Sunday, April 10, 2016

Bill Henderson 1926 - 2016

By Mike Barnes
Bill Henderson, a well-respected jazz vocalist and actor, died Sunday of natural causes in Los Angeles, according to Lynne Robin Green, president of LWBH Music Publishers. He was 90.
A native of Chicago, Henderson sang with the Ramsey Lewis Trio, Dizzy Gillespie, Count Basie, Frank Sinatra, Tony Bennett, Quincy Jones, the Charlie Haden Quintet and many others. His 1963 album, Bill Henderson With the Oscar Peterson Trio, is considered a classic in the jazz vernacular.
Henderson was a fixture on the Playboy circuit in the 1970s and appeared often at many festivals, including Playboy Jazz at the Hollywood Bowl, Monterey Jazz and the Litchfield Jazz Festival in Connecticut. Later, he performed at The Kennedy Center and in New York at the Hotel Algonquin’s Oak Room and at Lincoln Center.
“Henderson’s phrasing is virtually his own copyright,” music journalist Leonard Feather once said. “He tends to space certain words as if the syllables were separated by commas, even semicolons, yet everything winds up as a perfectly constructed sentence.”
At the suggestion of his friend Bill Cosby, Henderson pursued an acting career and in 1967 relocated to Hollywood.
He appeared in such films as The Adventures of Buckaroo Banzai Across the 8th Dimension(1984), Clue (1985) — as the cop who is killed by a lead pipe in the library — City Slickers (1991),White Men Can't Jump (1992), Maverick (1994), Lethal Weapon 4 (1998) and Smiling Fish & Goat on Fire (1999) and on television in ER, Hill Street Blues, Happy Days, Sanford and Son, The Jeffersons,Good Times, MacGyver, Benson, NYPD Blue and My Name Is Earl.
Henderson made his show business debut as a singer and dancer at age 4. A stint in the Army led to him working with crooner Vic Damone, and in 1956, Henderson made his way to New York.
A year later, Horace Silver hired him to record a vocal version of the popular instrumental song “Senor Blues” for Blue Note Records. It was a jukebox hit and remains one of the biggest-selling singles in the label’s history.
Between 1958-61, Henderson recorded for the Vee-Jay label and recorded his first album, Bill Henderson Sings. Most recently, he released a self-produced live album, Beautiful Memory, co-produced by Green.
Survivors include his daughter Mariko, granddaughter Mya, son-in-law Marc, nephew Finis and niece Henreene.

