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Eleonora Strino Quartet: Matilde
by Alberto Bazzurro
Se cercate un disco “bello senz'anima" (fin dalla copertina, funzionale nonché sufficientemente ammiccante), con questo Matilde l'avete trovato. Vi agisce un quartetto con dentro almeno due elementi di vaglia (Corini e De Rossi) capitanato dalla chitarrista napoletana Eleonora Strino, attraverso otto brani tutti della leader (in un caso in comproprietà col pianista Vignali) a loro volta ...
Francesco Bearzatti, Federico Casagrande: And the Winter Come Again
by Neri Pollastri
Non è un tipo di formazione molto frequentata il duo tra ancia e chitarra, quello cioè cui danno vita Francesco Bearzatti e Federico Casagrande in questo And the Winter Come Again. Quasi un'ora di musica in dieci brani, tutti scritti dal chitarrista, che si avvalgono dell'originalità timbrica che scaturisce da una strettissima relazione tra i due ...
Dock in Absolute: [Re]Flekt
![Read "Dock in Absolute: [Re]Flekt" reviewed by Brian Morton](https://s3.amazonaws.com/allaboutjazz/coverart/large/7c9de437021a8f91187845967a95dfdf.jpg)
by Brian Morton
I wonder if I'd get away with it? An old friend was famous for his ability to turn out newspaper columns at lightning speed and with no notice, often after a generous lunch that had stretched on until near deadline time. He'd gruffly concede that yes, that's what they paid him for, yank out a few ...
John Taylor: Close to Mars
by Alberto Bazzurro
Nell'approssimarsi del decennale della scomparsa di John Taylor, che ci ha lasciati nel luglio 2015 un paio di mesi prima di compiere settantatré anni, ecco questo notevole album inciso dal pianista di Manchester nell'ottobre 2006 nei mitici Bauer Studios di Ludwigsburg accanto a un'ideale coppia di coéquipiers, oggi purtroppo a loro volta non più fra noi. ...
Francesco Bearzatti and Federico Casagrande: And Then Winter Came Again
by Brian Morton
This liner-note begins, unusually, with a charitable appeal. Music reviewers and critics labour in obscure conditions, but this is not an appeal for better pay or more respect. Many of these poor souls suffer from a deeply embarrassing ailment that directly bears on their ability to function at all. As first the co-author and later sole ...
Michel Reis: For A Better Tomorrow
by Brian Morton
It's always possible to get hung up on definitions, or metaphors. In modern jazz terms the most famous description of a piano is probably Cecil Taylor's “88 tuned drums," a clever way of characterising the instrument's percussive power and of removing it from the strong gravitational pull of European art music. I've always preferred Leigh Hunt's ...
Hindsight: Enrico Pieranunzi, Marc Johnson and Joey Baron
by Brian Morton
Sometimes we're reduced to throwing down old bones and seeing what messages they deliver back. Maybe noticed at the time, but the recording of Hindsight, by the trio of maestro Enrico Pieranunzi, master bassist Marc Johnson and time-lord Joey Baron took place almost exactly sixty years after one of the most famous jazz piano sessions of ...
Eleonora Strino: Matilde
by Brian Morton
There isn't much training around for young arts interviewers, but one bit of advice that is usually thrown out is never to ask “Where do you get your ideas?" It's a seemingly banal question that can only attract banal--and sometimes very sarcastic--answers. And yet sometimes, in context, it's exactly the right question to ask. More often ...
I Dischi del 2024 secondo Ludovico Granvassu
by Ludovico Granvassu
Spesso molti articoli sulle “migliori uscite dell'anno" iniziano con una premessa quasi apologetica ("questi non sono necessariamente 'i migliori album dell'anno,' ma 'i miei preferiti';" “è tutto soggettivo;" “domani avrei scelto titoli diversi;" “ho potuto selezionare solo dieci album," ecc.)? Queste dichiarazioni sembrano riflettere il disagio del redattore, costretto a riassumere un vasto ecosistema artistico selezionando ...
Ludovico Granvassu's Garden of Jazzy Delights 2024
by Ludovico Granvassu
Have you noticed how many “best of the year" listicles start with an apologetic preamble ("these are not necessarily 'the best albums of the year' but 'my favorites';" “it's all subjective;" “tomorrow I might have chosen different titles;" “I could only select ten albums" etc.)? Those disclaimers channel the writer's discomfort of having to summarize a ...
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