ARRIGIO CAPPELLETTI TRIO - Homage to Paul Bley
Leo Records CD LR 732
Arrigo Cappelletti, piano; Furio Di Castri, bass; Bruce Ditmas, drums
Pianist Paul Bley’s professional jazz history looks back as far as the 40s and includes his playing with musicians as diverse as the whole gamut of jazz artists can surrender. His quintet yielded the four members of the original Ornette Coleman quartet and such was his artistic integrity that he could claim that neither his creation nor his playing were ever affected by approbation, censure or fashion.
Interestingly, the choice of music does not revolve around pieces solely from Bley’s repertoire and you will find as well such works as Pannonica and Crepuscule with Nellie by Thelonious Monk. Andrew Hill’s Ashes is supremely fine-tuned in the subtlety of its execution and the whole album succeeds in a similar way, projecting a sense of utter discourse between the three corners of the trio. The range of music chosen displays the trio’s diversity and Cappelletti’s appetite for melody, which seems integral to Italian musicians, particularly the pianists amongst them.
This is an excellent example of piano trio and one that is so complete as to suggest that other musicians seem to be there too.
Reviewed by Ken Cheetham
Leo Records CD LR 732
Arrigo Cappelletti, piano; Furio Di Castri, bass; Bruce Ditmas, drums
Pianist Paul Bley’s professional jazz history looks back as far as the 40s and includes his playing with musicians as diverse as the whole gamut of jazz artists can surrender. His quintet yielded the four members of the original Ornette Coleman quartet and such was his artistic integrity that he could claim that neither his creation nor his playing were ever affected by approbation, censure or fashion.
Interestingly, the choice of music does not revolve around pieces solely from Bley’s repertoire and you will find as well such works as Pannonica and Crepuscule with Nellie by Thelonious Monk. Andrew Hill’s Ashes is supremely fine-tuned in the subtlety of its execution and the whole album succeeds in a similar way, projecting a sense of utter discourse between the three corners of the trio. The range of music chosen displays the trio’s diversity and Cappelletti’s appetite for melody, which seems integral to Italian musicians, particularly the pianists amongst them.
This is an excellent example of piano trio and one that is so complete as to suggest that other musicians seem to be there too.
Reviewed by Ken Cheetham
