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4 articoli | € 10.33 | 14% di sconto |
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21 articoli | € 8.50 | 29% di sconto |
31 articoli | € 8.00 | 33% di sconto |
Albert Mangelsdorff (trombone), Roberto Ottaviano (soprano sax),
Franco D’Andrea (piano), Riccardo Bianchi (guitar),
Roberto Zorzi (guitar & devices), Ernst Reijseger (cello),
Paolo Damiani (double bass), Alberto Olivieri (drums),
Trilok Gurtu (tabla, percussion).
1) Andirivieni; 2) T.A.M. Tam; 3) Capriccio a Milano; 4) Similado; 5) Numen.
Recorded by Kevin Harris and mixed by Paolo Bocchi at Milano,
from 22nd to 26th January 1989; premastering by Giorgio Spolaor
and mastering by Antonio Morgante at Mira (Venezia), in October 2012.
Dopo quasi 25 anni torna finalmente in circolazione, per la prima volta
in formato Cd, una pietra miliare del jazz europeo, «Capriccio a
Milano», album registrato nel 1989 in uno studio milanese dal nonetto
Similado, riscoperto, salvato e rimasterizzato per i molti appassionati
che non l’hanno mai potuto ascoltare. Era infatti stato pubblicato
soltanto su disco in vinile a 33 giri, a tiratura limitata, senza venire mai
più ristampato.
Siamo in presenza di un lavoro davvero speciale, con molti motivi di
interesse. Qui il pianista Franco D’Andrea – miglior jazzista del 2012 per
la rivista Musica Jazz – suona per la prima ed unica volta sia con il
percussionista Trilok Gurtu che con l’indimenticato trombonista Albert
Mangelsdorff (1928–2005), cui questa riedizione discografica è
dedicata. Ma non va sottovalutata la presenza di altri protagonisti del
jazz europeo come Roberto Ottaviano, sax soprano, Ernst Reijseger,
violoncello, Paolo Damiani, contrabbasso, e Riccardo Bianchi, chitarra
elettrica. Pochi forse sanno che questo formidabile manipolo di jazzisti è
stato riunito e prodotto da due allora molto attivi musicisti veronesi come
il batterista Alberto Olivieri ed il chitarrista Roberto Zorzi, presente in tre
dei cinque brani del disco, ma che ha in più il grande merito di essersi
molto prodigato affinché quest’incisione storica tornasse alla luce.
Cinque brani, mediamente lunghi, compongono un’opera affatto
estemporanea, frutto di un vero e proprio lavoro collettivo,
sapientemente strutturato. Di questi, due sono firmati da Damiani (TAM
Tam e Similado) e i rimanenti da D’Andrea (la suggestiva Andirivieni),
Mangelsdorff (il brano che dà il titolo al disco) e da Ottaviano, la
finale Numen. Senza dilungarci su musicisti già molto famosi, vale la
pena di rimarcare l’ancora avvincente freschezza di una musica che
non appare affatto datata, ed a cui l’accurata pulitura del nastro
originale e la riuscita ri–masterizzazione, effettuate presso lo studio
Blue Train’s di Mira, conferiscono ancora maggiori godibilità e
brillantezza.
________________________________________________________
Finally after nearly 25 years, a milestone of European jazz, «Capriccio a
Milano», becomes available again and for the first time as compact
–disc. The album was recorded in Milan by the nonet Similado in 1989,
and it has now been rediscovered, saved and re–mastered for all those
jazz fans who have never had the chance to listen it. Indeed, the album
had been released only as a limited edition long playing, but it had
never been re–released later on. It’s a really special work, interesting for
different reasons. Franco D’Andrea, the best jazz player of 2012
according to Musica Jazz magazine, played here for the first and only
time both with the percussionist Trilok Gurtu and with the unforgotten
trombonist Albert Mangelsdorff (1928–2005), to whom this reissue is
dedicated. However, the presence of other protagonists of European
jazz such as Roberto Ottaviano, soprano sax, Ernst Reijseger, cello,
Paolo Damiani, double bass, Riccardo Bianchi, electric guitar, shouldn’t
be underestimated. It isn’t probably really well known that this amazing
group of jazzmen was gathered up and produced by two very active
musicians at that time from Verona: the drummer Alberto Olivieri and
the guitarist Roberto Zorzi, who played in three tunes, but also had the
merit of doing all he could in order to re–release these historical tapes.
Five medium length songs make up a work that isn’t extemporaneous
but that is the result of a real collective and wisely structured work. Two
of five songs have been composed by Damiani (T.A.M.
Tam and Similado); the other three by D’Andrea (the
striking Andirivieni), Mangelsdorff (the album title track) and Ottaviano
(the last one, Numen). Instead of dwelling about these so famous
musicians, we must stress the still enthralling freshness of a music that
doesn’t appear old–fashioned at all and that has become even more
brilliant and enjoyable by the careful cleaning of the original tapes and
the successful mastering, both realized at Blue Train’s Recording Studio
(Mira, Venice).Finally after nearly 25 years, a milestone of European
jazz, «Capriccio a Milano», becomes available again and for the first
time as compact–disc. The album was recorded in Milan by the nonet
Similado in 1989, and it has now been rediscovered, saved and re
–mastered for all those jazz fans who have never had the chance to
listen it. Indeed, the album had been released only as a limited edition
long playing, but it had never been re–released later on. It’s a really
special work, interesting for different reasons. Franco D’Andrea, the
best jazz player of 2012 according to Musica Jazz magazine, played
here for the first and only time both with the percussionist Trilok Gurtu
and with the unforgotten trombonist Albert Mangelsdorff (1928–2005), to
whom this reissue is dedicated. However, the presence of other
protagonists of European jazz such as Roberto Ottaviano, soprano sax,
Ernst Reijseger, cello, Paolo Damiani, double bass, Riccardo Bianchi,
electric guitar, shouldn’t be underestimated. It isn’t probably really well
known that this amazing group of jazzmen was gathered up and
produced by two very active musicians at that time from Verona: the
drummer Alberto Olivieri and the guitarist Roberto Zorzi, who played in
three tunes, but also had the merit of doing all he could in order to re
–release these historical tapes. Five medium length songs make up a
work that isn’t extemporaneous but that is the result of a real collective
and wisely structured work. Two of five songs have been composed by
Damiani (T.A.M. Tam and Similado); the other three by D’Andrea (the
striking Andirivieni), Mangelsdorff (the album title track) and Ottaviano
(the last one, Numen). Instead of dwelling about these so famous
musicians, we must stress the still enthralling freshness of a music that
doesn’t appear old–fashioned at all and that has become even more
brilliant and enjoyable by the careful cleaning of the original tapes and
the successful mastering, both realized at Blue Train’s Recording Studio
(Mira, Venice).