Featuring Satoko Fujii on piano, Joe Fonda on contrabass & flute and Gianni Mimmo on soprano sax. Both pianist Satoko Fujii and bassist Joe Fonda should be no strangers to most of you serious listeners. On the other hand, Italian soprano saxist Gianni Mimmo, might be a bit more obscure. He shouldn’t be to those in the know since he runs the Amirani label and has played with Lol Coxhill, Daniel Levin and Stefano Pastor. I would imagine this disc to be mostly improvised. This disc begins with hushed flute, somber soprano sax and eerie plucked strings from inside the piano. The sound is calm, yet haunting, I keep thinking that ghosts will soon enter. There is something beautiful going on here, very organic and rather pure at times. Most of this doesn’t really sound improvised since each section sounds like another scene from an ongoing series of stories. Mr. Mimmo has a superb, warm, thoughtful tone on soprano sax. Never bending his notes too far to prove how far out he can go. The music has a dreamy, enchanting quality which I find most uplifting. I reviewed another Fujii trio disc earlier today called, ‘This Is It!’ and Ms. Fujii sounds completely different. She also never goes too far out but is still most often dazzling. This disc is magical/musical improv at its best!Featuring Satoko Fujii on piano, Joe Fonda on contrabass & flute and Gianni Mimmo on soprano sax. Both pianist Satoko Fujii and bassist Joe Fonda should be no strangers to most of you serious listeners. On the other hand, Italian soprano saxist Gianni Mimmo, might be a bit more obscure. He shouldn’t be to those in the know since he runs the Amirani label and has played with Lol Coxhill, Daniel Levin and Stefano Pastor. I would imagine this disc to be mostly improvised. This disc begins with hushed flute, somber soprano sax and eerie plucked strings from inside the piano. The sound is calm, yet haunting, I keep thinking that ghosts will soon enter. There is something beautiful going on here, very organic and rather pure at times. Most of this doesn’t really sound improvised since each section sounds like another scene from an ongoing series of stories. Mr. Mimmo has a superb, warm, thoughtful tone on soprano sax. Never bending his notes too far to prove how far out he can go. The music has a dreamy, enchanting quality which I find most uplifting. I reviewed another Fujii trio disc earlier today called, ‘This Is It!’ and Ms. Fujii sounds completely different. She also never goes too far out but is still most often dazzling. This disc is magical/musical improv at its best!

As Satoko Fujii continues her birthday record release marathon, here we find her trying on yet a new skin debuting this trio in this format. Recorded on her actual birthday, they day after they played together for the first time, this is art jazz going to logical extremes giving you the other side of early 70s creative civil rights jazz when art took the wheel instead of anger. Left leaning improv fans will find solace in the set’s minimalism.As Satoko Fujii continues her birthday record release marathon, here we find her trying on yet a new skin debuting this trio in this format. Recorded on her actual birthday, they day after they played together for the first time, this is art jazz going to logical extremes giving you the other side of early 70s creative civil rights jazz when art took the wheel instead of anger. Left leaning improv fans will find solace in the set’s minimalism.

As might be guessed, Triad is a trio album. Fujii is joined by Gianni Mimmo on soprano saxophone and Joe Fonda, who divides his efforts between flute and bass. This is the album that comes closest to an explicit acknowledgement of the entire project. Almost all of the CD is occupied by the second track, an improvisation lasting slightly more than 40 minutes entitled “Birthday Girl.”

If my familiarity with Fujii’s work were more extensive and my memory was more acute, I might be able to make a case for this piece having retrospective qualities; but my listening skills are not quite good enough to support my going out on that limb. Instead, I can draw upon my own rich past of listening to extended improvisations by jazz giants such as John Coltrane and Cecil Taylor (particularly the latter). Indeed, when I recently read Adam Shatz’ extended obituary for Taylor, which was posted on the NYR Daily Web site of The New York Review of Books, I was as impressed with his “laundry list” of “three or four generations of musicians” to have been inspired by Taylor as I was dismayed to see that Fujii had not made it onto that list.

