Artist: FABRIZIO MOCATA     Album: LETTER FROM MANHATTAN     Label: AlfaMusic     Code: AFMCD168

LETTER FROM MANHATTAN

  • LETTER FROM MANHATTAN

  • FABRIZIO MOCATA

  • 16 February 2015

  • AFMCD168

  • 8032050014074

  • iTunes, AlfaMusic

  • No covers downloadable for Guests

No tracks downloadable for Guests

  • Total views : 3966

  • Today views : 1

  • Created on : 09 January 2015

  • Total songs : 10

  • Total comments : 0

  • From: AlfaMusic

Press Release

LETTER FROM MANHATTAN - Fabrizio Mocata

Fabrizio Mocata piano

Ferenc Nemeth drums

Marco Panascia double bass

Special guest George Garzone sax

 

Chi dice che i più giovani non abbiano a mente la migliore tradizione jazzistica, mente anche a sé stesso. Basta darsi un’occhiata in giro e spolverare le orecchie dalle frasi fatte e dai déjà écouté che si possono incontrare per strada. Fabrizio Mocata appartiene a un novero probabilmente ristretto, e stretto nella morsa del volere andare avanti a tutti i costi quando non si ha nulla da dire. Il pianista siculo, invece, ha le idee ben chiare, perché alla sua agilità e al suo talento sulla tastiera unisce un particolare gusto per l’armonia, tutto italico. Il suo recente passato è fatto di classica e jazz: ben fusi dalla sua abilità nel far coincidere perfettamente i due linguaggi. Poi, o forse prima, c’è il tango, la musica argentina declinata nella sua terra natia, dove il Nostro è di casa.

Questo background, in apparenza, non s’acconcia a questo lavoro. Appunto: solo in apparenza, visto che se è vero che Letter From Manhattan suona quel sano jazz che prende i muscoli e i sensi, è altresì vero che s’intrufolano sotto le sue coperte tante altre musiche, tanti altri linguaggi opportunamente oleati, smussati che pigmentano ogni singolo brano di questo album. Il suono è del piano jazz trio: al fianco del leader ci sono i due «americani» Marco Panascia, geniale interlocutore delle invenzioni ritmiche di Ferenc Nemeth; poi, un’ospite da parterre de rois, il sassofonista George Garzone che lì dove mette la sua voce aggiunge cromatismo e virilità. Un’apparizione speciale la fa Nick Myers, giovanissimo allievo di Garzone, che riscalda con il suo tenore le scanzonate note di Catablus. Fin dal primo brano Just That viene fuori quel gusto diacronico di Mocata che racchiude negli stessi accordi un secolo di jazz in tutte le sue declinazioni irrorato di nuova brina: nelle scelte degli intervalli, nelle esplorazioni modali accennate e nello sviluppo melodico armonioso della frase. Est Side Story garantisce il ricordo delle armonie classiche, care al Nostro, intinte in focose improvvisazioni e nelle rocciose linee di basso, larghe e impeccabili, di Panascia. Bouquet che illumina anche il ¾ di Man Waltz e rimarca i suoni netti, spiccati, puri del pianoforte. Panascia va a nozze con l’up-tempo – quasi un ossimoro – di Depression, con Garzone che furoreggia sui vari registri. Iceberg è una ballad che mette d’accordo il Mediterraneo con la Scandinavia: pause, rarefatte sospensioni e invenzioni rapsodiche costruite intorno a legati di pregio, si lasciano trasportare dalle tanto suadenti quanto determinate spazzole di Nemeth. Con Tango 22 Mocata paga il tributo al suo passato-presente accendendo i riflettori su di un repertorio pianistico fatto sì di obbligati, ma ricco di spunti improvvisativi d’alta marca. Spring ci riporta in quella sacca geografica di confine che unisce terre tenute lontane solo dai chilometri, ma non dalle pieghe culturali che le accomunano. Trisofobia sembra fatto apposta per il tenore vellutato di Garzone, sempre capace di stupire e di offrire brillanti soluzioni. Atmosfere imbrunite avvolgono Conversation, dove la melodia la fa da padrone.

In questo disco nulla è lasciato al caso: vi è la cura del particolare, le esperienze di Mocata che vengono fuori non con prepotenza, ma anche con sicura eleganza.

