CD ECM Records Gianluigi Trovesi Ottetto: Fugace

2003

Gianluigi Trovesi - saxofon alto, clarinet
Beppe Caruso - trombon
Massimo Greco - trompeta, electronice
Marco Remondini - violoncel, electronice
Roberto Bonati - contrabas
Marco Micheli - contrabas, bas electric
Fulvio Maras - percutie, electronice
Vittorio Marinoni - tobe

After the runaway success of his delightful “In cerca di cibo”, the big reedman from Bergamo returns with all-Italian octet in a programme that celebrates the spirit of early jazz in a thoroughly contemporary context. The ghosts of Louis Armstrong and W. C. Handy smile down benevolently as Trovesi and his men roar through a programme that cross-references the spirit of New Orleans with Italian popular song and European classical music.

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Preis der deutschen Schallplattenkritik, Bestenliste 3/2003
Fono Forum, Stern des Monats

This is an extremely stimulating recording, one of the most interesting of the year so far – full of unexpected twists and turns, juxtapositions of jazz style, texture and voicing and, not least, emotional subtleties and contrasts. This is achieved partly by the palette of voicings that Trovesi brings to his music and partly – and more importantly – through the creativity he brings to bear on them. It means that, at each musical junction, the direction next travelled will be a surprise – the sine qua non of jazz. … This is music that effortlessly generates images in the imagination and every instrument contributes to the success and variety of these performances.
Chris Sheridan, Jazz Review

Trovesi has become one of European jazz’s most important musical voices and I can’t think of many who would even consider attempting something of this scope. This one will grow on me.
Duncan Heining, Jazzwise

Integrating elements of Ellington, Italian classicists and traditional New Orleans style jazz, Trovesi’s cerebrally engineered arrangements find the ensemble routinely intermixing tuneful choruses via a blithe spirit, topped off by purposeful dabs of effects-based swashes. A bastion of this set resides within the use of a digital harpsichord patch, featuring a recurring baroque melody that weaves in and out of the entire production. The soloists’ scintillating dialogues stand as byproducts of the core themes, where the overall muse might get delicately morphed into a series of rock/funk grooves. Trovesi and associates also communicate a bit of good-natured zaniness as if they’re intimating that the music should be enjoyed and not become fodder for scrutiny. … The musicians won’t let you become at ease with conventional fare, as they convert the tried and true into a soul/funk vibe.
Glenn Astarita, Downbeat