Dave Bruno 100

In something of a departure, guitarist Jimmy Bruno leaves straight bebop largely behind on this release, cultivating a more funk-oriented, electric sound instead. He is joined by the well-regarded fusion bassist Gerald Veasley, as well as pianist Dave Hartl (who doubles on Rhodes and Hammond organ), saxophonist Ron Kerber, and drummer Marc Dicciani. Bruno's intention was to get away from playing standards, although he opens with a retooled "Secret Love" and ends the session with "Perdido," "Stella by Starlight," and "Impressions." The bulk of the remaining material is written either by Bruno or Kerber, with Veasley contributing the straight-up funky "Philly Joe." Some of the music strongly recalls early George Benson and Pat Martino, although the chorus-treated sound that Bruno uses on several tracks has him sounding a bit like John Abercrombie or Vic Juris…

In something of a departure, guitarist Jimmy Bruno leaves straight bebop largely behind on this release, cultivating a more funk-oriented, electric sound instead. He is joined by the well-regarded fusion bassist Gerald Veasley, as well as pianist Dave Hartl (who doubles on Rhodes and Hammond organ), saxophonist Ron Kerber, and drummer Marc Dicciani. Bruno's intention was to get away from playing standards, although he opens with a retooled "Secret Love" and ends the session with "Perdido," "Stella by Starlight," and "Impressions." The bulk of the remaining material is written either by Bruno or Kerber, with Veasley contributing the straight-up funky "Philly Joe." Some of the music strongly recalls early George Benson and Pat Martino, although the chorus-treated sound that Bruno uses on several tracks has him sounding a bit like John Abercrombie or Vic Juris…

With this disc, German label Neos takes on an enterprising project, Bruno Maderna: Complete Works for Orchestra, Vol. 1. Outside of Italy, Maderna is recognized as a significant figure within Italian avant-garde associated with Nono and Berio, but his music is not is well known as theirs, apart from his fanciful and hip Serenata per un satellite (1969). Within Italy, Maderna is remembered as one of her greatest conductors, although he is worshipped to such extent in that role that his compositions have been overlooked. Such a series, hopefully, would serve to redress the balance; Maderna's experience as conductor helped inform his compositions, and by having access to his orchestral pieces one might be able to determine to what extent his composing impacted his work as a conductor.