MARCO MARCONI TRIO featuring MAX IONATA - New Roads
33JAZZ
Marco Marconi (piano); Tom Farm (double bass); Emiliano Caroseli (drums)
Featuring Max Ionata (tenor saxophone)
I first heard Marco Marconi play live when I invited him to perform at The London Jazz Platform in 2017. This was after I had heard and reviewed both his debut CD 'Nordik' and the one which followed, 'Trialogue'. On both these CDs Marco displayed exceptional musicianship and when he played at the London Jazz Platform, he was one of the most popular of the 14 acts showcased, delivering an astounding solo set and accompanying visiting musicians from New Orleans, showing his diversity. Since then I have seen him perform live again and he never ceases to engage both me and the rest of the audience. With the success of his previous CDs it is no surprise he has stayed with the formidable 33Jazz Record label for his third CD - the first of a series to feature guest musicians alongside the established trio of Marco Marconi on piano, Tom Farmer on double bass and Emiliano Caroselli on drums. For New Roads - a live recording- the guest musician is Italian saxophonist Max Ionata. Max is considered one of the major Italian players and works successfully both in Europe and further afield. A veteran of over 70 recordings, he has led projects and collaborated with major international artists such as Robin Eubanks, Reuben Rogers, Billy Hart, Joe Locke, Steve Grossman, Mike Stern, Bob Mintzer, Dino Piana, Roberto Gatto, Giovanni Tommaso, Enrico Pierannunzi and many more. His many international awards include the Jazzit Award as best Italian tenor saxophonist, 2012 and 2013.
Marco describes the new album as, 'a mix of original compositions and jazz standards arranged by me' ..... 'this album will be, as always, full of variety with pieces inspired by some of my favourite musicians such as Art Tatum, Brad Mehldau, Michel Camilo, Chick Corea, Miles Davis, Stevie Wonder, and Bach (just to name a few). ' Marco says he is proud of every composition he has written over the last few months and hearing them come to life with the band during the rehearsals. The CD contains 9 tracks and the digital version features 2 bonus tracks.
The opener is 'Mandala' which opens with a strong syncopated piano line, lots of tempo and rhythm changes and devilishly fast finger notations. Marco's solo transcends into a 3/4 bridge section briefly before returning to the original tempo when Max Ionota's saxophone solo eases in, working its way around the theme, flowing and creating shapes and returning to the original theme, making sense of the title - which means a shape created around geometric configurations and repetitions. Max interprets shape-making with his own additions and soars away on the upper register at one point. The piano takes the lead back and creates more intricacies around the theme, over a lilting, swinging tempo. There is a gorgeous drum solo from Emiliano Caroselli before the piano leads the full band to the finish.
'You And The Night And The Music' establishes itself around a syncopated 3/4 rhythm , led by sax and piano in harmonic discussion before the sax solos, taking the theme, still recognisable as the Schwartz- penned tune but with distinctive twists in the arrangement for this ensemble. Again, Max Ionata features with a beautiful solo, weaving his way around, through and below the theme lines. The piano solo is intricate, Marconi playing like he is possessed and he plays the length of the piano keyboard with all the art of a familiar traveller, coming back to the theme, echoed by Ionata's interpretation again towards the closing stages. The bass of Tom farmer is supportive and strong.
' Lembra de Mim' ( Remember Me), made famous by Brazilian songwriter Ivan Lins is treated with gentle respect by the trio. Initially Max Ionata provides the gentle theme line across the top under which the trio support, with the piano taking over the theme and delivering an emotive and atmospheric interpretation of the song before the sax once again improvises around the melody. Marco offers subtle harmonies, layering phrase variations and providing textures whilst not distracting from the beautifully worked solo.
' FMPOV' ( From My Point Of View) is a helter-skelter, full blast, full ensemble delivery with a ( rather wonderful) furiously fast solo from the sax. There is a gorgeous bass and piano-led section and a piano line which takes off and away, fingers flying but almost note perfect. The speed of the delivery is breathtaking, before a drum solo, interspersed with little piano rivulets and a full ensemble finish. The energy is palpable on this track and so enjoyable.
Salvador Sobral's 'Amar Pelos Dois' ( Love For Two) is an atmospheric interpretation with sax taking the lead, extending the melody, supported by the trio in a gentle, tender interpretation, showing a softer side to their playing style. The final phrase is led to a close by Marco displaying a gentler touch on the piano. Eyquem's ' Nostalgia' is introduced by pedalled piano, creating an echoed tone and the bowed bass is simply beautiful, deeply sonorous, full voiced and emotive. The phrasing is creative and so emotive. There is but one word to describe this - beautiful.
Parker/Harris's 'Ornothology' is given a wonderful treatment by the duo with the chord progressions of the song on which the composition was based ('How High The Moon') emerging under the superb solo sections from both the sax and piano. It is delivered with a joy and strong references and respect to the original bebop style with rapid tempo, complex chord progressions - mainly from the piano line- and key changes. A clever and immensely listenable number.