Sunday, April 03, 2016

Gato Barbieri 1932 - 2016

By Peter Keepnews and Christopher Mele

Gato Barbieri, a saxophonist whose highly emotional playing helped expand the audience for Latin jazz, and whose music for the film “Last Tango in Paris” won a Grammy Award, died on Saturday in New York. He was 83.
His death was confirmed by Jordy Freed, the vice president for marketing and communications at the Blue Note Entertainment Group, parent company of the Blue Note nightclub in Greenwich Village, where Mr. Barbieri often performed. Mr. Barbieri’s wife, Laura, told The Associated Press that the cause was pneumonia.
Mr. Barbieri recorded dozens of albums in a career that began in the late 1940s in his native Argentina, and continued recording and performing into the 21st century.
Although he was heavily influenced by John Coltrane and other saxophonists, his big, lush sound was distinctly his own and instantly recognizable.
Reviewing a performance by Mr. Barbieri in 1983, Jon Pareles of The New York Times wrote that he “makes some of the most raucous sounds ever to emerge from a tenor saxophone,” adding: “His horn screams, grunts, honks, bleats, groans. Even in ballads, he works up to a hefty, throbbing tone that sounds like it could burst at any moment.”
Early in his career Mr. Barbieri was a prominent member of the jazz avant-garde, making records with the trumpeter Don Cherry, the pianist and composer Carla Bley and others that challenged the music’s harmonic and rhythmic conventions. He later developed a more melodic approach that acknowledged his Latin American heritage, and that won him a large and loyal worldwide audience.
His first taste of international fame came when he was asked to write and perform the music for “Last Tango in Paris,” the director Bernardo Bertolucci’s sexually explicit 1972 film starring Marlon Brando and Maria Schneider. Mr. Barbieri’s theme won a Grammy Award for best instrumental composition.
“It was like a marriage between the film and the music,” Mr. Barbieri said of his soundtrack in a 1997 interview with The Associated Press. “Bernardo told me, ‘I don’t want the music to be too much Hollywood or too much European, which is more intellectual. I want a median.’”
He went on to write several more film scores.
Leandro Barbieri was born on Nov. 28, 1932, in Rosario, Argentina, and moved to Buenos Aires in 1947. He earned the nickname Gato (Spanish for cat) in the 1950s because of the way he scampered from one Buenos Aires nightclub to another with his saxophone to make it to his next gig.
Drawn to music at an early age, he studied clarinet as a child and played alto saxophone with the Argentine pianist and composer Lalo Schifrin before switching to tenor.
“Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience,” Laura Barbieri told The Associated Press.
The success of his “Last Tango” soundtrack led to a contract with Impulse Records, the label for which John Coltrane had made some of his most celebrated recordings. His four Impulse albums, titled “Chapter One” through “Chapter Four,” blended jazz with various strains of Latin American folk music and, in the words of the jazz writer Ashley Kahn, “served as a virtual South American tour.” Later albums, for A&M and other labels, maintained the Latin elements of his music while exploring a more commercial, pop-oriented approach.
Despite health problems, Mr. Barbieri, still sporting his trademark black fedora, had been appearing monthly at the Blue Note, where he first performed in 1985. His last public performance was there on Nov. 23, Mr. Freed said.
“He was a worldly free spirit, a really sweet man,” Mr. Freed said. “He really was a pioneer.”
In addition to his wife, Mr. Barbieri’s survivors include their son, Christian, and a sister, Raquel Barbieri. His first wife, Michelle, died in 1995.
Last year Mr. Barbieri received a lifetime achievement Grammy Award from the Latin Recording Academy. The citation credited him with covering “virtually the entire jazz landscape” in his long career and with creating “a rebellious but highly accessible musical style, combining contemporary jazz with Latin American genres and incorporating elements of instrumental pop.”
Looking back on his recording career in 2006, Mr. Barbieri expressed pride in his embrace of different styles.
“In those days,” he said, referring to the 1970s, “the jazz people they don’t consider me a jazz musician. If I am Latin, they don’t consider me Latin. So I am here in the middle.”
“It’s a good thing,” he added. “You know why? Because they say, ‘What do you play?’ I say, ‘I play my music — Gato Barbieri.’”

Friday, March 18, 2016

Frank Sinatra, Jr. 1944 - 2016

By Althea Legaspi

Frank Sinatra Jr., the son of legendary singer Frank Sinatra and an artist himself, has died. He was 72.
The Sinatra family said in a statement that he died of cardiac arrest while on tour in Daytona, FL, and that they mourn the untimely passing of their son, brother, family, and uncle.
Though his father may have discouraged his son from going into the music business due to its challenges, Sinatra Jr. followed in the footsteps of his famous father as well as worked by his side. Gifted with a voice similar to his father's, Sinatra Jr. began performing at clubs as a teen. When he was 19, he was kidnapped and held for ransom, though he was released a few days later and the kidnappers were caught and convicted. He later became his dad's music director and at the age of 44 began serving as his father's conductor. His debut album, 1965's Young Love for Sale, was understandably influenced by his father and was also released on Reprise, which was also his father's longtime label home.
In an interview with Express in the UK last year, Sinatra Jr. opened up about his early aspirations. He originally wanted to be a pianist and composer, but singing became a necessity. "It was the only way I could get a job," he said. "I was hired as a novelty by the Tom Dorsey band and it was total exploitation but it gave me a job."
Sinatra Jr. was also candid about the state of his career, which had relied heavily in recent years on performing tributes of his father's work. Last year was the 100th anniversary of his dad's birth. "I haven't had a hit record or starred in a hit movie and since that's how the entertainment business measures success, I don't consider myself successful," he said.
Despite living in his father's shadow for much of his career and covering other songs from his father's era, he did write the original composition "Spice" on his most recent album, 2006's That Face!, which was his first album of new material in a decade. It was recorded live and released on Rhino. Last year, Sinatra Jr. sang The Star-Spangled Banner at Yankee Stadium and also delivered the National Anthem at Dodgers Stadium in September.
He was scheduled to perform at The Peabody Daytona Beach on Wednesday, which was billed as "Frank Sinatra Jr.: 'Sinatra Sings Sinatra' The Centennial Celebration," according to Ticketmaster.

