Trombonist Mauro Ottolini's diverse and multifaceted world completely unravels in this album; a maze of exciting and compelling sounds where, in the lucid madness of his band Sousaphonix, complete fulfilment is found. "The Sky Above Braddock is a limbo, where one finds lost and forgotten souls. The music in this album was inspired by a short story I read about a borough of Pittsburgh, Braddock. It sweetly and subtly intoxicated my artistic vein… A thrilling provocation." (M. Ottolini)
Mercoled 27 aprile, il concerto di Francesco Bearzatti con una "Special Edition" del Tinissima Quartet che oltre allo stesso Bearzatti al sax tenore e clarinetto, vedr sul palco: Giovanni Falzone, tromba, Danilo Gallo, contrabbasso, Zeno De Rossi, batteria e ospiti speciali, Mauro Ottolini, trombone e Enrico Terragnoli, chitarra. Tinissima non un classico quartetto jazz (almeno per me) ma una vera band, una "combact band" consacrata alle biografie musicali di personaggi che si sono battuti per gli ultimi, per gli emarginati, per i "non aventi diritto".
An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents of his instrument until its revival in the early twentieth century. He studied counterpoint and the cello, but on the six-string guitar he was entirely self-taught, and that became his principal instrument early on. Italy abounded with fine guitarists at the beginning of the nineteenth century (Carulli remains the most familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a successful tour of Europe when he was 19, and in 1806 he settled in Vienna, where he entered the musical circle of Diabelli, Moscheles, and Hummel. He solidified his reputation with the 1808 premiere of his Guitar Concerto in A major, Op. 30, and was soon heralded as the greatest living guitar virtuoso. Even Beethoven noticed Giuliani, and wrote of his admiration for him. Perhaps to return the favor, Giuliani played cello in the 1813 premiere of Beethoven's Symphony No. 7.
It was only after Michael Jackson’s death that Italian trumpeter Enrico Rava gradually became aware that he had for many years been ignoring, in his words, “one of the great protagonists of 20th century music and dance. A total artist. A perfectionist. A genius. I felt the need to delve more deeply into Michael’s world. There was only one way to do that: play his songs.” Thus this live album, recorded at the Rome Auditorium with the Parco della Musica Jazz Lab. Enrico’s trumpet is at its most extroverted here, vaulting above the spirited arrangements by Mauro Ottolini. Michael Jackson’s protean pop songs have never been heard quite like this. Rava is currently playing European festivals with this programme.
Mauro walks through the city buying stuff. Anything, it doesn’t matter what. Because Mauro is a passador, as in the streets they call a man who trade fake bills. Marcela and Luis live together. Marcela is a few months pregnant. Luis and Mauro decide to set up a little printing house to produce counterfeit money. Mauro trade the money by night, in bars and discotheques. He moves discreetly, always alone; until he meets Paula.
It is a satisfying musical experience when a performance can deliver traditional jazz without the music being reduced to orthodoxy. Such is the resonance of Franco D'Andrea's sound. The seventy-something Italian pianist follows Soprais (El Gallo Rojo, 2011), with his long-established quartet, by adding the early jazz instruments of clarinet and trombone, played respectively by Daniele D'Argaro and Mauro Ottolini. On the live Traditions And Clusters he also invites his contemporary , drummer Han Bennink, to sit in on two tracks.