The conditions under which Triad was recorded again deserve to be acknowledged. While Fujii had released an album with Fonda, entitled simply Duet, in October of 2016, the first time that Mimmo played with these two musicians was the night before the recording was made. This prompts two key observations. The first is that there is never any sign that Mimmo is holding back as the “junior member” of this partnership. The second is that the improvisatory techniques that unfold over the entire album, not just in “Birthday Girl,” suggests a strong bond of communication among all three of the players. If that communication was a result of little more that knowing just how to respond to attentive listening, that speaks volumes about both the technique and the inventive capacity of all three of the players.As might be guessed, Triad is a trio album. Fujii is joined by Gianni Mimmo on soprano saxophone and Joe Fonda, who divides his efforts between flute and bass. This is the album that comes closest to an explicit acknowledgement of the entire project. Almost all of the CD is occupied by the second track, an improvisation lasting slightly more than 40 minutes entitled “Birthday Girl.”

If my familiarity with Fujii’s work were more extensive and my memory was more acute, I might be able to make a case for this piece having retrospective qualities; but my listening skills are not quite good enough to support my going out on that limb. Instead, I can draw upon my own rich past of listening to extended improvisations by jazz giants such as John Coltrane and Cecil Taylor (particularly the latter). Indeed, when I recently read Adam Shatz’ extended obituary for Taylor, which was posted on the NYR Daily Web site of The New York Review of Books, I was as impressed with his “laundry list” of “three or four generations of musicians” to have been inspired by Taylor as I was dismayed to see that Fujii had not made it onto that list.

The conditions under which Triad was recorded again deserve to be acknowledged. While Fujii had released an album with Fonda, entitled simply Duet, in October of 2016, the first time that Mimmo played with these two musicians was the night before the recording was made. This prompts two key observations. The first is that there is never any sign that Mimmo is holding back as the “junior member” of this partnership. The second is that the improvisatory techniques that unfold over the entire album, not just in “Birthday Girl,” suggests a strong bond of communication among all three of the players. If that communication was a result of little more that knowing just how to respond to attentive listening, that speaks volumes about both the technique and the inventive capacity of all three of the players.

Sonic Jackson Pollocks hit the canvas of your ears… Fujii teams with Joe Fonda/b-fl and Gianni Mimmo/ss on four originals that give images of space explorations. Piano strings strum along atmospheric flute on “Available Gravity” with bowed bass and abstract ivories create a ionic distribution on ”Birthday Girl.” Lurking piano notes scurry during ”Joe Melts the Water Boiler” after the reeds screech and scrape for “No More Bugs.” Boldly going where no man has gone before?Sonic Jackson Pollocks hit the canvas of your ears… Fujii teams with Joe Fonda/b-fl and Gianni Mimmo/ss on four originals that give images of space explorations. Piano strings strum along atmospheric flute on “Available Gravity” with bowed bass and abstract ivories create a ionic distribution on ”Birthday Girl.” Lurking piano notes scurry during ”Joe Melts the Water Boiler” after the reeds screech and scrape for “No More Bugs.” Boldly going where no man has gone before?

4 stars ****

Triad is the fifth of twelve monthly albums to be released as part of pianist-composer Satoko Fujii’s extended celebration of her sixtieth birthday. It is also her second album with the legendary American bassist Joe Fonda
Joe Fonda. Duet (Long Song Records, 2016), recorded live in Portland, Maine in 2015, had brought the pair together at Fonda’s request though the two were barely familiar with each other’s music. Despite the album title, one of the two tracks included Fujii’s trumpeter husband Natsuki Tamura who did not receive upfront billing. On Triad, the cover credits precisely reflect the presence of Italian saxophonist Gianni Mimmo whose music, coincidentally, was also unfamiliar to both Fujii and Fonda.
Mimmo is not well-known outside Europe though he has toured extensively on that continent and in the US. He favors the soprano sax and has developed a reputation for his experimental work with extended techniques. He has been performing with one the UK’s leading improvisational guitarists, John Russell, for ten years, and fellow Italian pianist/experimentalist Gianni Lenoci and German reed player Peter Brötzmann. Mimmo has recorded on two dozen albums as a leader or co-leader. 4 stars ****

Triad is the fifth of twelve monthly albums to be released as part of pianist-composer Satoko Fujii’s extended celebration of her sixtieth birthday. It is also her second album with the legendary American bassist Joe Fonda
Joe Fonda. Duet (Long Song Records, 2016), recorded live in Portland, Maine in 2015, had brought the pair together at Fonda’s request though the two were barely familiar with each other’s music. Despite the album title, one of the two tracks included Fujii’s trumpeter husband Natsuki Tamura who did not receive upfront billing. On Triad, the cover credits precisely reflect the presence of Italian saxophonist Gianni Mimmo whose music, coincidentally, was also unfamiliar to both Fujii and Fonda.
Mimmo is not well-known outside Europe though he has toured extensively on that continent and in the US. He favors the soprano sax and has developed a reputation for his experimental work with extended techniques. He has been performing with one the UK’s leading improvisational guitarists, John Russell, for ten years, and fellow Italian pianist/experimentalist Gianni Lenoci and German reed player Peter Brötzmann. Mimmo has recorded on two dozen albums as a leader or co-leader.