Saturday, March 12, 2016

Ernestine Anderson 1928 - 2016

By Associated Press
Ernestine Anderson, the internationally celebrated jazz vocalist who earned four Grammy nominations during a six-decade career, has died. She was 87.
The King County Medical Examiner's Office said Sunday that it received a report that Anderson died of natural causes Thursday at a nursing home in Shoreline.
The jazz and blues singer performed all over the world, from the Kennedy Center and Carnegie Hall to festivals in South America, Japan and Europe, The Seattle Times reported.
She toured widely and sang with bands led by Los Angeles R&B singer Johnny Otis and swing-band leader Lionel Hampton. She performed at the presidential inauguration of Dwight D. Eisenhower.
Childhood friend and producer Quincy Jones once described her voice as the sound of "honey at dusk."
Anderson, who was born in Houston to a construction worker and homemaker, began singing in church when she was 3 years old. She won a talent contest when she was 12 and sang at Houston's Eldorado Ballroom once a week for about four months.
Her family moved to Seattle in 1944 where she attended Garfield High School and began singing with the Bumps Blackwell Junior Band, featuring Jones, saxophonistBuddy Catlett and others. She left home at 18 to hit the road with Otis' band. She recorded her first single "K.C. Lover/Good Lovin' Babe" in 1948 and also married for the first time.
Over the decades, she moved between Los Angeles, New York and Europe but often returned to Seattle.
While in New York, Anderson recorded with Jones, Russell Jacquet, tenor saxophonist Clifford "King" Solomon and others, the newspaper reported.
Frustrated with her slow career growth in New York, Anderson joined Swedish bandleader Rolf Ericson to tour Europe. While there, she recorded an album, "Hot Cargo," that was later released by Mercury Records in 1958 to rave reviews.
Time Magazine at the time called her "the best-kept jazz secret in the land" and critics of the country's leading jazz magazine, Down Beat, celebrated her as a "new star" of the year, The Seattle Times reported.
Anderson released six albums on Mercury Records, including the much-praisedMoanin,' but her career subsided in the 1960s. In 1966, she returned to Seattle from London and quit singing.
She re-emerged, however, in the 1970s and signed with the Concord Jazz label. Anderson released Hello, Like Before in 1977. More than a dozen albums followed over the next 15 years.

Thursday, March 10, 2016

Naná Vasconcelos 1944 - 2016

By ChicagoTribune

Acclaimed Brazilian percussionist Nana Vasconcelos has died at age 71.
The eight-time Grammy Award-winner worked over the decades with well-known musicians such as Milton Nascimento.
Vasconcelos died of lung cancer on Wednesday in the northeastern city of Recife where he was born.
He was a master of the single-string percussion instrument known in Portuguese as the berimbau.
The American jazz magazine DownBeat named Vasconcelos percussionist of the year every year from 1983 to 1991.
He started learning music with his musician father and by the time he was 12 he was playing a drum kit, performing at bars with local groups.
Nana rose to national prominence after he moved to Rio de Janeiro in the 1960s and started playing with Nascimento.

