‘Dreamsville’ – Roberto Olzer Trio

dreamsville

ITALIAN PIANIST Roberto Olzer’s wonderful partnership with double bassist Yuri Goloubev and drummer Mauro Beggio continues to go from strength to strength.

2015 release The Moon and the Bonfires‘ limpid romanticism and sparkling energy ensured that it remains an oft-played recording; and some five years since this trio was established, the friends have again seamlessly blended a handful of originals with fascinating arrangements from sources including Henry Mancini, Alexander Glazunov, Sting and Giacomo Puccini.

Olzer explains that many of Dreamsville‘s titles seem to inspire a reflection on time; and introducing an album as diverse as its predecessor, the pianist’s own, wistful Novembre captures something of the essence of this ongoing collaboration; namely, an innate empathy between three accomplished musicians which elevates their sound to a magical, coalescent state. And here, Goloubev’s fine melodies and improvisations echo Olzer’s measured elegance, all supported by Beggio’s pin-sharp understatedness. The typically lush orchestration of Henry Mancini’s Dreamsville becomes an irresistible, bright’n’breezy waltz, whilst John Taylor’s New Old Age (Taylor, the album’s dedicatee) is transported from its piano, clarinet and bass familiarity into pacier, mesmeric and, at times, deliciously abstract environments; and Mauro Beggio’s solo miniature, Unlikely Taiko, adds a soupçon of intricate, oriental percussion.

There’s always a sense of a warm invitation into this trio’s sound world – and often via less obvious pathways. A fleet, yet sensitive reimagining of the Moderato from Glazunov’s Violin Concerto becomes illuminated by Olzer’s chiming high-line melodies, a world away from the original’s orchestral yearning; similarly, Com’è lunga l’attesa (from Puccini’s Tosca) revels in a new-found piano trio momentum; and the emotive violin theme from Richard Strauss’ Morgen is heartstoppingly refashioned, its tender piano awakening carried forward by Goloubev’s characteristically eloquent arco bass vibrato. Music’s subtleties can be so emotionally powerful.

Amongst these twelve tracks, contemporary reworkings include trumpeter Fulvio Sigurtà’s The Oldest Living Thing (from his album of the same name), its descending motif ideal for this trio’s introspective delicacy; and rising above so many cover versions, a swiftly grooving portrayal of Sting’s Fragile coruscates to imaginative improvisation and chameleonic colour (Olzer’s and Goloubev’s rapid, shared bass riffs are utterly joyful). Compatriot Italian pianists are well represented, too: Ramberto Ciammarughi’s charming Beau Piece flies like the wind, with Olzer’s intelligent, fluid extemporisations a key feature; and songlike Ferragosto – a composition by Carlo Magni and Goloubev – has the aura of a classic, enhanced by the bassist’s nimbleness and the fiery precision of Mauro Beggio.

Dreamsville‘s sublime hour radiates – as art so often can – life-affirming beauty and encouragement through remarkable musicianship. Indeed, Olzer appropriately quotes from John Henry Mackay’s poetic lines in Strauss’ Morgen: ‘Tomorrow the sun will shine again… and upon us will sink the mute silence of happiness.’

CD available directly from record label Atelier Sawano.

 

Roberto Olzer piano
Yuri Goloubev double bass
Mauro Beggio drums

robertoolzer.com
yurigoloubev.com
maurobeggio.com

Atelier Sawano – AS152 (2016)

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‘The Moon and the Bonfires’ – Roberto Olzer Trio

RobertoOlzerTrio

THE ATTRACTION of the Italian jazz piano trio continues to wax both luminously and poetically – and none more so than pianist Robert Olzer and colleagues Yuri Goloubev (double bass) and Mauro Beggio (drums).

Olzer was born in northern Italy, studying piano from an early age before going on to graduate in organ, piano and jazz improvisation in Milan. His trio was founded in 2011, previously releasing acclaimed debut album Steppin’ Out in 2013. The inspiration for this latest album, curiously titled The Moon and the Bonfires, is actually drawn from a novel of the same name by Italian writer Cesare Pavese; and Olzer sees something of his own musical career path in its theme – the need to constantly broaden horizons, yet also return to and preciously hold fast to one’s roots.

Comprising a variety of originals and arrangements – including impressions of Schumann and Poulenc – this recording exudes a passion and precision which appears to be synonymous with chamber jazz from this cultural confluence (as in the output of Giovanni Guidi, Michele Di Toro, the Alboran Trio, etc.). It may be an innate classical connection, cultivating the sublimity and deftness of touch associated with the music of, say, Locatelli or Albinoni; but somehow Olzer, Goloubev and Beggio suspend time with their magical partnership, either in intense rhythmic fervour or through exquisite, tenuto pools of quiet.

In all honesty, these eleven tracks have called me back so often, each encounter glinting a little differently; and, presided over by Stefano Amerio at the lauded Artesuono studios, the album’s clarity is assured. From the yearning yet mobile delicacy of Ryuichi Sakamoto’s Bibo no Aozora (introduced by the open, romantic lyricism of Olzer’s piano solo, La bella estate) to Enrico Pieranunzi’s pressing Seaward, there is indubitable balance. The tender Andante from Poulenc’s Piano Concerto is re-imagined in the trio’s Adagio (from Piano Concerto), Goloubev’s characteristically-voiced arco lines serenely reflecting Olzer’s fragile water droplets; and the depth of the bassist’s lachrymose Little Requiem echoes Beethoven and hints at Tord Gustavsen, whilst his pizzicato extemporisations ensure a certain brightness.

Victor Young’s Beautiful Love (yes, that may trigger thoughts of Bing Crosby) is whisked away, almost unrecognisably, into a realm uplifted by Mauro Beggio’s delightful perpetuum mobile accuracy; and Robert Schumann’s emotional ‘lied’, Ich will meine Seele tauchen, is similarly disguised, but within a purposeful, contemporary waltz. It’s the subtleties which speak volumes throughout this session, title track La luna e i falo full of contrasts as Olzer’s lucidly rippling ostinati come up against fiery block chords and a solid percussive display; and Chris Collins’ fabulously-titled Gaelic romp, Muirruhgachs, Mermaids, and Mami Wata is unexpectedly calmed by Sting’s Wrapped Around Your Finger before its jaunty piano-and-bass reel is slammed with the full force of Beggio’s batteria – such joy! Completing the sequence, Goloubev paints watercolour images in Le Vieux Charme, and Olzer’s Chàrisma leaps energetically to his vigorously ornamented display.

Packaged within appealingly minimal cover art, The Moon and the Bonfires burns increasingly brightly in my estimation.

Available from record label Atelier Sawano and also Yuri Goloubev’s website.

 

Roberto Olzer piano
Yuri Goloubev double bass
Mauro Beggio drums

robertoolzer.com
yurigoloubev.com
maurobeggio.com

Atelier Sawano – AS147 (2015)