Triad is the fifth of twelve monthly albums to be released as part of pianist-composer Satoko Fujii’s extended celebration of her sixtieth birthday. It is also her second album with the legendary American bassist Joe Fonda
Joe Fonda. Duet (Long Song Records, 2016), recorded live in Portland, Maine in 2015, had brought the pair together at Fonda’s request though the two were barely familiar with each other’s music. Despite the album title, one of the two tracks included Fujii’s trumpeter husband Natsuki Tamura who did not receive upfront billing. On Triad, the cover credits precisely reflect the presence of Italian saxophonist Gianni Mimmo whose music, coincidentally, was also unfamiliar to both Fujii and Fonda.
Mimmo is not well-known outside Europe though he has toured extensively on that continent and in the US. He favors the soprano sax and has developed a reputation for his experimental work with extended techniques. He has been performing with one the UK’s leading improvisational guitarists, John Russell, for ten years, and fellow Italian pianist/experimentalist Gianni Lenoci and German reed player Peter Brötzmann. Mimmo has recorded on two dozen albums as a leader or co-leader. Triad is the fifth of twelve monthly albums to be released as part of pianist-composer Satoko Fujii’s extended celebration of her sixtieth birthday. It is also her second album with the legendary American bassist Joe Fonda
Joe Fonda. Duet (Long Song Records, 2016), recorded live in Portland, Maine in 2015, had brought the pair together at Fonda’s request though the two were barely familiar with each other’s music. Despite the album title, one of the two tracks included Fujii’s trumpeter husband Natsuki Tamura who did not receive upfront billing. On Triad, the cover credits precisely reflect the presence of Italian saxophonist Gianni Mimmo whose music, coincidentally, was also unfamiliar to both Fujii and Fonda.
Mimmo is not well-known outside Europe though he has toured extensively on that continent and in the US. He favors the soprano sax and has developed a reputation for his experimental work with extended techniques. He has been performing with one the UK’s leading improvisational guitarists, John Russell, for ten years, and fellow Italian pianist/experimentalist Gianni Lenoci and German reed player Peter Brötzmann. Mimmo has recorded on two dozen albums as a leader or co-leader.

The precursor to Triad, Satoko Fujii and Joe Fonda’s dazzling Duet, was one of 2016’s most delightful records and the first encounter of these two greats. Arriving from opposite sides of the free jazz/improv spectrum—one from the forefront of avant-jazz and free improvisation that flirts with modern composition, the other from the fiery spheres of “traditional” free jazz—Fujii and Fonda immediately clicked, achieving a symbiosis of styles, and crafted an inspired piece of music. For their second album together, they’re joined by Italian soprano saxophonist Gianni Mimmo, a prolific, creative musician whose output should be familiar to anyone following the intriguing label Amirani Records.

Much like the whole record, Triad’s opening “Available Gravity” is an idiosyncratic improvised cut, uncharacteristic for its performers. It reads as an abstract retelling of haunting and haunted folklore delivered through the voices of Joe Fonda’s romantic wooden flute, the tinkling knocks of Satoko Fujii’s piano strings, and the grating flutter of Gianni Mimmo’s saxophone splurts. This beautifully subdued track, along with three other shorts “Accidental Partner”, “No More Bugs”, and “Joe Melts the Water Boiler”, serves as a comforting satellite for the forty minutes long centerpiece “Birthday Girl”. Performed and recorded in Milan on Satoko Fujji’s 59th birthday, “Birthday Girl” is Triad’s focal point, an enthralling, oft exhilarating tour de force and celebration of improvisation.

While the piece starts calmly, almost carelessly, it soon picks up pace as Fonda’s forceful and playful double bass plucks are accompanied by Fujii’s characteristic forte playing and incisiveness. In a space between them, Mimmo’s saxophone draws lyrical lines interrupted only by the occasional discordant, energetic blow. Throughout, the musicians play in unison rather than against each other, exchanging ideas, evolving them individually, and reconciling them collectively. There’s a wonderful recurring circularity in the way that Fonda, Fujii, and Mimmo fervently repeat notes, imparting more heaviness and resolve in each cycle, whilst also creating an overarching structure. Their individual styles remain recognizable, yet also strain and contort to accomodate this new and unexplored context.