Saturday, January 30, 2016

Frank Collett 1941 - 2016

By Doug Ramsey - 26/01/2016
Producer Dick Bank reports that pianist Frank Collett died of liver failure yesterday in Pasadena, California. Collett was 74. He led his own trio and in the course of his career worked with Louis Armstrong, Zoot Sims, Shelly Manne, Dizzy Gillespie, Benny Carter, Freddie Hubbard and a list of vocalists that included Carmen McRae, Sarah Vaughan, Ernestine Anderson, Helen Merrill, Jon Hendricks, Diane Reeves and Barbra Streisand.
Born in Brooklyn as Frank Taglieri, his talent as a prodigy won him a scholarship to the Juilliard School of Music—at the age of six—and study with the prominent piano instructors Paul Gallico, David LeVita and Herbert Stessin. In the late 1950s he decided to become a jazz musician and changed his professional name to Collett. Following military service in the West Point Military Academy Band, he joined Sarah Vaughan and moved west. In Las Vegas and Los Angeles, his career took off. After the Vaughan period, Collett formed a trio with the other members of her trio, bassist Monty Budwig and drummer Donald Bailey. His Los Angeles recording and television work included recordings and appearances not only with mainstream jazz artists but also with pop performers, among them Elvis Presley, Perry Como, Keely Smith, Glenn Campbell and Bette Midler.
Hearing of Collett’s death, fellow pianist Jan Lundgren today referred to him as “a fantastic player.” Recalling Collett’s modesty, Dick Bank said, “Frank hid his light under a bushel.” Bank produced Collett’s last three albums.

Sunday, January 17, 2016

1 Sem 2016 - Part One

The Pete McGuinness Jazz Orchestra
Strength In Numbers

By Pierre Giroux
While the days of taking a 16-piece band on tour are long over, fortunately record companies and producers continue to issue albums of that genre. Falling into that category is the Pete McGuinness Jazz Orchestra’s Strength In Numbers and it is an acknowledgement that there is a market for a big band that is venturesome and can play with power and precision.
Even before dropping the laser beam on the disc, a reading of the liner notes offered encouragement. One of the producers of the album is John Fedchock who was one of the stalwarts of Woody Herman’s latter bands and is a leader of his own New York based big band and knows a thing or two about the need for swinging arrangements. The Send-Off is the send-off for the album and, while not a barn-burner, it does offer tenor-saxophonist Tom Christensen and drummer Scott Neumann a chance to deftly show their chops. The Michel Legrand chestnut What Are You Doing The Rest Of Your Life?is done up as an easy-going waltz with some smart expressiveness and then part way through, for some unexplained and unfathomable reason, Pete McGuinness offers a vocal. McGuinness does the same vocal thing with You Don’t Know What Love Is justifying it on the basis that Chet Baker was one of his vocal heroes. Sometimes such adulation is best left unrequited.
The balance of the album confirms that McGuinness is a composer and arranger with an invigorating original style who can take advantage of the full palette of a large orchestra as shown on the Stephen Foster ballad Beautiful Dreamer which is turned into a swaying samba with the soprano sax of Dave Pietro layered in over the band. Nasty Blues is a swinger of the first order with the saxophone section laying down the melody in the manner of Count Basie and then the soloists take over, firstly with Dave Pietro on alto, followed by an exchange of choruses by trombonists Mark Patterson and Matt Haviland. The band’s blazing “shout chorus” is led by trumpeter Jon Owens. Finally Bittersweet opens with an extended piano offering from Mike Holober after which McGuinness carries the load on trombone, showing he can deliver the goods in a brusque but evocative style.
This is an invigorating release from a solid outfit.
1. The Send-Off; 2, What Are You Doing The Rest Of Your Life?; 3. Trixie’s Little Girl
4. The Swagger; 5. Beautiful Dreamer; 6. Spellbound; 7. You Don’t Know What Love Is
8. Nasty Blues; 9. Bittersweet; 10. You Don’t Know What Love Is (radio version)
Pete McGuinness - Composer, arranger, vocals, trombone
Dave Pietro, Marc Phaneuf, Tom Christensen, Jason Rigby, Dave Reikenberg - Woodwinds
Bruce Eidem, Mark Patterson, Matt Haviland, Jeff Nelson - Trombones
Jon Owens, Tony Kadlek, Bill Mobley, Chris Rogers - Trumpets 
Mike Holober - Piano; Andy Eulau - Bass; Scott Neumann - Drums

