| 1. Nos Bailes Da Vida |
| 2. Cancao Da America |
| 3. Travessia |
| 4. Cacador De Mim |
| 5. Certas Cancoes |
| 6. Coracao De Estudante |
| 7. Encontros E Despedidas |
| 8. Amor De Indio |
| 9. Que Sera (A Flor Da Terra |
| 10. Maria Maria |
| 11. Paisagem Da Janela (Ao Vi |
| 12. Portal Da Cor |
| 13. Anima |
| 14. Um Gosto De Sol |
Editorial Reviews
Product Description
Greatest Hits Compilation. Highlights Are the Tracks: 'bailes Da Vida', 'travessia', 'cancao Da America', 'coracao De Estudante', 'certas Cancoes', 'cacador De Mim', 'encontros E Despedidas', 'amor De Indio', 'anima', 'um Gosto De Sol' and 'maria, Maria'.
On VAGHISSIMO RITRATTO, Trovesi is joined by pianist Umberto Petrin (an admired composer and performer in his own right, with a dozen recordings as a leader to his credit, in addition to at least 30 collaborative efforts) and Fulvio Maras (from Trovesi's Ottetto) on sundry percussives as well as some of the most tastefully subtle electronics I've ever heard. The album is, simply put, a celebration of beautiful melodies - plucked from eras ranging from the Renaissance (Palestrina, Orlando di Lasso, Luca Marenzio, Claudio Monteverdi, Josquin Desprez) to the 19th century (Alfredo Piatti, Italian cellist / composer, 1822-1901) to 20th century songwriters Luigi Tenco (Italy, 1938-67) and Jacques Brel (France, 1929-78). Interspersed among the tunes by these writers are compositions by Trovesi, Petrin and Maras - individually as well as some of the most melodic, sensitive trio improvisations I've ever heard - which reflect, refract and comment upon the works from the writers from past eras.
The notes relate that while Trovesi brought quite an arsenal of his reeds to the session (he plays multiple saxophones and clarinets), he only used his alto clarinet, saying that `...it simply sounded the best in that particular room. But the instrument itself influenced the dynamics of our group playing which is, for me, an entirely different experience than, say, playing with Coscia. Playing alto clarinet in this quieter music demands a greater discipline and control.' That discipline and control is immediately apparent to the listener - but there is absolutely no indication that Trovesi (or any of his partners on this session) takes himself too seriously: the delight, smiles and gentle laughter of the musicians can be heard / felt as well from time to time, further enhancing the sheer beauty of these pieces.
The title of the disc can be translated in several ways - it could mean `vague' or `indistinct portrait'; the notes point out that in Old Italian, `vaghissimo' is used as `beautiful'. After listening to this disc for 3 weeks now, almost constantly, I tend toward this latter meaning. The musicians caress these melodies lovingly and with great care and feeling, even as they expand them gently and with a joy that is very apparent - each track is a `portrait' of the composer. Besides the titles of the selections themselves, the disc is divided further into sections: Ritratto di A. P. (Portrait of Alfredo Piatti), Ricercar vaghezza (Quest or Search for beauty), Antico ritratto (Ancient portrait), Ritratto di donna (Portrait of a woman), Paysage (Landscape), and Angeli musicanti (Music-making angels), with some selections falling outside the `boundaries' of these descriptive divisions.
The programme itself is somewhat circular in nature. It begins with `Primo apparir (First apparition)', a trio improv composition honoring Alfredo Piatti (there are two other `apparitions' in the course of the recording, as well as performances of three of Piatti's own works) and winds its way through the melodies of the other writers, with the penultimate track being Piatti's `Far, far away' - another trio improv, `Vaghissimo ritratto', sums up the project beautifully.
Music writer Steve Lake comments that `If this were an American TV series rather than an ECM album...the title track would have been circulated first, as a pilot episode. The conceptual kernel of the work is to be found (there)...a collective improvisation which contains, in its final seconds, a tiny quote from Palestrina's DA COSI DOTTA MAN.' In English translation, the words from this 16th century work include the lines:
By such a skilled hand you were made,
most graceful portrait,
that I could not tell if you are alive
or if you sweetly deceive my eyes.