Elsewhere in the track, the trio entertains an accelerating, rhythmical, and oriental-sounding passage that leads into the first of several Fujii’s explosive solos. The solo is disrupted when Mimmo starts screeching and spouting furious lines, betraying the lyricism that came before. Soon Fujii reaches for the insides of her (possibly prepared) piano and the improvisation morphs into a faux chamber piece. Along the way, as the trio shifts in and out of configurations, one of Mimmo’s solos is rendered especially compelling by a sustained tone that gets out of control, while during a charged and wild duet with Fujii, Fonda can be heard shouting out an impassioned “yeah”.

As the song comes to a close, the musicians find themselves in a delicate post-bop section, brimming with emotion, led by Fonda’s galloping bass, Fujii’s tasteful piano accents, and Mimmo’s elongated, tuneful sounds. The players’ approaches warp again as the album closes in a fervent crescendo with Fujii and Mimmo playing faster and harder yet remaining faithful to a certain intermittent musicality.

After the final notes of “Birthday Girl” fade, Fujii, Fonda, and Mimmo showcase three breezy self-contained miniatures. “Accidental Partner” provides some layered and calm respite focused on Fonda’s bowed lines, “No More Bugs” rebukes with nervous and fragmented interplay of instruments dancing spasmodically, while “Joe Melts The Water Boiler” gives the already excellent Triad its exclamation point through a groovy collective improvisation.The precursor to Triad, Satoko Fujii and Joe Fonda’s dazzling Duet, was one of 2016’s most delightful records and the first encounter of these two greats. Arriving from opposite sides of the free jazz/improv spectrum—one from the forefront of avant-jazz and free improvisation that flirts with modern composition, the other from the fiery spheres of “traditional” free jazz—Fujii and Fonda immediately clicked, achieving a symbiosis of styles, and crafted an inspired piece of music. For their second album together, they’re joined by Italian soprano saxophonist Gianni Mimmo, a prolific, creative musician whose output should be familiar to anyone following the intriguing label Amirani Records.

Much like the whole record, Triad’s opening “Available Gravity” is an idiosyncratic improvised cut, uncharacteristic for its performers. It reads as an abstract retelling of haunting and haunted folklore delivered through the voices of Joe Fonda’s romantic wooden flute, the tinkling knocks of Satoko Fujii’s piano strings, and the grating flutter of Gianni Mimmo’s saxophone splurts. This beautifully subdued track, along with three other shorts “Accidental Partner”, “No More Bugs”, and “Joe Melts the Water Boiler”, serves as a comforting satellite for the forty minutes long centerpiece “Birthday Girl”. Performed and recorded in Milan on Satoko Fujji’s 59th birthday, “Birthday Girl” is Triad’s focal point, an enthralling, oft exhilarating tour de force and celebration of improvisation.

While the piece starts calmly, almost carelessly, it soon picks up pace as Fonda’s forceful and playful double bass plucks are accompanied by Fujii’s characteristic forte playing and incisiveness. In a space between them, Mimmo’s saxophone draws lyrical lines interrupted only by the occasional discordant, energetic blow. Throughout, the musicians play in unison rather than against each other, exchanging ideas, evolving them individually, and reconciling them collectively. There’s a wonderful recurring circularity in the way that Fonda, Fujii, and Mimmo fervently repeat notes, imparting more heaviness and resolve in each cycle, whilst also creating an overarching structure. Their individual styles remain recognizable, yet also strain and contort to accomodate this new and unexplored context.

Elsewhere in the track, the trio entertains an accelerating, rhythmical, and oriental-sounding passage that leads into the first of several Fujii’s explosive solos. The solo is disrupted when Mimmo starts screeching and spouting furious lines, betraying the lyricism that came before. Soon Fujii reaches for the insides of her (possibly prepared) piano and the improvisation morphs into a faux chamber piece. Along the way, as the trio shifts in and out of configurations, one of Mimmo’s solos is rendered especially compelling by a sustained tone that gets out of control, while during a charged and wild duet with Fujii, Fonda can be heard shouting out an impassioned “yeah”.