Alceste Ayroldi

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ENGLISH

 

Whoever says that young people do not remember the best traditions of jazz is certainly lying, especially to himself. One only has to take a look around and dust away from one’s ears all the cliches and déjà écouté that you hear on the street. Fabrizio Mocata belongs to a group, probably a rather small one, of musicians who are encircled by too many others who are gripped by the obsession of wanting to move forward at all costs even when there is nothing more for them to say. Unlike them the Sicilian pianist has some very clear ideas of his own, as he continues to combine his agility and his talent on the keyboard with a particularly Italian taste for harmony. His recent past consists of classical and jazz, which he has perfectly blended thanks to his exceptional ability to bring these two idioms together. Then, or perhaps one should say before that, there is the tango, the music of Argentina and Uruguay where our man feels thoroughly at home, although he plays it in his native land of Sicily.

This background is, apparently, not particularly pertinent to this latest work. But, as I said, this is only apparent, because while it is true that Letter From Manhattan has that healthy jazz sound that goes straight to your muscles and your senses, it is also true that many other types of music have sneaked in under the record’s covers, withmany other musical idioms, nicely oiled and with their edges smoothed off, that give their colours to every single track on this album. The basic sound is that of the jazz piano trio, as the leader is flanked and supported by the two "Americans" Ferenc Nemeth and Marco Panascia. The latter, on the double bass, is an ingenious interlocutor with Nemeth’s continual rhythmic inventiveness on the drums. But there is also an exceptional special guest, the saxophonist George Garzone, who adds chromaticism and virility whenever he plays. A young student of Garzone, Nick Myers, also makes a special appearance, nicely warming up the unconventional notes of Catablus with his tenor sax.

From the very first track, entitled Just That, Mocata’s taste for the diachronic clearly emerges, and the chords themselves contain a whole century of jazz in all its forms, but there is also a sprinkling of something fresh and new. This appears in the choice of the intervals, in the tendency towards subtle modal explorations and in the harmonious melodic development of the phrase. Est Side Story brings us back the memory of the classic harmonies that are so dear to Mocata, tinged with fiery improvisations and Panascia’s rocky bass lines, so spacious and impeccable. The bass playing also illuminates the ¾ time of Man Waltz and constantly emphasizes the clear and pure staccato sounds of the piano. But Panascia really goes to town with the lively upbeat tempo – almost paradoxical considering the title of the piece – of Depression, while Garzone rages with passion on the various registers of the sax.

Iceberg is a ballad that brings the Mediterranean into accord with Scandinavia: pauses, rarefied suspensions and rhapsodic ingenuity constructed around impressive legatos are borne aloft and transported by Nemeth’s persuasive and determined brush playing on his drums. On Tango 22 Mocata pays tribute to his past as well as his present by putting the spotlight onto a piano repertoire consisting of obbligatos, but also full of high-quality improvisational ideas. Spring conjures up the feeling of distant lands that are only separated by miles and geographical boundaries, but not by the cultural features they have in common and the various affinities that bring them together. Trisofobia seems to have been composed especially for Garzone’s velvety tenor sax, that is always able to surprise us and to provide brilliant musical solutions. The last track, Conversation, is enwrapped in tenebrous atmospheres, in which the melody is sovereign.

On this record nothing is left to chance: there is a constant attention to detail, and the fruits of Fabrizio Mocata’s musical background become manifest with the elegance of sureness and confidence that comes of experience, rather than with the swaggering sense of self-importance or superiority of those who are still immature.

 

Alceste Ayroldi

 

Track List

Letter from Manhattan - FABRIZIO MOCATA Trio

01 JUST THAT           

02 EST SIDE STORY    

03 MAN WALTZ                                        

04 DEPRESSION                                  

05 ICEBERG                                              

06 TANGO 22                                             

07 SPRING                                                

08 TRISOFOBIA                                         

09 CATABLUS                                         

10 CONVERSATION                           

Tot. time   57'54

All composed by Fabrizio Mocata

Publishing: AlfaMusic Studio (Siae)

Personnel

Produced by Fabrizio Mocata for AlfaMusic Label&Publishing

Production supervision: Fabrizio Salvatore

 

Recording Data

Recording: Acoustic Recording Studio - Brooklyn, New York

Sound engineer: Michael Brorby

Mix and Mastering: AlfaMusic Studio – Rome

Sound engineer: Alessandro Guardia

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