The image to which the madrigal refers is so close to the beauty it depicts that for the viewer it approaches reality - the music on this disc acts upon the soul of the listener in a like way: the melodies, the composers that are being honored in such a timeless way by these three players live and breathe through these pieces. As long as artists of this caliber continue to acknowledge the works from the past - both near and far in time - that have inspired and delighted them, their creations will remain vital and alive. Their beauty is as lustrous as ever - on Vaghissimo ritratto, it has been carefully and lovingly polished to a brilliant sheen. We can thank Gianluigi Trovesi, Umberto Petrin and Fulvio Maras for their work which allows us to hear its brilliance, to view these jewels in a new light.
Gianluigi Trovesi (clarinets) & Gianni Coscia (accordion), In Cerca di Cibo (5*)
Gianluigi Trovesi is a hidden jewel in today's jazz. Perhaps he's undersung because he's Italian: he performs and records in Italy, not in American jazz clubs or for a central American jazz label. Maybe, on these two albums, it's because some afficionados look down on the "European" clean jazz typical to ECM records. Above all, I suspect it's because the music he plays --though not the way he plays it-- is hard to classify.
Take these two albums. Are they jazz? Italian folk music? Composed or 'classical' music? Trovesi and Coscia mesh as well as any duo in jazz --think of the exquisite music made by duos such as Charlie Haden and Kenny Baron, Jim Hall and Ron Carter, or Gary Burton and Chick Corea on Crystal Silence. But the music Torvesi and Coscia produce on these two albums is devilishly difficult to classify. Sometimes they settle for composed lines, heartbreaking melodies played simply, simply. At other times, they clearly improvise, but seldom on recognmizable jazz lines. They are demons --Trovesi especially-- at quoting wildly from other pieces: they close one piece on the Weill album with "Blue Moon," another time with (almost) "Frere Jacques." But it's jazz nonetheless, played by two hyper-alert and super-intelligent musicians who mine their musical ancestry to consummate effect.
Of the two albums, my wife has a very slight preference for the Weill album, which is made up half of tunes written by Weill and most of the rest of the artists' own tunes that fit the mood of Weill. Both clarinet and acordion capture well the cabaret atmosphere of so many Weill tunes, including different versions of "Alabama Song" and "Tango Ballade."
On the Weill album, Trovesi continues his fascination with John Lewis's "Django," the moving funeral dirge for French gypsy guitarist Django Reinhardt first recorded by the Modern Jazz Quartet. (Trovesi plays "Django" on In Cerca di Cibo and quotes it on Around Small Fairy Tales.) This is appropriate because in some respects, Trovesi is like Lewis, though much hotter and more earthy at times. Both composed and have led groups that played music that critics saw as too 'classical.' Both used non-jazz idioms for jazz purposes.
I own five albums by Trovesi now, which is all I've been able to find and buy to date. Around Small Fairy Tales features Trovesi playing his own compositions with a string orchestra. From G to G and Fugace feature his octet, which sounds at times like a slightly woozy stepchild of the great George Russell experimental groups of the very early sixties. In an age that slights the clarinet as a solo instrument, Trovesi is arguably the best clarinetist in jazz, a major soloist and melodist.
I love this man and he's never sounded better than playing with Coscia. Needless to say, these two ECM albums are impeccably engineered for sound.
Dave Keymer
By the way, two CDs come in this package. The second I have never really related to. Sorry to go on so long. Ciao.
Trovesi's clarinet sound is as unique and as beautiful as anybody's. He is a wonderful saxophonist as well. He should be better known in this country if we weren't so parochial. The world adapted jazz much more quickly than they did basketball but it is time in both endeavors that we realize that we can learn from others. Let's face it- much of the best jazz music out there is being done overseas.
