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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Andrea Centazzo & Gianluigi Trovesi
t i t l e : Shock!!
d a t e : 1999
l a b e l : Ictus / Newtone (Ictus 0016 / Newtone rcd 5043 2)
g e n r e : Jazz
r l s. d a t e : March/2005
t r a c k s : 06
b i t r a t e : VBRkbps
s i z e : 75,10 MB
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Andrea Centazzo: premiere drum set, paiste gongs and cymbals,
vibraphone, marimba, bass marimba;
Gianluigi Trovesi: bass clarinet, piccolo clarinet, alto
saxphone, soprano saxphone.
Andrea CENTAZZO and Gianluigi TROVESI, two among the most
important Italian jazz musicians, recorded these tracks in 1984
in Bologna, Italy.
Previously released, under same titles, as LP Ictus 016.
CENTAZZO and TROVESI met the first time in New York in 1978.
CENTAZZO was touring the States to perform with some of the
most outstanding exponents of the improvised music scene of the
time: Eugene Chadbourne, Henry Kaiser, Rova Sax Quartet, John
Zorn, Tom Cora, just to name a few. Most of the music of this
tour was recorded and then issued on Parachute, Metalanguage
and Ictus Records. Music we are proposing again in CD format in
this Series: The Bay, with Rova Saxophone Quartet; Environment
for Sextet, with a group including Zorn, Bradfield, Chadbourne,
Kondo e Corra; Usa Concerts West with J. Carter, Vinnie Golia,
Greg Goodman; Usa Concerts East with J. Zorn, LaDonna Smith, D.
Williams, T. Kondo, E. Chadbourne and others. TROVESI, rising
star of the jazz music in Italy, was playing at The Public
Theater with Giorgio Gaslini band, ironically the same group
Centazzo started his carrier wuth and had just left.
The unforeseen meeting between the two musicians, who know of
each other but never met personally, began a relationship to be
continued in the following years. Two years after TROVESI
became member of the MittelEuropa Orchestra, touring and
recording with this large ensemble that at the time was
collecting some of the best Italian musicians and some European
guest stars (Carlos Zingaro, Albert Mangelsdorf, Theo
Jorgesmann, a.o.).
The feeling between TROVESI and CENTAZZO gave birth also to a
duo set. Several concerts and this recording are the result of
that friendship. As you can easily notice exists between the
two players a very rare community. The music is not just a live
jam sessions, but the various moments and moods carefully
planned. The tracks alternate moments very intense to other
more subtle and refined. TROVESI, with a very personal
phrasing, shows already his interest in the ethnic traditions
that today are a trademark of his style. CENTAZZO goes along
with the reedman with a percussive technique that includes the
drum kit but also melodic instruments as marimbas, vibraphone,
with a full display of his musical language that alternate more
percussive moments to others more fluid and sparse.
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Not shocking, but wonderfully atmospheric. When the
Mitteleuropa Orchesta broke up, two of its members joined
forces for a series of concerts. Their rapport was great;
Centazzo says they had "the ability to reinvent on stage every
night what was essentially a conversation between friends." And
they have plenty to say: while Andrea crashes, Trovesi hums,
swoops, and decorates the evolving rhythm. It's a world of
sound, a whirl of emotion - and a shock to the system.
Andrea, persistent on tom-toms, brings us to the onset of
'Shock'. Trovesi, on slippery soprano, trills the nervy theme
with hints of Steve Lacy. It then becomes a march: as cymbals
form a mist, tiny notes peep from the sax, the chirps of a
distant cricket. The beat returns, and Trovesi floats mournful
notes with the touch of an oboe - dignified, and profoundly
sad. The 'nature' mood comes back, only more turbulent. A high
bleat leads to deep rumbles, the bass drum gets frantic, and
Trovesi more so. One final squawk at the end, bolstered by
echo, and he creeps away in a fog of percussion. An electric
moment.
'Cen.Tro.' is an eternity in four minutes. Life goes on at the
dock: a bell tolls, a horse snorts, and the foghorn sounds.
(Trovesi does both on a bass clarinet.) The bells turn more
exotic, and now we hear gongs: the port is somewhere East.
Colors drift and the sun slowly rises; nothing happens but the
mood, and that is enough. 'Tro.Ce.' is a world away: Trovesi on
a vigorous march, the strident notes proud but worried. It
sounds like modern classical; the clarinet?s quizzical notes
fall on a bed of echo. Andrea takes to the blocks, and
percussion trades with the quiet reed ? shades of Takemitsu.
Now the gongs, and while Andrea goes wild, Trovesi stays
dignified - a wonderful contrast. Andrea is certainly a
different drummer, and I'm marching next to Gianluigi!
'Shockmaker' is frantic, Trovesi on what sounds like amplified
alto. As Andrea goes strong, his partner erupts: greasy lines
of blurred notes, some late-night struttin' and an aggression
we didn?t know he had. The closest thing here to straight jazz,
and a wonderful dose of fury. 'Day in Tunisia' has a walking
marimba, and a line close to Ravel's 'Bolero'. It?s bass
clarinet with th stance of a baritone sax; he answers himself
with dubbed clarinet, high and peaceful. Mist rolls in as
several basses make a bagpipe drone, joined by gongs. It?s the
harbor sound of 'Cen.Tro.', only louder. Andrea's solo takes a
lot of bells, intermittent drums, and layered shimmers ?
intense, but calm. The parts are disparate, but it works as a
whole - like the group itself.
When recording was done, the musicians left the studio and were
startled to find themselves in a blinding snowstorm. (They
ended up having to walk home.) So wrapped in their music, the
men lost all contact with the outside world. Hearing this, toy
can see why: between thunders and whispers, the intricate lines
and earthy moods, they create their own environment. And you'll
feel right at home.
- John Barret Jr.
(http://www.allaboutjazz.com/php/article.php?id=4298)
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01-Shock [09:32]
02-Cen.Tro [04:09]
03-Tro.Ce [06:17]
04-Shockmaker's Shop [06:54]
05-A day In Tunisia (...Or Somewhere Round There) [09:55]
06-She Shook The Shock And Shot [04:59]
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41:46 min
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