Sempre considerei Enrico Pieranunzi como um dos maiores do Jazz, estou constantemente a procura de novos cd's a serem lançados por este que considero um dos genios do Jazz. Quero discutir com aqueles que gostam do pianista italiano, qual entre as duas gravações ao vivo, é a preferida. As duas sessões na minha opinião são excelentes, mas prefiro a do Japão. Vale lembrar que os repertórios e os trios são distintos.
Na duvida escute-os outra vez e leiam os reviews abaixo, boa audição:
LIVE IN PARIS
By Chris May
Gorgeously lyrical but unpredictable and open to free jazz, Italian pianist Enrico Pieranunzi always delights. His recordings, which are now frequent going on prolific, move the scenery around so that he rarely plays in the same context twice running. Highlights from the last year or so have ranged from the spare and spacey explorations of Doorways(with Paul Motian and Chris Potter) through the rhapsodic accessibility of Play Morricone(with Marc Johnson and Joey Baron).
Live In Paris, a double-CD set recorded at Le Duc Des Lombards club over three nights in October 2001, sits somewhere between those two albums: it's more conventionally melodic than Doorways, but further off-the-book and impressionistic than Play Morricone. The album reunites Pieranunzi with bassist/producer Hein Van De Geyn and drummer Andre Ceccarelli, incisive accompanists and quirkily inventive soloists, with whom he recorded Seaward in 1994.
Most of the tunes are standards, but whereas Pieranunzi stayed close to the original scores on Play Morricone, typically embellishing the themes rather than improvising on their changes, here he takes a more elliptical approach, alluding only briefly to the melodies before taking off into the unknown. Coleman Hawkins famously never directly stated the theme on his signature 1939 reading of "Body And Soul." And Pieranunzi, while he references fragments of the top line (probably less familiar to jazz fans today than it was in Hawkins' time), himself only gives it the briefest of nods.
The trio approaches "Someday My Prince Will Come," "What Is This Thing Called Love," "I Fall In Love Too Easily," "Autumn Leaves" and "But Not For Me" from similarly oblique angles: they're flight paths to adventure, rather than gentle cruises around the Great American Songbook. "But Not For Me" in particular is outstanding. The group storm out at a furious pace, and Pieranunzi radically reshapes the theme with dissonant upper keyboard note clusters, which ring out like cracked bells over Ceccarelli's explosive drums. It's exhilarating, and at just over five minutes, a small masterpiece.
The most exquisite magic, however, comes on a thirty-minute/three-track sequence towards the end of the second disc, starting with a balletically graceful reinvention of Fats Waller's "Jitterbug Waltz," which moves between 3/4 and 4/4, dancing nimbly and prettily en pointe all the time. That's followed by Pieranunzi's Satie-esque "One Lone Star," all filigreed single-note piano lines suspended over treble-end arco bass and dreamy brushwork, and another fine original, "Una Piccola Chiave Dorata," slightly more expansive but still essentially miniaturised and intimate. A muscular "Autumn Leaves" closes things out.
Lovely, fresh and thoughtful music, occasionally erupting into passionate ferocity, and full of unexpected twists and turns throughout its journey.
Track listing: CD1: Introduction; Ouverthree; Body And Soul; I Hear A Rhapsody; Footprints; I Fall In Love Too Easily; But Not For Me; Hindsight. CD2: Someday My Prince Will Come; What Is This Thing Called Love; Jitterbug Waltz; One Lone Star; Una Piccola Chiave Dorata; Autumn Leaves.
Personnel: Enrico Pieranunzi: piano; Hein Van De Geyn: bass; Andre Ceccarelli: drums.
by Ken Dryden
It is a tremendous challenge to find a fresh approach to standards and frequently performed jazz compositions. But pianist Enrico Pieranunzi is up to the task in this collection of live trio performances from 2001 in Paris. He is accompanied by two of Europe's finest musicians, bassist Hein Van de Geyn and drummer André Ceccarelli (who worked together in singer Dee Dee Bridgewater's band). The leader's take of "Body and Soul" includes a fluttering introduction and some dazzling Tatum-like runs. "I Hear a Rhapsody" is transformed into a daredevil post-bop anthem, while Van de Geyn introduces "I Fall in Love Too Easily" with a heartfelt solo. But the big surprise is their playful take of "Someday My Prince Will Come," which sounds more like a nightmare than a dream! Pieranunzi's off-centered arrangement of W.Shorter's modal masterpiece "Footprints" is full of tension, though his approach to Fats Waller's "Jitterbug Waltz" is fairly restrained. The leader contributed several originals, including the moody ballad "One Lone Star" and the more upbeat "Una Piccola Chiave Dorata." The support of the rhythm section is an essential ingredient throughout this highly recommended two-CD set.
LIVE IN JAPAN
by C. Michael Bailey
I suspect that at least a gazillion electrons have been sacrificed to the obvious influence that Bill Evans had on Italian pianist Enrico Pieranunzi...and I am going to offer up a few million more. Pieranunzi is well-studied in the Evans musical method, even establishing a temporal connection to Evans through bassist Marc Johnson, who performed with Evans on the late pianists final monolithic sets, Last Waltz and Consecration.