Greatest Hits Compilation. Highlights Are the Tracks: 'bailes Da Vida', 'travessia', 'cancao Da America', 'coracao De Estudante', 'certas Cancoes', 'cacador De Mim', 'encontros E Despedidas', 'amor De Indio', 'anima', 'um Gosto De Sol' and 'maria, Maria'.
Travessia,Milton Nascimento,Universal/Polygram,World Music
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Vaghissimo Ritratto
Gianluigi Trovesi Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD  General
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ASIN: B000MRA4K2 Release Date: 2007-04-24 |
Tracks:
- Primo Apparir
- L'Orfeo
- Grappoli Orfici
- Mirage
- Secondo Apparir
- Al Primo Vostro Sguardo
- Medley: The Lover's Appeal/Terzo Apparir
- Angela
- El Grillo
- Particolare Di J. Donne
- Amsterdam
- Medley: Serenata/Matona Mia Cara
- My Little Maid And I
- Canto Vago
- Far, Far Away
- Vaghissimo Ritratto
Customer Reviews:
Gianluigi Trovesi : lapidario musicale.......2007-05-06
On VAGHISSIMO RITRATTO, Trovesi is joined by pianist Umberto Petrin (an admired composer and performer in his own right, with a dozen recordings as a leader to his credit, in addition to at least 30 collaborative efforts) and Fulvio Maras (from Trovesi's Ottetto) on sundry percussives as well as some of the most tastefully subtle electronics I've ever heard. The album is, simply put, a celebration of beautiful melodies - plucked from eras ranging from the Renaissance (Palestrina, Orlando di Lasso, Luca Marenzio, Claudio Monteverdi, Josquin Desprez) to the 19th century (Alfredo Piatti, Italian cellist / composer, 1822-1901) to 20th century songwriters Luigi Tenco (Italy, 1938-67) and Jacques Brel (France, 1929-78). Interspersed among the tunes by these writers are compositions by Trovesi, Petrin and Maras - individually as well as some of the most melodic, sensitive trio improvisations I've ever heard - which reflect, refract and comment upon the works from the writers from past eras.
The notes relate that while Trovesi brought quite an arsenal of his reeds to the session (he plays multiple saxophones and clarinets), he only used his alto clarinet, saying that `...it simply sounded the best in that particular room. But the instrument itself influenced the dynamics of our group playing which is, for me, an entirely different experience than, say, playing with Coscia. Playing alto clarinet in this quieter music demands a greater discipline and control.' That discipline and control is immediately apparent to the listener - but there is absolutely no indication that Trovesi (or any of his partners on this session) takes himself too seriously: the delight, smiles and gentle laughter of the musicians can be heard / felt as well from time to time, further enhancing the sheer beauty of these pieces.
The title of the disc can be translated in several ways - it could mean `vague' or `indistinct portrait'; the notes point out that in Old Italian, `vaghissimo' is used as `beautiful'. After listening to this disc for 3 weeks now, almost constantly, I tend toward this latter meaning. The musicians caress these melodies lovingly and with great care and feeling, even as they expand them gently and with a joy that is very apparent - each track is a `portrait' of the composer. Besides the titles of the selections themselves, the disc is divided further into sections: Ritratto di A. P. (Portrait of Alfredo Piatti), Ricercar vaghezza (Quest or Search for beauty), Antico ritratto (Ancient portrait), Ritratto di donna (Portrait of a woman), Paysage (Landscape), and Angeli musicanti (Music-making angels), with some selections falling outside the `boundaries' of these descriptive divisions.
The programme itself is somewhat circular in nature. It begins with `Primo apparir (First apparition)', a trio improv composition honoring Alfredo Piatti (there are two other `apparitions' in the course of the recording, as well as performances of three of Piatti's own works) and winds its way through the melodies of the other writers, with the penultimate track being Piatti's `Far, far away' - another trio improv, `Vaghissimo ritratto', sums up the project beautifully.
