Aldo Ortado

Drummer/composers are a relatively rare breed in jazz, but Aldo Romano is one of the most gifted on the scene. With a baker's dozen musicians (including himself) and thoughtful arrangements by Lionel Belmondo, Romano creates a powerful sound with reeds, brass, and rhythm section, often emphasizing the ensemble more so than than soloists, starting with the lovely bittersweet "Silenzio," which sounds like it could have been written for a film soundtrack. Trumpeter Stefane Belmondo and pianist Eric Legnini are showcased in the driving bossa nova "Pasolini." The elegant, lyrical waltz "For Michel" and the graceful "Touch of a Woman" (the latter with Belmondo on flügelhorn) are also obvious highlights. Romano plays guitar, sings, and co-composed an Italian lyric with Yves Simon for his upbeat "Jazz Messengers." This is yet another rewarding date by Aldo Romano.

Aldo Romano - Because of Bechet (2002) {EmArcy 017 275-2}
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© 2002 EmArcy / Universal | 017 275-2
Jazz / Post Bop / Acid Jazz / Contemporary Jazz / Drums

Italian-born drummer Aldo Romano is a respected European jazz musician who has played with many avant-garde and contemporary jazz stars. Living in France from his early teens, his music usually is a mix of Italian emotionalism and French sentimentality, influenced by world leading avant-garde jazz artists of the 60s and 70s. "Because Of Bechet" is quite a radical step in his musical career - this album is a tribute to American jazz sax/clarinet star Sidney Bechet. Full of tunes and straightforward jazz compositions, this album isn't just a nostalgic retrospective. Aldo also uses sampling and electronic rhythms plus organ as well as more traditional instruments to give this music, which is deeply rooted in jazz from the 20-30s, a new interpretation. With French charm and almost dance-able beats this album is an easily accessible and modern reading of a traditional jazz legacy.

The Neapolitan Domenico Cimarosa (1749-1801) was certainly a prolific composer of operas, having more than 80 titles to his name. Though many have only recently enjoyed a revival, they were widely admired in his day. Cimarosa specialised in comedies, the form known as opera buffa, and his greatest achievement, Il matrimonio segreto, represents the pinnacle of the genre and would influence his contemporaries and generations of composers to come.

This 1989 recording, once available through the now-defunct, France-based Owl record label, has been brought back from the proverbial ashes by Sunnyside. Venerable modern jazz drummer Aldo Romano and highly regarded saxophonist Joe Lovano go for the gusto throughout these generally upbeat duets. Essentially, it's what many fans of these two important jazz musicians would come to expect. On this release, Lovano perpetuates a surfeit of soul-stirring lines amid plenty of dynamics atop Romano's swarming swing grooves. With pieces such as "Dragons Are" and elsewhere throughout the program, the duo seemingly emulates the hustle and bustle ordinarily heard when artists venture into the free zone. The duo also displays a soft touch in spots, but the bulk of these works primarily consist of high-octane improvisational sequences.

Aldo Romano - To Be Ornette to Be (1989) {Owl Records 9824601 rel 2005}
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© 1989, 2005 Owl Records / EmArcy / Universal | OWL 057 / 982 460 1
Jazz / Post Bop / Contemporary Jazz / Drums

When Italian drummer Aldo Romano recorded this Ornette Coleman tribute for Owl Records (a French label) in 1989, Coleman had been recording for more than 30 years – and there were still plenty of people who had difficulty comprehending the alto saxman's innovative free jazz. But Romano not only comprehended it – he had a very deep appreciation of it. In the liner notes that he wrote for To Be Ornette to Be, Romano exalts Coleman as "one of the key voices in Afro-American music" and asserts that if Coleman had been Italian, he would have composed La Traviata. Some bop snobs would be horrified that Romano would compare Coleman's work to La Traviata, but Romano does, in fact, know what he's talking about when he praises Coleman's genius.