Mike Wofford
It's Personal

By Amazon
Mike Wofford has a long history of playing piano with great jazz musicians over the past 50 years including long stints with Shelly Manne, Bud Shank and many others. He is probably best known for his work as accompanist and musical director for Ella Fitzgerald and Sarah Vaughan. His latest recording, It's Personal features Wofford on solo piano playing some of his personal favorite tunes. There are 4 original compositions from Wofford and 8 other pieces by a range of composers from Jackie McLean, Dizzy Gillespie and Duke Ellington to the Talking Heads.

Claudio Filippini Trio
Squaring The Circle

By Robin Arends
One of Italy's most talented young jazzpianists, Claudio Filippini, turns back to the jazzstandards in his new album "Squaring the Circle". The album is recorded in october 2013 in Cavalicco and released july this year. Flippini uses unexpected instrumentation. Filippini has left his Nordic Trio (consisting of Palle Daniellson and Olavi Louhivuori) and now takes his comfortable freedom with the artistic soulmates he started his professional carreer with a decade ago.
The album starts with a number called "Impressions" and is subscribed to John Coltrane. It could also be a version of the (frequently by Coltrane interpreted) Rodgers and Hammerstein-composition "My Favorite Things". After a bassintro Filippini's piano and electronics are taking over.
An abundance of echoes and strings do believe that Filippini is going a completely different (let us say: more commercial) direction. Fortunately this proves not to be the case as the next piece testifies.
What follows is a surprising version of "Autumn Leaves", introduced by Di Leonardo and Bulgarelli which turns slowly in a beboptune led by Filipinni. There is little that is reminiscent of the original standard. It is clear that with this second song the trio declares originality is more important than an exact representation of the standard. The other pieces proof us why.
Part of the intro of 'Round Midnight' turns into a Portisheadpiece and could suggest we are in the wrong room but later it turns out that we still sit in the right place. Filippini's Grand Piano is in the centre and plays the wellknown Monktune. After a digital interlude, Monk is put in the closet and Filippini proofs his skills while he is accompanied by samples. Also Filippini's version of the Oliver Nelson-classic "Stolen moments" is a complete remake. It starts as a discosong and ends up as a Brazilian carnivaltune.
The trio distances itself not completely from the originals. The uptempo Hart and Rodgers composition "I Dont' Know What Time It Was" keeps pretty near the original version. Also Mancini's "Moon River" stays mainly intact. And the trio Filippini leave us in silence with a breathtaking version of the evergreen "What a Wonderful World".
All together "Squaring the Circle" is not just about qualities. It is about inventive creativity. It is alluring to compare the pieces on this album with the music on the other Filippini-albums or versions of other pianists. Why fits "As Time Goes By" better on "Breathing in Unison" and what makes the presented standards unique? What is the difference between Filippini's version of Jitterbug Waltz and Errol Garners 1949- version? Can we compare Autumn Leaves or 'Round Midnight as played by the master of standardspecialist Keith Jarret? Yes, we can and we'll hear different voices, unique souls playing unique tunes. All together Squaring the Circle is too short. There are many other tunes which could be included in this selection. "Impressions" should be left to McCoyTyner and maybe Marc Copland and Dave Liebman (and compare it with the Copland-trio version of My Favourite Things). But there is so much more we have a right to. Where are the compositions of Kern, Berlin, Gershwin and Hammerstein? The qualities of Filippini and his trio should not be limited to the numbers on this album. We want more!
1. Impressions (J. Coltrane) 5:53
2. Autumn Leaves (F. Prévert – J. Kosma) 4:55
3. 'Round Midnight (B. Hanighen – T. Monk – C. Williams) 7:59
4. I Don't Know What Time It Was (L. Hart – R. Rodgers) 4:32
5. Moon River (J. Mercer – H. Mancini) 5:19
6. Stolen Moments (O. Nelson) 4:00
7. Jitterburg Waltz (F. Waller) 6:09
8. A Night In Tunisia (D. Gillespie) 6:15
9. What A Wonderful World (B. Thiele – G. D. Weiss) 7:06
Claudio Filippini, piano & keyboards
Luca Bulgarelli, bass
Marcello Di Leonardo, drums