Music writer Steve Lake comments that `If this were an American TV series rather than an ECM album...the title track would have been circulated first, as a pilot episode. The conceptual kernel of the work is to be found (there)...a collective improvisation which contains, in its final seconds, a tiny quote from Palestrina's DA COSI DOTTA MAN.' In English translation, the words from this 16th century work include the lines:
By such a skilled hand you were made,
most graceful portrait,
that I could not tell if you are alive
or if you sweetly deceive my eyes.
The image to which the madrigal refers is so close to the beauty it depicts that for the viewer it approaches reality - the music on this disc acts upon the soul of the listener in a like way: the melodies, the composers that are being honored in such a timeless way by these three players live and breathe through these pieces. As long as artists of this caliber continue to acknowledge the works from the past - both near and far in time - that have inspired and delighted them, their creations will remain vital and alive. Their beauty is as lustrous as ever - on Vaghissimo ritratto, it has been carefully and lovingly polished to a brilliant sheen. We can thank Gianluigi Trovesi, Umberto Petrin and Fulvio Maras for their work which allows us to hear its brilliance, to view these jewels in a new light.
Average customer rating:
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Round About Weill
Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD All Works by Weill
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ASIN: B0007DHQ34 Release Date: 2005-04-19 |
Tracks:
- Dov'e La Citta
- Ach, Bedenken Sie, Herr Jack O'Brien
- Tango Ballade
- Improvvisamente
- Divagazioni Su 'Youlkali'
- Mahagonny, Scene 6
- Ein Taifun!...Tifone? No, Pioggerella
- Lieben
- Boxen
- Round About Weill I/Denn Wie Man Sich Bettet, So Liegt Man
- Mahagonny, Scene 13
- Essen
- Round About Weill II
- Tief In Alaskas Schneeweissen Waldern
- Ach, Bedenken Sie, Herr Jack O'Brien, Var
- Mahagonny, Scene 4
- Aber Dieses Ganze Mahagonny
- Alabama Song
- Mahagonny, Scene 6, Var.
- Alabama Song, Var.
- Interludio 'Ma Che Modi Sono?...': Cumparsita Maggiorata
- Interludio 'Ma Che Modi Sono?...': Tristezze Di Fra' Martino
- Denn Wie Man Sich Bettet, So Liegt Man, Var.
Customer Reviews:
HIDDEN JEWELS.......2006-04-22
Gianluigi Trovesi (clarinets) & Gianni Coscia (accordion), In Cerca di Cibo (5*)
Gianluigi Trovesi is a hidden jewel in today's jazz. Perhaps he's undersung because he's Italian: he performs and records in Italy, not in American jazz clubs or for a central American jazz label. Maybe, on these two albums, it's because some afficionados look down on the "European" clean jazz typical to ECM records. Above all, I suspect it's because the music he plays --though not the way he plays it-- is hard to classify.
Take these two albums. Are they jazz? Italian folk music? Composed or 'classical' music? Trovesi and Coscia mesh as well as any duo in jazz --think of the exquisite music made by duos such as Charlie Haden and Kenny Baron, Jim Hall and Ron Carter, or Gary Burton and Chick Corea on Crystal Silence. But the music Torvesi and Coscia produce on these two albums is devilishly difficult to classify. Sometimes they settle for composed lines, heartbreaking melodies played simply, simply. At other times, they clearly improvise, but seldom on recognmizable jazz lines. They are demons --Trovesi especially-- at quoting wildly from other pieces: they close one piece on the Weill album with "Blue Moon," another time with (almost) "Frere Jacques." But it's jazz nonetheless, played by two hyper-alert and super-intelligent musicians who mine their musical ancestry to consummate effect.
Of the two albums, my wife has a very slight preference for the Weill album, which is made up half of tunes written by Weill and most of the rest of the artists' own tunes that fit the mood of Weill. Both clarinet and acordion capture well the cabaret atmosphere of so many Weill tunes, including different versions of "Alabama Song" and "Tango Ballade."
