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Triple Tea rip open their debut recording The Tunnel with the arena-sized rock'n'roll pugnaciousness of "1994," a powerhouse panorama that instantly reveals the 3D view of jazz and its many incorporated elements.
The seven tracks comprising The Tunnel all exhibit sweeping overtures and seemingly effortless, certainly seamless movements between song sections, reminiscent of the soulful playing and compositional style of Elton John. Tommaso Taddonio's punchy, rolling chords simultaneously pedal forward and accompany the fluid spot-on work of bassist Carlo De Baggio and the hugely muscular beat of drummer Martin Tamisier. The thrilling introduction of swirling, near orchestral electronics on the succeeding "Ephemera" creates an encompassing, moving piece of balladry.
Though highly imagistic, Taddonio's writing is tightly conceived. Each player's sure, fervent chops adds to the creation of seven dynamic episodes, with their own distinctive scores arranged by the trio. "Fur Maryjane" is another exquisite cut; a roomy, expansive melody given time and space to breathe and become. The exhilarating title track blossoms quietly, almost mournfully, before crashing into itself feverishly, only to collapse into an unexpected syncopation, then doubles off and drifts away. Keep an ear out for these guys.
Track Listing: 1994; Ephemera; Resistance (parts 1 & 2); Light Spirit; Für Maryjane; R.G.T.; The Tunnel.
Personnel: Tommaso Taddonio: piano; Martin Tamisier: drums; Carlo De Baggio: acoustic bass.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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