Fred Hersch

By Fred Kaplan
With Solo, his 49th album as a leader (or co-leader) and 10th as a soloist, Fred Hersch nails his standing as one of the premier jazz musicians of our time, a pianist of subtle touch and propulsive flow, something like Keith Jarrett but more focused, less rhapsodic—Ravel to KJ's Liszt or Rachmaninoff (not that there's anything wrong with either).
Recorded live last year at the Windham Civic Center Concert Hall, in New York's Hudson Valley, Solo (on the Palmetto label), features, like most of Hersch's albums, a mix of originals and standards—the latter by Jobim, Ellington, Monk, and Joni Mitchell, four composers who have no finer interpreters in jazz today.
Monk is a particularly knotty composer to cover. Most pianists who try either come off as merely imitative (and usually stiff) or go for an original approach that doesn't sound remotely Monkish. Hersch, as he first demonstrated on Thelonious (a 1997 album on Nonesuch), is among the few who mines Monk's essence while refining it in an original voice. He embroiders Jobim with newfound layers of beauty, adds a Latin flavor to Ellington's "Caravan," and lays down Mitchell's "Both Sides Now" with loving (but not at all sentimental) elegance.
I'd say this is Hersch's best solo album since In Amsterdam (2006) or maybe Let Yourself Go (1999).
About the sound quality. A reviewer in one of the other audio magazines (not Stereophile) gave this album 5 stars for sonics, which, I must report, is absurd. It was recorded on a standard 44.1kHz/16-bit CD-R by the Windham Civic Center's sound man (unnamed in the credits), who gave Hersch the disc after the concert. Hersch hadn't planned to release it as an album, but he was so taken by his performance—and so unmoved by a studio session he'd laid down around the same time—that he decided to put out the Windham session, despite the so-so sound. He gave the disc to Mark Wilder, one of the top mastering engineers around, who brought out his bag of tricks and made it sound as good as possible—but good is the best he could do. It's a bit reverberant and a bit muffled, but better than you'd expect from a raw feed off a soundboard. Let's call it 4½ stars for music, 3 stars for sound.
Don't let this put you off, though. The beauty of Hersch's playing shines through.