Piazolla's 'Vuelvo Al Sur' ( I'm going back South) is a bluesy, laid back number with another superb solo from Max Ionata. This slow tango-rhythmed number is delivered in the trio's own style, making great use of each player. The piano solo rises and falls, to create waves of sounds, quite exquisite to the ears before the sax again leads to the breathy finish.
'Bebop' is fast, furious and a tribute to the style, which includes rapid, flowing scale ascensions and descents along with intricate changes and fluidity of movement between players. The to and fro between piano and sax creates an on-going conversation which is engaging and becomes such an intimate thing to listen to and the reasons for the choice of Max Ionata as collaborator on this recording is clear. There is an 18 note staccato introduction from the piano after the sax fades, signifying the intention to solo, which is a clever way to ring the change and the solo is frenetic, clever, using strong chords in fours in the left hand at one point whilst the right hand travels the scales. A drum solo and full ensemble finish make this a wonderfully uplifting finish to the CD.
Digital copies also have two additional tracks. The first of these is a version of Radiohead's 'Pyramid Song', pitched at the same key but starting a third higher than the original version, and with the same delays in the tempo, which make it slightly ethereal, yet already an original arrangement. The trio add their touches and layers to the sound and the delight here is that without the vocal line of Mr Yorke, the intricate architecture of the arrangement can be heard - and Marco has played with this too, making more of the music and the atmospheric sense provided in the changes. A rich and redolent jazz version of the song and it is surprising how well this comes across delivered by a jazz ensemble.
Sting's 'Seven Days' is arranged very differently from the original, with piano opening the piece ( on the original it is a percussive introduction with guitar and percussion) so it feels like an original until the melody becomes clear. A balladic style is given to Mr Sumner's number and it works well here as a piano-led homage.
This album is full, detailed and yet somehow compact, including many different style references and ways of playing - from thunderclap chords to gentle , feather-light caresses and this not just from the piano but the ensemble. There seems to be a connection between the trio members and Max Ionata fits like a glove into the creative direction - so much so he feels like a fourth band member father than a featured guest. at times, the intricacies of the arrangements for the parts create a sense of a small team of weavers, working to create a musical picture for the listener. The audience react accordingly, relishing each number.
One radio listener, when I included 'Ornithology' as a taster on a radio show, asked the question, 'Can you fall in love with a tune on first listen?' my answer to that would be of course you can. How about an entire album?
I rarely offer advice to listeners but on this I would say, immerse yourself, soak it up, it is good for you.
Reviewed by Sammy Stein
33JAZZ
Marco Marconi (piano); Tom Farm (double bass); Emiliano Caroseli (drums)
Featuring Max Ionata (tenor saxophone)
I first heard Marco Marconi play live when I invited him to perform at The London Jazz Platform in 2017. This was after I had heard and reviewed both his debut CD 'Nordik' and the one which followed, 'Trialogue'. On both these CDs Marco displayed exceptional musicianship and when he played at the London Jazz Platform, he was one of the most popular of the 14 acts showcased, delivering an astounding solo set and accompanying visiting musicians from New Orleans, showing his diversity. Since then I have seen him perform live again and he never ceases to engage both me and the rest of the audience. With the success of his previous CDs it is no surprise he has stayed with the formidable 33Jazz Record label for his third CD - the first of a series to feature guest musicians alongside the established trio of Marco Marconi on piano, Tom Farmer on double bass and Emiliano Caroselli on drums. For New Roads - a live recording- the guest musician is Italian saxophonist Max Ionata. Max is considered one of the major Italian players and works successfully both in Europe and further afield. A veteran of over 70 recordings, he has led projects and collaborated with major international artists such as Robin Eubanks, Reuben Rogers, Billy Hart, Joe Locke, Steve Grossman, Mike Stern, Bob Mintzer, Dino Piana, Roberto Gatto, Giovanni Tommaso, Enrico Pierannunzi and many more. His many international awards include the Jazzit Award as best Italian tenor saxophonist, 2012 and 2013.
Marco describes the new album as, 'a mix of original compositions and jazz standards arranged by me' ..... 'this album will be, as always, full of variety with pieces inspired by some of my favourite musicians such as Art Tatum, Brad Mehldau, Michel Camilo, Chick Corea, Miles Davis, Stevie Wonder, and Bach (just to name a few). ' Marco says he is proud of every composition he has written over the last few months and hearing them come to life with the band during the rehearsals. The CD contains 9 tracks and the digital version features 2 bonus tracks.
The opener is 'Mandala' which opens with a strong syncopated piano line, lots of tempo and rhythm changes and devilishly fast finger notations. Marco's solo transcends into a 3/4 bridge section briefly before returning to the original tempo when Max Ionota's saxophone solo eases in, working its way around the theme, flowing and creating shapes and returning to the original theme, making sense of the title - which means a shape created around geometric configurations and repetitions. Max interprets shape-making with his own additions and soars away on the upper register at one point. The piano takes the lead back and creates more intricacies around the theme, over a lilting, swinging tempo. There is a gorgeous drum solo from Emiliano Caroselli before the piano leads the full band to the finish.