As the song comes to a close, the musicians find themselves in a delicate post-bop section, brimming with emotion, led by Fonda’s galloping bass, Fujii’s tasteful piano accents, and Mimmo’s elongated, tuneful sounds. The players’ approaches warp again as the album closes in a fervent crescendo with Fujii and Mimmo playing faster and harder yet remaining faithful to a certain intermittent musicality.

After the final notes of “Birthday Girl” fade, Fujii, Fonda, and Mimmo showcase three breezy self-contained miniatures. “Accidental Partner” provides some layered and calm respite focused on Fonda’s bowed lines, “No More Bugs” rebukes with nervous and fragmented interplay of instruments dancing spasmodically, while “Joe Melts The Water Boiler” gives the already excellent Triad its exclamation point through a groovy collective improvisation.

4 stars 1/2 ****1/2
The precursor to Triad, Satoko Fujii and Joe Fonda’s dazzling Duet, was one of 2016’s most delightful records and the first encounter of these two greats. Arriving from opposite sides of the free jazz/improv spectrum—one from the forefront of avant-jazz and free improvisation that flirts with modern composition, the other from the fiery spheres of “traditional” free jazz—Fujii and Fonda immediately clicked, achieving a symbiosis of styles, and crafted an inspired piece of music. For their second album together, they’re joined by Italian soprano saxophonist Gianni Mimmo, a prolific, creative musician whose output should be familiar to anyone following the intriguing label Amirani Records.

Much like the whole record, Triad’s opening “Available Gravity” is an idiosyncratic improvised cut, uncharacteristic for its performers. It reads as an abstract retelling of haunting and haunted folklore delivered through the voices of Joe Fonda’s romantic wooden flute, the tinkling knocks of Satoko Fujii’s piano strings, and the grating flutter of Gianni Mimmo’s saxophone splurts. This beautifully subdued track, along with three other shorts “Accidental Partner”, “No More Bugs”, and “Joe Melts the Water Boiler”, serves as a comforting satellite for the forty minutes long centerpiece “Birthday Girl”. Performed and recorded in Milan on Satoko Fujji’s 59th birthday, “Birthday Girl” is Triad’s focal point, an enthralling, oft exhilarating tour de force and celebration of improvisation.

While the piece starts calmly, almost carelessly, it soon picks up pace as Fonda’s forceful and playful double bass plucks are accompanied by Fujii’s characteristic forte playing and incisiveness. In a space between them, Mimmo’s saxophone draws lyrical lines interrupted only by the occasional discordant, energetic blow. Throughout, the musicians play in unison rather than against each other, exchanging ideas, evolving them individually, and reconciling them collectively. There’s a wonderful recurring circularity in the way that Fonda, Fujii, and Mimmo fervently repeat notes, imparting more heaviness and resolve in each cycle, whilst also creating an overarching structure. Their individual styles remain recognizable, yet also strain and contort to accomodate this new and unexplored context.

Elsewhere in the track, the trio entertains an accelerating, rhythmical, and oriental-sounding passage that leads into the first of several Fujii’s explosive solos. The solo is disrupted when Mimmo starts screeching and spouting furious lines, betraying the lyricism that came before. Soon Fujii reaches for the insides of her (possibly prepared) piano and the improvisation morphs into a faux chamber piece. Along the way, as the trio shifts in and out of configurations, one of Mimmo’s solos is rendered especially compelling by a sustained tone that gets out of control, while during a charged and wild duet with Fujii, Fonda can be heard shouting out an impassioned “yeah”.

As the song comes to a close, the musicians find themselves in a delicate post-bop section, brimming with emotion, led by Fonda’s galloping bass, Fujii’s tasteful piano accents, and Mimmo’s elongated, tuneful sounds. The players’ approaches warp again as the album closes in a fervent crescendo with Fujii and Mimmo playing faster and harder yet remaining faithful to a certain intermittent musicality.

After the final notes of “Birthday Girl” fade, Fujii, Fonda, and Mimmo showcase three breezy self-contained miniatures. “Accidental Partner” provides some layered and calm respite focused on Fonda’s bowed lines, “No More Bugs” rebukes with nervous and fragmented interplay of instruments dancing spasmodically, while “Joe Melts The Water Boiler” gives the already excellent Triad its exclamation point through a groovy collective improvisation.4 stars 1/2 ****1/2
The precursor to Triad, Satoko Fujii and Joe Fonda’s dazzling Duet, was one of 2016’s most delightful records and the first encounter of these two greats. Arriving from opposite sides of the free jazz/improv spectrum—one from the forefront of avant-jazz and free improvisation that flirts with modern composition, the other from the fiery spheres of “traditional” free jazz—Fujii and Fonda immediately clicked, achieving a symbiosis of styles, and crafted an inspired piece of music. For their second album together, they’re joined by Italian soprano saxophonist Gianni Mimmo, a prolific, creative musician whose output should be familiar to anyone following the intriguing label Amirani Records.