Dino & Franco Piana Ensemble

By TraccediJazz Magazine
Dino e Franco Piana, a circa due anni di distanza presentano un nuovo lavoro. A differenza del precedente questo è costruito su una sequenza di nove brani uniti tra loro da modulazioni e cadenze di largo respiro.
Franco Piana con questo lavoro si rivela compositore ed arrangiatore di altissimo livello, la sua scrittura per sei fiati (flicorno, tromba, trombone, saxalto, saxtenore, flauto) pianoforte, contrabbasso e batteria è costruita, in modo da ottenere quei risultati che solo un orchestratore/arrangiatore di valore riesce a realizzare.
Alla scrittura di Franco può, agevolmente, adattarsi quanto il critico accademico Winthrop Sergeant disse a proposito di Gil Evans: “grande senso della poesia sonora e puntigliosa attenzione ai colori timbrici”. Ma ciò che maggiormente sorprende è la capacità di Franco Piana nel creare “masse di suono” con solo sei strumenti a fiato, lui stesso al flicorno, la tromba Fabrizio Bosso, Dino Piana, trombone, Ferruccio Corsi e il giovanissimo figlio Lorenzo Corsi, rispettivamente saxalto e flauto e Max Ionata, sax tenore, insieme a Enrico Pieranunzi, pianoforte, Giuseppe Bassi, contrabbasso e Roberto Gatto, batteria e produttore artistico, vale a dire in questo “nonet”, alcune fra le più belle realtà del Jazz di oggi.
Nel primo dei nove brani “Opening” eseguito da tutti i fiati, vengono già enunciati gli spunti tematici dei brani che seguiranno. Nel secondo, “Just a Reflection”, dopo un tema molto articolato seguono i primi quattro assolo dovuti a Max Ionata, Fabrizio Bosso, Dino e Franco Piana. Dopo un ensemble e ad Enrico Pieranunzi segue un “collettivo tematico” prima delle parti solistiche di Roberto Gatto e Franco Piana.
Dopo la ripresa del tema e una modulazione che porta ad una cadenza splendidamente eseguita al flauto da Lorenzo Corsi, viene introdotto il terzo brano “A Light in the Dark”. Già in “Just a Reflection” la parte in assolo di Fabrizio Bosso appare in tutta la sua versatilità, così quella di Pieranunzi che esplora ogni peculiarità della composizione.
Il tema di “A Light in the Dark” è esposto magistralmente da Dino Piana e Ferruccio Corsi, cui segue Enrico Pieranunzi la cui personalità stilistica originale è qui in tutta evidenza. Dopo una modulazione, una cadenza di Dino Piana ne introduce una ulteriore di pianoforte le cui ultime note sono quelle del nuovo tema “Five Generations”, brano che si sviluppa tra la prima parte modale e l'inciso costruito su giro armonico.
Le parti solistiche sono riservate a Max Ionata sempre espressivo nel suo bel fraseggio, Fabrizio Bosso e Enrico Pieranunzi. La composizione si chiude con una bella “chase” fra Giuseppe Bassi solido e swingante e Roberto Gatto sempre elegante ed efficace. Gli assolo di Ionata, Bosso e Pieranunzi in sequenza sono straordinariamente inventivi e di grande impulso ritmico.
Nel quinto brano ”After the Winter” dopo un’introduzione che riprende il tema finale del “movimento” precedente, Lorenzo e Ferruccio Corsi, flauto e saxalto, espongono, dopo la modulazione, questa splendida melodia di Franco Piana lasciata per l'intera esecuzione al lirismo di Lorenzo e Ferruccio. “After the Winter” termina con intervalli di un tono e ½ tono e annuncia il brano seguente “Ostinato” in cui si notano una sequenza di assolo splendidi: Pieranunzi, Ionata, una chase superba eseguita da Dino Piana e Lorenzo Corsi, Fabrizio Bosso, Giuseppe Bassi e infine Franco Piana che con la tromba sordinata, chiude questa sesta composizione anticipando “Only Now”.
Il brano si apre con un dialogo fra i fiati ed un assai brillante Roberto Gatto, che è anche produttore artistico del cd, prosegue poi con una sequenza di assolo, Bosso e Ionata prima dell’ensemble, Dino e Franco Piana, Enrico Pieranunzi prima del collettivo che precede il tema. L’ottava composizione “Why Not” è, anche in questo caso, un tema melodicamente di grande efficacia, esposto con intensità da Franco al flicorno e da Dino, seguiti da Enrico Pieranunzi. La modulazione finale con flauto, flicorno e trombone prevede intervalli che anticipano
il 9° movimento finale, un blues veloce, “CdJ Blues” (dedicato alla Casa del Jazz di Roma). “CdJ” è impostato secondo la classica struttura jazz di sempre, ma sempre efficace, tema-assolotema, quando, come in questo caso, i solisti sono di altissima classe e capacità.