CD ECM Records Stefano Battaglia: Pelagos
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Stefano Battaglia - pian
Without exception, he approaches each piece reverentially, coaxing out its harmonies with classical precision. His is an undemonstrative style of playing, with rarely any flourish or excess but with considerable hypnotic allure, and in places, great beauty. [ Simon Adams, Jazz Journal ]
Prezentare generala CD ECM Records Stefano Battaglia: Pelagos
2017
Stefano Battaglia - pian
Stefano Battaglia plays both piano and prepared piano (sometimes simultaneously) in a highly attractive double-album programme that includes his own compositions and spontaneous improvisations as well as two versions of the Arabic traditional song “Lamma Bada Yatathanna”. The melodic and texturally-inventive pieces, some of almost hypnotic allure, were recorded both in concert and in “closed doors” sessions at the Fazoli Concert Hall in Sacile, Italy, in May 2016, and subsequently arranged into what Battaglia describes as “a wonderful new shape with a completely new dramaturgy” by producer Manfred Eicher.
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‘Pelagos’, Stefano Battaglia’s seventh recording for ECM, is his best. That is a bold claim, given that Battaglia’s ECM discography is one of the permanent bodies of piano work in the new millennium. But ‘Pelagos’ is an achievement of extraordinary depth, realized through an extraordinary range of artistic means. It wsa made in two solo sessions on the same day at the Fazioli Concert hall in Sacile, Italy, one ‘behind closed doors’ and one live in concert. There are five Battaglia compositions, 11 improvisations and an Arabic traditional song. Tracks from the sessions are intermixed on two CDs. Applause at the live concert has been cut out. It sounds like one seamless performance. ‘Pelagos’ has a theme: ‘the suffering countries of the Mediterranean and Balkan areas.’ […] Battaglia’s music transcends it’s theme. Its universality creates its power. We are all exiles from something or somewhere. We are all asylum seekers.
Thomas Conrad, Jazz Times
Without exception, he approaches each piece reverentially, coaxing out its harmonies with classical precision. His is an undemonstrative style of playing, with rarely any flourish or excess but with considerable hypnotic allure, and in places, great beauty.
Simon Adams, Jazz Journal
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