On the Weill album, Trovesi continues his fascination with John Lewis's "Django," the moving funeral dirge for French gypsy guitarist Django Reinhardt first recorded by the Modern Jazz Quartet. (Trovesi plays "Django" on In Cerca di Cibo and quotes it on Around Small Fairy Tales.) This is appropriate because in some respects, Trovesi is like Lewis, though much hotter and more earthy at times. Both composed and have led groups that played music that critics saw as too 'classical.' Both used non-jazz idioms for jazz purposes.
I own five albums by Trovesi now, which is all I've been able to find and buy to date. Around Small Fairy Tales features Trovesi playing his own compositions with a string orchestra. From G to G and Fugace feature his octet, which sounds at times like a slightly woozy stepchild of the great George Russell experimental groups of the very early sixties. In an age that slights the clarinet as a solo instrument, Trovesi is arguably the best clarinetist in jazz, a major soloist and melodist.
I love this man and he's never sounded better than playing with Coscia. Needless to say, these two ECM albums are impeccably engineered for sound.
Dave Keymer
Innovative and dreamlike.......2005-10-24
This is amazing.......2005-07-02
magical music.......2005-05-03
Average customer rating:
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La Banda: Traditional Italian Banda & Jazz
Manufacturer: Enja ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B000005CD4 Release Date: 2002-05-25 |
Tracks:
- Carmen: Toreador
- Il Trovatore: La Gitana
- Rigoletto: La Donna E Mobile & Quartetto
- Norma: Deh, Non Volerli Vittime E Finale
- La Traviata: A Me, Fanciulla
- Turandot: Nessun Dorma
- Tosca: E Lucevan Le Stelle
- Il Barbiere Di Siviglia: Largo Al Factotum
Tracks:
- Una Serenata
- Tra La Folla, Mora, Mormora: I. Ninna, Nanna/II. Accordion Solo/III. Canto La Cigala/IV. La ...
- Time Is An Empty Bottle Of Wine
- Sacra Romana Rota
Customer Reviews:
Absolutely charming--a poplulist take on great opera tunes.......2003-07-02
By the way, two CDs come in this package. The second I have never really related to. Sorry to go on so long. Ciao.
Average customer rating: 
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All'Improvviso
Manufacturer: Alpha ProductGroup: Music Binding: Audio CD Kapsberger, Giovanni
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ASIN: B00023B0A4 Release Date: 2004-01-01 |
Tracks:
- Voglio Una Casa (Improvisation)
- Folia (Improvisation)
- Ciaccona
- Romanesca
- Turlurrgamasca) (Improvisation)
- Folia Passeggiata Sopra D (Improvisation)
- Ciaccona (Improvisation)
- Ninna Nanna Sopra la Romanesca
- Chiacona
- Se Laura Spira (Folia) (Improvisation)
- Toccata
- Kapsberger (Improvisation)
- Folias
- Espatas (Improvisation)
- Cantata Sopra il Passacaglio. Diatonica (Improvisation)
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From G to G
Gianluigi Trovesi Octet Manufacturer: Soul Note Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz
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ASIN: B00000402Y Release Date: 1993-09-11 |
Tracks:
- Herbalk
- Herbop-Part I
- Herbop-Part II
- Now I Can
- From G To G
- Dedalo
- Hercab
Customer Reviews:
a gift from Italy.......2005-05-16
Trovesi's art, or how to stay away from Kenny G........2002-04-03
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Around Small Fairy Tales
Gianluigi Trovesi Manufacturer: Soul Note Records ProductGroup: Music Binding: Audio CD Italy
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ASIN: B00000HY84 Release Date: 1999-01-12 |
Tracks:
- Sia Maledetta L' Acqua
- Le Maschere: Pierrot/Pierrot (Prologo)/Puppet Theatre/Pierrot (Epilogo)
- Dance For A King
- La Pazzia
- C'era Una Strega, C'era Un Fata
- Verano
- Illimani
- Ambulat Hic Armatus Homo: Introito/Cantus I/Armatus Homo/Cantus II/Triadi/Kyrie/L'Homme Arme
Customer Reviews:
Brilliant celebration of home.......2002-09-20
Trovesi's clarinet sound is as unique and as beautiful as anybody's. He is a wonderful saxophonist as well. He should be better known in this country if we weren't so parochial. The world adapted jazz much more quickly than they did basketball but it is time in both endeavors that we realize that we can learn from others. Let's face it- much of the best jazz music out there is being done overseas.