Much like the whole record, Triad’s opening “Available Gravity” is an idiosyncratic improvised cut, uncharacteristic for its performers. It reads as an abstract retelling of haunting and haunted folklore delivered through the voices of Joe Fonda’s romantic wooden flute, the tinkling knocks of Satoko Fujii’s piano strings, and the grating flutter of Gianni Mimmo’s saxophone splurts. This beautifully subdued track, along with three other shorts “Accidental Partner”, “No More Bugs”, and “Joe Melts the Water Boiler”, serves as a comforting satellite for the forty minutes long centerpiece “Birthday Girl”. Performed and recorded in Milan on Satoko Fujji’s 59th birthday, “Birthday Girl” is Triad’s focal point, an enthralling, oft exhilarating tour de force and celebration of improvisation.

While the piece starts calmly, almost carelessly, it soon picks up pace as Fonda’s forceful and playful double bass plucks are accompanied by Fujii’s characteristic forte playing and incisiveness. In a space between them, Mimmo’s saxophone draws lyrical lines interrupted only by the occasional discordant, energetic blow. Throughout, the musicians play in unison rather than against each other, exchanging ideas, evolving them individually, and reconciling them collectively. There’s a wonderful recurring circularity in the way that Fonda, Fujii, and Mimmo fervently repeat notes, imparting more heaviness and resolve in each cycle, whilst also creating an overarching structure. Their individual styles remain recognizable, yet also strain and contort to accomodate this new and unexplored context.

Elsewhere in the track, the trio entertains an accelerating, rhythmical, and oriental-sounding passage that leads into the first of several Fujii’s explosive solos. The solo is disrupted when Mimmo starts screeching and spouting furious lines, betraying the lyricism that came before. Soon Fujii reaches for the insides of her (possibly prepared) piano and the improvisation morphs into a faux chamber piece. Along the way, as the trio shifts in and out of configurations, one of Mimmo’s solos is rendered especially compelling by a sustained tone that gets out of control, while during a charged and wild duet with Fujii, Fonda can be heard shouting out an impassioned “yeah”.

As the song comes to a close, the musicians find themselves in a delicate post-bop section, brimming with emotion, led by Fonda’s galloping bass, Fujii’s tasteful piano accents, and Mimmo’s elongated, tuneful sounds. The players’ approaches warp again as the album closes in a fervent crescendo with Fujii and Mimmo playing faster and harder yet remaining faithful to a certain intermittent musicality.

After the final notes of “Birthday Girl” fade, Fujii, Fonda, and Mimmo showcase three breezy self-contained miniatures. “Accidental Partner” provides some layered and calm respite focused on Fonda’s bowed lines, “No More Bugs” rebukes with nervous and fragmented interplay of instruments dancing spasmodically, while “Joe Melts The Water Boiler” gives the already excellent Triad its exclamation point through a groovy collective improvisation.

