks the debut of the Italian bassist Stefano Rielli, who leads a quartet inspired by Jimmy Smith's electric organ sound. Beyond his classical foundation, Rielli graduated in jazz double bass from the Parma Conservatory in 2015 before earning a master's degree in electric bass from the Matera Conservatory in 2017.

The album features six covers alongside one original composition. Three of the arrangements pay homage to Kurt Elling, another of Rielli's primary sources of inspiration. Although for his opening statement as bandleader, Rielli has chosen Jimmy Smith's "Off the Top," drawn from Smith's 1982 album of the same name (Elektra Musician). The track immediately establishes the quartet's musical identity. Bright and energetic, it builds a groove as Vincenzo Abbracciante's Hammond organ and Emanuele Coluccia's tenor saxophone engage in spirited dialogue while Rielli demonstrates his bass skills in this bebop delight.

"My Love, Effendi," Rielli's homage to Kurt Elling's version of McCoy Tyner's original "Effendi" is one of the three tracks with Elling links. This powerful piece has a 1960s vibe, with all the quartet excelling. Carla Bley's "Endless Lawns" was covered by Elling on his Superblue album (Edition Records, 2020); here, Rielli inventively arranges the song in a flowing manner for his solo double bass.

Wayne Shorter composed "Aung San Suu Kyi" for his 1997 album 1+1 (Verve) with Herbie Hancock. Elling later adapted Shorter's composition for inclusion on SuperBlue, adding his own lyrics to create "Where To Find It." Rielli adapts it further, adding a new introduction. This is the pick of the bunch of the Elling-related tracks with fiery organ and saxophone combining to great effect.

Elsewhere, Marco Girardo's drum interventions are one of the highlights on Rielli's own composition "Seesaw." The tight, complex but swinging arrangement sees bass, saxophone and organ combining on the theme. John Coltrane's "Like Sonny" gets a fairly straight reading but the arrangement is a little overcrowded. This cannot be said for Charlie Parker's "Dewey Square." Here Rielli introduces his guest musician, the outstanding clarinetist Gabriele Mirabassi and the two take improvisational flight as Rielli's superb arco and pizzicato bass interweaves with the dazzling clarinet explorations.

Clocking in at around 31 minutes, the album is brief but compelling, leaving listeners wanting more. Rielli demonstrates his bass mastery across varied musical settings, shifting between propulsive rhythmic drive and inventive improvisation. His playing remains consistently thoughtful and precise, with a reverent eye toward jazz tradition and how it can be reimagined in contemporary formats. He entertains throughout on this accomplished debut.

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