Emilio Soana on the trumpet, Andrea Dulbecco on the vibes, and Stefano Montanari (Trovesi's son-in-law) on the violin all make wonderfully beautiful and lyrical contributions to this music.
The above fact about the relationship between Montanari and Trovesi speaks to the heart of the matter. As does the fact that Trovesi's daughter, Stefania, also plays on the album. This music is rooted in family, neighborhood and tradition. Trovesi has taken some of the music that he inherited and reimagined it in a new context. The beauty of his artistry is such that by the reimagining he has opened that family, that neighborhood and that tradition up to us and invited us in. I, for one, find it a very comfortable fit. What more can I say? Grazie, Gianluigi.
Average customer rating:
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Round About a Midsumme
Gianluigi Trovesi Manufacturer: Enja ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
ASIN: B00004TAVU Release Date: 2002-05-25 |
Tracks:
- L'infanta Arcibizzarra
- Crisbell
- C'era Una Strega, C'era Una Fata
- Puck
- Orobop
- Fragment From 'Concerto In G Minor For Violin And Strings, Op. 8 N. 2' (Summer)
- Villanella
- Oberon
- Animali In Marcia
- Adagietto Bergomasco
- Puppet Theatre
- Bottom
- Canzonetta
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Fugace
Gianluigi Trovesi Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD Italy
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ASIN: B000093I3V Release Date: 2003-08-12 |
Tracks:
- As Strange As A Ballad: Dedicated To Paolo Arzano
- Sogno D'Orfeo: Dedicate To Giuseppe Tassis
- African Triptyuch
- African Triptych
- African Triptych
- Canto Di Lavoro
- Clumsy Dancing Of The Fat Bird
- Siparietto I
- Blues And West
- Siparietto II
- Il Domatore: Dedicated To Adriano Mazzoletti
- Ramble
- Siparietto III
- Fugace
- Siparietto IV
- Tono Nei Caraibi
Customer Reviews:
Paid A Visit By The Muse For Sure .......2006-08-06
Fresh and engaging.......2004-06-08
The album notes suggest that Trovesi, growing up in post-World War II Italy, was exposed to the hodgepodge of musical ideas that had become increasingly accessible there after the war. Whereas it is not surprising that the music on FUGACE is a conspicuous amalgamation of styles, it is catching that the end product--the integration of the many and separate ideas--never once sounds like patchwork. Like the music of French reedman Louis Sclavis, Trovesi's music is whole, seamless, and substantial, drawing from a wealth of musical influences: folksongs, marching bands, American jazz, classical, funky rock, funky jazz, New Orleans, Latin, and more. Even if the music doesn't exactly introduce anything new, it does sound amazingly fresh, alive, and uncontrived. Music that excites by introducing the unexpected, though not novel, can be quite engaging, as it is here. At times, we also find humor on FUGACE but never the farcical kind.
By presenting tradition in contemporary dress, Trovesi pushes onward while looking backward. Interestingly, the notes also mention the technique of stepping backward in order to move forward, citing that Bartok unearthed the traditions of folk music in his own music (actually, many classical composers did this). Likewise, as the music on FUGACE draws from the roots of American jazz and a host of other traditions, Trovesi is entirely convincing in this technique of renovation, giving these traditions contemporary mannerisms. Igor Stravinsky once said that jazz has nothing to do with composed music, and when it seeks to be influenced by contemporary music it isn't jazz and it isn't good. Composers often say the strangest things, and though I have the deepest respect for Stravinsky, in this case I couldn't disagree more.
The album's success in capturing my imagination is due not only to Trovesi's insight into the collocating of the sometimes-dissimilar musical ideas but also to the group's ability to function as one entity. Hence, FUGACE is as fresh and delightful as anything I've heard of late, and I highly recommend it to jazz enthusiasts and folks who simply love fascinating music that rises above the mundane.