'You And The Night And The Music' establishes itself around a syncopated 3/4 rhythm , led by sax and piano in harmonic discussion before the sax solos, taking the theme, still recognisable as the Schwartz- penned tune but with distinctive twists in the arrangement for this ensemble. Again, Max Ionata features with a beautiful solo, weaving his way around, through and below the theme lines. The piano solo is intricate, Marconi playing like he is possessed and he plays the length of the piano keyboard with all the art of a familiar traveller, coming back to the theme, echoed by Ionata's interpretation again towards the closing stages. The bass of Tom farmer is supportive and strong.
' Lembra de Mim' ( Remember Me), made famous by Brazilian songwriter Ivan Lins is treated with gentle respect by the trio. Initially Max Ionata provides the gentle theme line across the top under which the trio support, with the piano taking over the theme and delivering an emotive and atmospheric interpretation of the song before the sax once again improvises around the melody. Marco offers subtle harmonies, layering phrase variations and providing textures whilst not distracting from the beautifully worked solo.
' FMPOV' ( From My Point Of View) is a helter-skelter, full blast, full ensemble delivery with a ( rather wonderful) furiously fast solo from the sax. There is a gorgeous bass and piano-led section and a piano line which takes off and away, fingers flying but almost note perfect. The speed of the delivery is breathtaking, before a drum solo, interspersed with little piano rivulets and a full ensemble finish. The energy is palpable on this track and so enjoyable.
Salvador Sobral's 'Amar Pelos Dois' ( Love For Two) is an atmospheric interpretation with sax taking the lead, extending the melody, supported by the trio in a gentle, tender interpretation, showing a softer side to their playing style. The final phrase is led to a close by Marco displaying a gentler touch on the piano. Eyquem's ' Nostalgia' is introduced by pedalled piano, creating an echoed tone and the bowed bass is simply beautiful, deeply sonorous, full voiced and emotive. The phrasing is creative and so emotive. There is but one word to describe this - beautiful.
Parker/Harris's 'Ornothology' is given a wonderful treatment by the duo with the chord progressions of the song on which the composition was based ('How High The Moon') emerging under the superb solo sections from both the sax and piano. It is delivered with a joy and strong references and respect to the original bebop style with rapid tempo, complex chord progressions - mainly from the piano line- and key changes. A clever and immensely listenable number.
Piazolla's 'Vuelvo Al Sur' ( I'm going back South) is a bluesy, laid back number with another superb solo from Max Ionata. This slow tango-rhythmed number is delivered in the trio's own style, making great use of each player. The piano solo rises and falls, to create waves of sounds, quite exquisite to the ears before the sax again leads to the breathy finish.
'Bebop' is fast, furious and a tribute to the style, which includes rapid, flowing scale ascensions and descents along with intricate changes and fluidity of movement between players. The to and fro between piano and sax creates an on-going conversation which is engaging and becomes such an intimate thing to listen to and the reasons for the choice of Max Ionata as collaborator on this recording is clear. There is an 18 note staccato introduction from the piano after the sax fades, signifying the intention to solo, which is a clever way to ring the change and the solo is frenetic, clever, using strong chords in fours in the left hand at one point whilst the right hand travels the scales. A drum solo and full ensemble finish make this a wonderfully uplifting finish to the CD.
Digital copies also have two additional tracks. The first of these is a version of Radiohead's 'Pyramid Song', pitched at the same key but starting a third higher than the original version, and with the same delays in the tempo, which make it slightly ethereal, yet already an original arrangement. The trio add their touches and layers to the sound and the delight here is that without the vocal line of Mr Yorke, the intricate architecture of the arrangement can be heard - and Marco has played with this too, making more of the music and the atmospheric sense provided in the changes. A rich and redolent jazz version of the song and it is surprising how well this comes across delivered by a jazz ensemble.
Sting's 'Seven Days' is arranged very differently from the original, with piano opening the piece ( on the original it is a percussive introduction with guitar and percussion) so it feels like an original until the melody becomes clear. A balladic style is given to Mr Sumner's number and it works well here as a piano-led homage.
This album is full, detailed and yet somehow compact, including many different style references and ways of playing - from thunderclap chords to gentle , feather-light caresses and this not just from the piano but the ensemble. There seems to be a connection between the trio members and Max Ionata fits like a glove into the creative direction - so much so he feels like a fourth band member father than a featured guest. at times, the intricacies of the arrangements for the parts create a sense of a small team of weavers, working to create a musical picture for the listener. The audience react accordingly, relishing each number.
One radio listener, when I included 'Ornithology' as a taster on a radio show, asked the question, 'Can you fall in love with a tune on first listen?' my answer to that would be of course you can. How about an entire album?
I rarely offer advice to listeners but on this I would say, immerse yourself, soak it up, it is good for you.
Reviewed by Sammy Stein
