‘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 Oldest Living Thing’ – Fulvio Sigurtà

Fulvio

THE MUSIC of Italian trumpeter Fulvio Sigurtà appears to float like an endless procession of cirrus, such is the lofty, spacial and elemental nature of his playing and writing on new trio album The Oldest Living Thing.

Read the full review at LondonJazz News…

 

Fulvio Sigurtà trumpet, flugelhorn
Steve Swallow electric bass
Federico Casagrande acoustic guitar

fulviosigurta.com

CamJazz – CAMJ 7886-2 (2015)