Search - Gianluigi Trovesi Ottetto :: Fugace

Right now I admire this disc a lot more than I like it . . .

Jan P. Dennis | Monument, CO USA | 10/12/2003

(4 out of 5 stars)

". . . but that may all be changing. Coming from a distinctively European orientation, Fugace contains few connecting points with North American jazz. Consequently, an American listener is forced to retool his conceptual framework to get on board with its aesthetic, which has more to do with Euro folk, chamber, classical, and pop sensibilities than with Afro-Cuban rhythms filtered through European classical melodic and harmonic sensibilities, the usual aesthetic of North American jazz.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."

Paid A Visit By The Muse For Sure

TUCO H. | Los Angeles, CA | 08/06/2006

(5 out of 5 stars)

"Fantastic album. If you dig Dave Holland Quintet, buy this without any hesitation whatsoever, it's similar and as good if not better than the best of Holland, even the live small band material. There's also a certain 'juice' to these tracks that's missing in Holland's Quintet recordings which tend to have a dry sound even when they're burning. Trovesi's group are certainly more classically inspired than Holland. All superb musicians without a hair of compromise in them making greasy, sweaty music full of heart and soul and humour that is FUN and a really good time to listen to despite being completely complex and challenging enough for the most discriminating listeners, almost like the spirit of Weather Report back in a different guise. These are true cats without narrow minded borders & certainly deserve much better than a 196,000 ranking on amazon. Give them a shot, do not be afraid of real music, real music is good for the human race."

Fresh and engaging

MurrayTheCat | upstate New York | 06/08/2004

(5 out of 5 stars)

"On his previous recording for ECM (IN CERCA DI CIBO), we found Trovesi's clarinets paired with the accordion of Gianni Coscia in a nostalgic, dreamlike program distinctive enough to be appealing. But on FUGACE, Trovesi uses an intriguing combination of players: three horn, one cello, two bass, and two percussion. An occasional keyboard and guitar are added along with some of the most musically relevant electronic effects that I have heard.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."