For its second release, this fascinating ensemble chose to record two extended suites by band members Bruno Tommaso and Giorgio Gaslini. Tommaso's "Il Maestro Muratore" (The Master Mason), inspired by the Sardinian sculptor Constantino Nivola, begins superbly with a spirited romp based on a Sardinian folk dance and featuring high-wire soloing by trumpeter (and founder) Pino Minafra and Carlo Actis Dato on bass clarinet.
Maria Pia De Vito is an Italian jazz singer, composer, and arranger. A native of Naples, Italy, she studied classical music, opera, and Italian folk music. In 1976 she performed folk songs as a singer, guitarist, and pianist. In 1980 she sang with jazz musicians such as Art Ensemble of Chicago, Michael Brecker, Uri Caine, Peter Erskine, Paolo Fresu, Billy Hart, Maria Joao, Nguyên Lê, Dave Liebman, Bruno Tommaso, Gianluigi Trovesi, Steve Turre, Miroslav Vitous, and Joe Zawinul. In the 1980s she worked with Toots Thielemans and Mike Stern. She collaborated with Rita Marcotulli in the 1990s on the albums Nauplia and Fore Paese. She has often worked with the British composer Colin Towns and with pianist John Taylor.
Good news! Five of Italian trumpeter Enrico Rava's Black Saint and Soul Note recordings have been reissued by CAM Jazz in one of those pretty white box sets with each LP reproduced as a separate CD tucked into a miniature record jacket. Born at Trieste in 1939, Rava later attributed his lifelong pursuit of modern jazz to the influence of Miles Davis. One might add Don Cherry and Freddie Hubbard to that equation, along with maybe Richard Williams and Lee Morgan. In order to fully comprehend what he was up to from the '70s onward, it is important to consider the artistic company that Rava kept during the ‘60s. Take a moment, for example, to ponder the blended influences of Chet Baker and Gato Barbieri.
From tender Italian love songs to the empowering hymns of the Resistance, Trio Rouge is devoted to Italian song traditions. It expands the concept of 'canzone' to include an even broader musical spectrum of ideas. Romantic Italian ambience and pure Mediterranean joie-de-vivre performed by great musicians, who dare to up-date the beauty of traditional melodies for a new generation
"Der Begriff der imaginären Folklore, der zunächst von Béla Bartók geprägt wurde, wurde von der Musikerinitiative ARFI - Association à la Recherche d'un Folklore Imaginaire aus Lyon auf den zeitgenössischen Jazz übertragen. Mit ihrem Konzept einer "imaginären Folklore" führte sie den europäischen Jazz zu neuen Improvisationsmöglichkeiten über Strukturen und Harmonien, die vertraut klingen und entfernt an Volkslieder und alte Tänze erinnern…"