Search - Francesco Cafiso New York Quartet :: New York Lullaby

Stands on its own without the "precocity factor."

Samuel Chell | Kenosha,, WI United States | 07/28/2007

(4 out of 5 stars)

"It's one thing to come upon another 6-year-old fiddle or piano whiz. The specially gifted are no longer all that special. But it's quite another matter to come upon an Italian kid who not only possesses extraordinary chops but an understanding of the language of both America's greatest improviser and the lyrics of some of America's best ballads and love songs.



This 2005 session features the 15-year-old native Sicilian saxophonist making his American recording debut accompanied by a crack New York rhythm section. Although it's common to hear rueful expressions about what a Charlie Parker or Clifford Brown might have accomplished had they lived longer, a player as precocious as Francesco Cafiso reminds us of the challenges facing an artist who appears to "be there" already yet has a lifetime with practically an obligation to top himself. In June 2007, when he was 17, the gifted altoist made history of sorts when he entered Birdland, the domain named after the music's most acclaimed improviser, to play the "Bird role" in a re-creation of the predecessor-father figure's most popular recording, "Charlie Parker with Strings." From the evidence on "New York Lullaby" the young player is perhaps one of the few musicians up to such a formidable, even unenviable assignment.



The opening track, Shearing's "Lullaby of Birdland," introduces the listener to the featured performer's qualifications. His sound is full and lustrous in all registers, maintained throughout by strong breath support; his articulations are varied, ranging from crisp attacks to expressive legato tonguing; his lines during the pyrotechnical passages are not merely slick but capture the intricacy, complexity and sophistication of Parker's language. At times the youngster is undeniably overly deliberative, extending his high tones to the point that they begin to wear out their welcome. Moreover, in the upper register his sound has a purity and somewhat rapid vibrato that, while winning the approval of "legit" players, would not earn him points from Birdwatchers.



But it's the ballads that hold the biggest surprises, as the Italian teenager, rather than employ them as virtuoso showcases, exercises the utmost respect for the material itself. Whether he's been listening to singers like Sinatra or absorbed the message from a player like Dexter Gordon, his phrasing, dynamics, and even articulations (with occasional airy cushions of sound) reveal a mature and sensitive interpreter thoroughly familiar with the lyrics of these standards. When I play this recording for acquaintances, the response isn't "He's incredible," but rather "That's beautiful music."



Give credit to David Hazeltine, a pianist capable of storming the instrument and playing fiery, gloves-off bop in the Bud Powell tradition. On this occasion he, along with bassist David Williams and drummer Joe Farnsworth, hold back, being extra careful not to offer the prodigy any unwanted, gratuitous "encouragement" to strut his stuff. It's as though Hazeltine is saying, "It's just another session, kid. Relax and play the song as beautifully as you know how."



That this recording, made in a New York studio with three American musicians, along with the Cafiso "story" go largely unnoticed by the American public is scandalous. I ordered my copy from a CD import specialist and finally received it in the form of a vinyl LP, with notes in Japanese! Again, shame on the American recording industry. (I've got to admit the audio on the LP is warm and present without the usual obtrusive bass, probably better sounding than any CD if you're equipped to play it.)"