***1/2
Se ancora non lo aveste capito dal titolo, vi riporto la scritta in esergo sul CD: ” A Tribute To The Spiritual Unity Of The Allman Brothers Band”. Ebbene direte voi? Non sarà certo la prima volta che si fa un tributo ai nostri amati Allman Brothers! Vero anche questo; però questa volta si tratta di un tributo eseguito da una jazz band italiana, guidata dal batterista Tiziano Tononi con i suoi Southbound. Questi sono formati da: Emanuele Passerini (sax tenore e soprano), Piero Bittolo (sax alto, clarinetto basso e flauto), Emanuele Perrini (Violino e viola),Carmelo Massimo Torre (accordion), Joe Fon¬da (basso), Pacho (percussioni) e Marta Raviglia al canto. Come vedete ci sono motivi di interesse davvero molteplici! Niente chitarre e voce femminile per un tributo jazz ad una Southern rock band che davvero ha avuto pochi punti di contatto con il jazz. Devo dire che non ci troviamo di fronte ad un disco di facile fruibilità, soprattutto per chi come me mastica poco jazz, perché le prime canzoni vengono eseguite con un piglio che ricorda il free-jazz, specie la mitica Whippin’ Post, che viene proposta in due versioni, ambedue davvero sperimentali, ma che premiano l’ascoltatore attento. Sorprende il canto di Marta Raviglia, davvero una sperimentatrice vocale jazz, che riesce talvolta a mettere i brividi, ma tutto il disco poi pian piano prende a girare per il verso giusto; sarà che l’influsso degli spiriti di Duane Allman e Berry Oakley, evocati in due canzoni scritte dalla band: For Berry O. (totalmente affidata al drumming di Tiziano) e il commosso memoriale collettivo di SkyDog Blues, forse lascia il segno. Ma I’ impressione è che man mano la musica tenda ad allontanarsi dal jazz per avvicinarsi, al blues e al rock-blues degli originari Allman Brothers. Decisivo pare l’apporto dell’accordion che dona un sound sudista e del violino che talvolta rasenta le sonorità di un fiddle da country-rock. I fiati poi gradatamente paio¬no lasciare i gradi di libertà improvvisativa del jazz per entrare in stilemi sonori ritmici derivati dal soul e dal R’n’ B’ che tanto influenzarono il sound chitarristico di Duane Allman. Da sottolineare pure la scelta dei brani: una strepitosa ripresa di Les Brers (In G Minor) con batteria, basso e accordion a disegnare un sound

in cui invece del violino del pur bravo Perrini, si vorrebbe ascoltare la chitarra di Warren Haynes; Midnight Rider con un attacco bluesy di basso ed un’entrata del canto di Marta stratosferico; It’s Not My Cross To Bear, altro blues con sax e canto in grande evidenza. Più jazzati invece altri brani come: Kind Of Bird e Clouds Of Macon (terza canzone autografa dedicata alla città degli ABB); tra le partecipazioni da ricordare: Fabio Treves all’armonica in You Don’t Love Me, un lunghissimo blues dove Marta incanta insieme a tutta la band che pare ci tenga a mostrare quanto bene sappiano suonare il blues i jazzisti, ed infine il sax tenore di Daniele CavaIlanti in Soul Serenade. Questi due brani finali riportano la musica verso sponde rock-blues più consone alle sonorità originarie degli ABB, anche se la seconda ripresa di You Don’t Lave Me (glorious ending) pare voglia riportare la canzone alle sperimentazioni da cui tutto era cominciato. Alla fine comunque un plauso incondizionato al bravo batterista milanese Tiziano Tononi che ha aggiunto questo disco alla sua ormai lunghissima e prestigiosa lista di collaborazione ed incisioni discografiche. In campo rock questa novità va segnalata e premiata per il coraggio e la passione posti in questo omaggio davvero sorprendente ed inaspettato!

***1/2
Se ancora non lo aveste capito dal titolo, vi riporto la scritta in esergo sul CD: ” A Tribute To The Spiritual Unity Of The Allman Brothers Band”. Ebbene direte voi? Non sarà certo la prima volta che si fa un tributo ai nostri amati Allman Brothers! Vero anche questo; però questa volta si tratta di un tributo eseguito da una jazz band italiana, guidata dal batterista Tiziano Tononi con i suoi Southbound. Questi sono formati da: Emanuele Passerini (sax tenore e soprano), Piero Bittolo (sax alto, clarinetto basso e flauto), Emanuele Perrini (Violino e viola),Carmelo Massimo Torre (accordion), Joe Fon¬da (basso), Pacho (percussioni) e Marta Raviglia al canto. Come vedete ci sono motivi di interesse davvero molteplici! Niente chitarre e voce femminile per un tributo jazz ad una Southern rock band che davvero ha avuto pochi punti di contatto con il jazz. Devo dire che non ci troviamo di fronte ad un disco di facile fruibilità, soprattutto per chi come me mastica poco jazz, perché le prime canzoni vengono eseguite con un piglio che ricorda il free-jazz, specie la mitica Whippin’ Post, che viene proposta in due versioni, ambedue davvero sperimentali, ma che premiano l’ascoltatore attento. Sorprende il canto di Marta Raviglia, davvero una sperimentatrice vocale jazz, che riesce talvolta a mettere i brividi, ma tutto il disco poi pian piano prende a girare per il verso giusto; sarà che l’influsso degli spiriti di Duane Allman e Berry Oakley, evocati in due canzoni scritte dalla band: For Berry O. (totalmente affidata al drumming di Tiziano) e il commosso memoriale collettivo di SkyDog Blues, forse lascia il segno. Ma I’ impressione è che man mano la musica tenda ad allontanarsi dal jazz per avvicinarsi, al blues e al rock-blues degli originari Allman Brothers. Decisivo pare l’apporto dell’accordion che dona un sound sudista e del violino che talvolta rasenta le sonorità di un fiddle da country-rock. I fiati poi gradatamente paio¬no lasciare i gradi di libertà improvvisativa del jazz per entrare in stilemi sonori ritmici derivati dal soul e dal R’n’ B’ che tanto influenzarono il sound chitarristico di Duane Allman. Da sottolineare pure la scelta dei brani: una strepitosa ripresa di Les Brers (In G Minor) con batteria, basso e accordion a disegnare un sound