Right now I admire this disc a lot more than I like it . . ........2003-10-12
The aural retooling is progressing nicely, thank you. And the key to it may well be "Songo D'Orfeo," the second selection and perhaps watershed number on the disc, with its Mussorsky-esque "Pictures at an Exhibition" vibe. Orpheus, as I'm sure you know, was a poet and lyre-player from Greek mythology who sought to free his dead wife Eurydice from the Underworld by charming Hades with his music. Even so, we North Americans are charmed out of our slavish adherence to Afro/Cuban/Creole jazz sensibilities into a broader jazz musical understanding that embraces elements alien to our comfort zone.
OK, that's over the top--a bit of plausible but overwraught analysis. Yet there's a certain truth in it, validated by the following selection, "African Tryptich," which neatly embraces an entire continent of Black sensibilities from Township to Malian to North African although from a distinctly Euro perspective. Yes, this is the shibboleth, the Rosetta Stone to decoding this increasingly beguiling disc.
From there, it's pretty much downhill. Yes, there continue to be obscure cultural and musical signposts (such as the very next cut, "Canto di Lavoro," with its strange combination of hip-hop and psychedelic sensibilities), but over all, the remainder is American listener-friendly, although certainly not without its somewhat alien-European sensibility, such as their take on heavy-metal jazz ("Blues East and West") wrapped around a "Flight of the Bumblebee" cello. OK, maybe it's not that listener-friendly; maybe it's just plain weird, such as the horror-movie soundtrack selection, "Il Domitore," or the neo-Naw'leans workout, "Ramble," also containing a faux-Western Swing vibe. Plus, what's with the sampled harpsichord sprinkled throughout a bunch of throwaway tunes? Eldritch, but effective. Then there's their take on island music, the suite "Toto Nei Carabi," which starts out sounding more like a Medieval fugue, then magically morphs into swinging calypso, albeit with a distinct Euro vibe, all the while maintainging the Middle Ages aesthetic. Very strange, and very satisfying.
Wait a minute. I think I've conjured myself into a five-star rating. Good. Stick with this one, and I think you'll agree.
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In cerca di cibo
Gianluigi Trovesi Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD General
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Avant Garde & Free Jazz
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ASIN: B00004SPOG Release Date: 2000-07-25 |
Tracks:
- In cerca di cibo
- Geppetto
- Villanella
- Il Postino
- Minor Dance
- Pinocchio: in groppa tonno
- Django
- Le giostre di Piazza Savona
- Lucignolo
- Tre bimib di campagna
- Celebre Mazurka alterata
- Fata Turchina
- El Choclo
- El Choclo
- In Cerca Di Cibo
Amazon.com's Best of 2000
Seems simple enough in concept: two Italian improvisers set about making a musical tribute to their homeland. But the music that clarinetist Gianluigi Trovesi and accordionist Gianni Coscia create for In cerca di cibo is anything but simple. The two paint a powerful (and pastoral) aural picture of Italy that is forward-thinking, melodic, and full of weaving instrumental lines. --Jason VerlindeAmazon.com
Inquisitive, playful, nostalgic, and thoroughly Italian, saxophonist Gianluigi Trovesi pairs with accordionist Gianni Coscia to create arguably his finest album to date. On previous efforts, Trovesi sometimes tried too hard to be a sonic gypsy, diluting his recipe with a little too much funk, regional tunes, or improv. Here, he gets it just right, with heavy dollops of pastoral North Italian folk melodies, heartbreaking Morricone-inspired passages, a hint at tango, and just enough jazz to keep you on your toes. Case in point: somehow the Trovesi-penned "Minor Dance"--from its solemn intro to its swinging second half--makes the perfect bookend for the theme from Il Postino. Translated from Italian, the album's title track is "in search of nourishment." You'll hear that longing in this lyrical music, in the wheezy breaths of Coscia's accordion and the jaunty energy coming from Trovesi's sax. Liner notes by Umberto Eco try to describe this magical, genre-blurring pairing, but it really must be heard. Simply sublime. --Jason VerlindeCustomer Reviews:
"In cerca di cibo".... live.......2001-11-07
Sunny Mediterranean soundscape.......2001-04-20
The music reminds of something you might have heard in some Italian film, some folk themes as well, but just as it's about to become familiar it moves on to something else. "In this play of references to different texts and traditions, [Trovesi and Coscia] occasionally arouse systems of expectations within the listener that they then suddenly frustrate, by changing the rules of the game. Which is one of the characteristics of experiments, a characteristic assumed in this case without forgoing something that experimental music often forgoes, that is to say pleasure", says Umberto Eco in a lovely essay about this CD, and continues by making an excellent point in saying that "there is nothing more seductive than artfulness, when it has the humility to disguise itself as artlessness".
