What calls the attention immediately in this record of Michael Audisso, Dario Lapenna and Marco Siniscalco.
Lapenna | Seneschal | Audisso The absolutely new, intelligent and unusual way in which some pages of Duke Ellington and Billy Strayhorn are addressed.
Lapenna | Siniscalco | Audisso – Inspiration
Ellington has always been the author who has had the greatest influence on the work and style of many other greats of jazz. Take Archie Shepp for example, in almost all the works of this saxophonist is evident the homage to Ellington who is considered almost as a symbol of all, not very and deeply practiced, the possibilities of black-American music.
Analogously to Charles Mingus where the predilection for Elligton is even more evident, Shepp operates, unlike Mingus, a reinterpretation of the musical world of Ellington while remaining, in some ways, faithful to the melodic lines of the themes, for others exaggerating its contents.
The same path can be guessed in Audisso, Lapenna and Siniscalco, with a substantial difference. Mingus, Shepp, but also Marion Brown, when they proposed their "vision" of Johnny Hodges, keep almost intact the matrix of Ellington's music, in that sense, the Art Ensemble of Chicago re-proposed the jazz of the past, while the three European musicians propose a different Ellington, a "western Ellington" if it is accurated.
Immortal pages here re-proposed in an unusual way, as rarely had been heard in the interpretation of compositions by one of the protagonists, if not the protagonist, of the music of the 900.On the other hand, the protagonists of this work are musicians whose very wide musical conception ranging from jazz, to song, to ethnic music to academic music, could not produce a different result. The introduction of Perdido, although composed by the Puerto Rican Juan Tizol, has always belonged to the Ellingtonian universe, the bass clarinet part in The Mooche, so in contrast with the theme performed by Lapenna and Siniscalco, Paris Blues, African Flower, Come Sunday from "Black, Brown and Beige" lend themselves in a total way to the reinterpretation made.
In example to this, can be recalled the innovations on Ellington's famous themes transformed by Michael Audisso (In A Sentimental Flu) or Siniscalco (Don't Look at Me and Take The Augmented Train). Two themes of Billy Strayhorn, the wonderful, but little performed Upper Manhattan Medical Group. The equally extraordinary A Flower is a Lonesome Thing, in which Audisso on the soprano sax imposes himself as one of the best specialists of this instrument, perfectly assisted by two other excellent musicians, Dario Lapenna and Marco Siniscalco.