Johnson has show up regularly in Pieranunzi's groups, documented on Untold Stories, Ballads, and Paly Morricone. The latter of these employs drummer Joey Baron, collectively making up Pieranunzi's current trio performing on the two-disc Live in Japan.
Enrico Pieranunzi is that rare combination of scientist and poet, a musical Galileo who plays with a quiet certainty and powerfully invisible confidence. To end my comparisons with Evans, where Evans was painfully introverted, Pieranunzi is potently, but not overbearingly, extroverted. Pieranunzi's compositions and performances are concrete and perfectly conceived, lacking the vaporous aphorisms characteristic of Evan's playing. Compositionally, the trio's recital is devoted to the pianist, the trio, and a favorite Pieranunzi composer, Ennio Morricone.
The trio carefully crafts its collective efforts empathically, as easily as breathing. If it is even possible for a trio to be more comfortable than Keith Jarrett's Standards Trio it is this one. Pieranunzi, Johnson and Baron sound genetically linked to understand one anothers' dynamics, strengths, and weaknesses, if there are any. Each member is equally generous in their allowance of solo time to the others as well as their support of each other in such. All solos sound perfectly placed, never allowing the performance to sound rote and become boring. This recital seems so perfectly conceived and executed that it defies any meaningful analysis except that it is one of the finest trio recordings of 2007.
Track listing: CD1: Aurora Giapponese; Impronippo; How Can You Not?; If Only For A Time; Mio Caro Dottor Grasler; Musashi; Improleaves. CD2: Winter Moon; Broken Time; Tokyo Reflections; Nuovo Cinema Paradiso; Ninfa Pleba; When I Think Of You; Improminor.
Personnel: Joey Baron: drums; Marc Johnson: bass; Enrico Pieranunzi: piano.
By John Kelman
By no means a newcomer to the scene, Italian pianist Enrico Pieranunzi's star has only begun to rise significantly in North America in the past couple of years, with albums including the outstanding FelliniJazz (Cam Jazz, 2004) and Plays Morricone (Cam Jazz, 2005) finally more readily available. The double-disc Live in Japan, recorded in the spring of 2004, shortly ahead of the session for Ballads (Cam Jazz, 2006), captures the pianist once again in the company of bassist Marc Johnson and drummer Joey Baron—occasional companions, if not an ongoing working group, since the turn of the century.
Pieranunzi's impressionistic romanticism has often been compared to the legendary Bill Evans, but his penchant for focusing on material by Italian composers, in addition to his own writing, has often lent his work a distinctive Mediterranean vibe. But his collaboration with drummer Paul Motian on the freer but no less beautiful Doorways (Cam Jazz, 2005) demonstrated a more angular mindset that's an equal part of his overall approach, and is as much a component of Live in Japan as is gently balladry, straight-ahead swing and unmistakable lyricism.
Nearly half of this 100-minute performance is, in fact, devoted to free improvisation, but never without focus or collective intent. The 15-minute "Improleaves" deals largely in abstraction, but occasionally finds itself approaching—though never quite reaching—"Autumn Leaves," not to mention an on-again off-again pulse. Pieranunzi's "Aurora Giapponese" is a hauntingly beautiful overture that leads into the more extended "Impronippo," where Johnson's robust bass solo leads the trio into free territory. Brief references to standards like "All the Things You Are" are only a kind of baton-passing relay where Pieranunzi's deft touch may be the apparent dominant voice, but is really just one voice in a democratic three-way conversation.
Johnson and Baron's work together in recent years for artists including guitarist John Abercrombie and pianist John Taylor, and on the bassist's own superb Shades of Jade (ECM, 2005), suggests a rhythm section that will be looked upon with the same reverence as those of Scott LaFaro/Paul Motian and Ron Carter/Tony Williams. Infinitely flexible and unfailingly intuitive, there seems to be no limit to their musical reach.
The balance of the program consists of Pieranunzi originals, four by film scorer Ennio Morricone, and one by Baron, the open-ended "Broken Time." The set seems to go by in an instant, and while there are breaks for applause, they're hardly noticed. In turns energetic, elegant and elusive, Live in Japan is a thoroughly compelling release that positions Pieranunzi, Johnson and Baron in the upper echelon of piano trios, and will certainly go down as one of the best trio records of 2007.
by Ken Dryden
Enrico Pieranunzi has long been recognized as one of the best European jazz pianists. This two-CD set with bassist Marc Johnson and drummer Joey Baron, not actually a regular trio but one whose members have worked together on a number of occasions over two decades, was recorded during a concert tour of Japan in the spring of 2004, with selections taken from a number of different venues. Three engaging extended trio improvisations upon familiar standards are the highlight of this collection, though the pianist's delicious jazz waltz "How Can You Not?" and moody ballad "If Only for a Time" leave lasting impressions. The trio also explores four originals by noted Italian film composer Ennio Morricone, highlighted by the dramatic interpretation of "Musashi," in which the pianist's lyricism is complemented by Johnson and Baron's sensitive accompaniment. The spirit of Bill Evans is often present in Enrico Pieranunzi's playing throughout this collection, though it never takes over his musical persona. Highly recommended.