in cui invece del violino del pur bravo Perrini, si vorrebbe ascoltare la chitarra di Warren Haynes; Midnight Rider con un attacco bluesy di basso ed un’entrata del canto di Marta stratosferico; It’s Not My Cross To Bear, altro blues con sax e canto in grande evidenza. Più jazzati invece altri brani come: Kind Of Bird e Clouds Of Macon (terza canzone autografa dedicata alla città degli ABB); tra le partecipazioni da ricordare: Fabio Treves all’armonica in You Don’t Love Me, un lunghissimo blues dove Marta incanta insieme a tutta la band che pare ci tenga a mostrare quanto bene sappiano suonare il blues i jazzisti, ed infine il sax tenore di Daniele CavaIlanti in Soul Serenade. Questi due brani finali riportano la musica verso sponde rock-blues più consone alle sonorità originarie degli ABB, anche se la seconda ripresa di You Don’t Lave Me (glorious ending) pare voglia riportare la canzone alle sperimentazioni da cui tutto era cominciato. Alla fine comunque un plauso incondizionato al bravo batterista milanese Tiziano Tononi che ha aggiunto questo disco alla sua ormai lunghissima e prestigiosa lista di collaborazione ed incisioni discografiche. In campo rock questa novità va segnalata e premiata per il coraggio e la passione posti in questo omaggio davvero sorprendente ed inaspettato!

4 STARS ****
Tribute albums can be tricky. The key is to give greater priority to spirit than to style. Of course, the Allman Brothers created a unique style before guitarist Duane Allman’s death just weeks before his 25th birthday. To deny that, or to step so far away from it that the tribute being paid loses clarity, would be as mistaken as mere mimicry would be.
On Trouble No More, Tiziano Tononi accepts this challenge and delivers the goods. His arrangement of “Whippin’ Post” acknowledges the original version, from the surging 6/8 to the humongous climax on the chorus and the 11/8 hook. It also charts a new path through the tune. The most obvious change here, and on most of the rest of the album, is to substitute Carmelo Massimo Torre’s airy accordion for Gregg Allman’s meaty B-3 as the dominant textural element. This gives Tononi a little more space in the mix to conjure the freedom and energy that it took two drummers to generate with the Allmans. The big distraction here is the horn players’ tendency to play as fast as possible rather than invent with more restraint on their solos. But that’s not enough to detract from the success Tononi achieves with Trouble No More. He pays his respects with love and originality, which is what sincere tributes are all about.
4 STARS ****
Tribute albums can be tricky. The key is to give greater priority to spirit than to style. Of course, the Allman Brothers created a unique style before guitarist Duane Allman’s death just weeks before his 25th birthday. To deny that, or to step so far away from it that the tribute being paid loses clarity, would be as mistaken as mere mimicry would be.
On Trouble No More, Tiziano Tononi accepts this challenge and delivers the goods. His arrangement of “Whippin’ Post” acknowledges the original version, from the surging 6/8 to the humongous climax on the chorus and the 11/8 hook. It also charts a new path through the tune. The most obvious change here, and on most of the rest of the album, is to substitute Carmelo Massimo Torre’s airy accordion for Gregg Allman’s meaty B-3 as the dominant textural element. This gives Tononi a little more space in the mix to conjure the freedom and energy that it took two drummers to generate with the Allmans. The big distraction here is the horn players’ tendency to play as fast as possible rather than invent with more restraint on their solos. But that’s not enough to detract from the success Tononi achieves with Trouble No More. He pays his respects with love and originality, which is what sincere tributes are all about.