Walk through landscape.......2000-07-27
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Thirty Years From Monday
Andrea Centazzo / Gianluigi Trovesi / Alvin Curran / Carlos Zingaro / Lol Coxhill Manufacturer: ICTUS Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz
| Jazz
| Styles
| Music
ASIN: B000RG1OV6 Release Date: 2007-06-01 |
Tracks:
- A OLD MAN RIVER IN THE GEORGIA OF MY MIND
- MANTRIC IMPROVISATION
- THE GIPSY PART ONE
- THE GIPSY PART TWO
- THE BOX SESSION #1
- THE BOX SESSION #2
- TROVECEN #1
- TROVECEN #2
Product Description
The recording scene of the 70s was fairly discouraging. Record companies were not interested in producing "committed music", and in order to be released this music found its way out through small musician - owned labels. Carla, my wife and I, we decided to create our own label: ICTUS Records, boldly named "The creative label for creative music". ICTUS was born to be a forum for music that the institutionalized market refused, and, also by design, was a hands-on operation; one that encouraged the artist to express himself freely, without restrictions, and to have control over all the phases of production of the record. All this was possible due to the dedicated work of Carla Lugli, who saw to the daily operation of the record label. The ICTUS Records experiment started where all the other attempts at self management had finished on the international scene. The driving need to make our music, and the fact that we were the only link with those who wanted to get to it, brought about the creation of ICTUS, which was born not as a commercial but as a cultural operation. Distribution of the records was carried out through certain music magazines, and by mail order at a rigorously 'political' price. (This meant an accessible price to allow everyone to recover their expenses, with what little profit was made being re-invested in new productions). The recordings here presented are part of the ICTUS history in a very peculiar way. I invited Alvin Curran to perform a duo concert in Udine in 1977, in the first concert series organized by me with the aim to record more material possible for the starting ICTUS label. The concert came out great, but some of the recording was totally distorted; so we didn't have enough material for a complete LP. Now you can enjoy the only 2 tracks left: a long live electronic improvisation where all sounds were recorded trough 2 tape machines (one recording and the other playing back in real time) and one acoustic, more jazz-like improvisation. Portuguese violin player Carlos Zingaro was one of the founding members of Mitteleuropa Orchestra; with Carlos we also did a trio concert along with bassist Ken Carter at the Setubal Jazz Festival in Portugal, but we never performed a duo in concert. In 1983 while he was in Bologna for one of the last Mitteleuropa gig, we decided to put some music on tape. Those two tracks are the best of that session. With Lol Coxhill I did several tours in Europe and the music here enclosed has been recorded on the second series of concerts, done mainly in Italy. The recording was done in a Classic Music Concert Hall and has a natural reverberation for a weird final effect. Last two tracks on this CD present my duets with Gianluigi Trovesi. Our collaboration was documented on the ICTUS LP Shock which is one of the jazziest recordings on the label; the music was finally going very melodic and rhythmic, like an anticipation of my next career step. In the same year we did several duo concerts with Gianluigi: here you'll find some beautiful improvisation from one performed open air, in Passariano, Italy. (Andrea Centazzo)International Music: