Description
気鋭の伊・若手ピアニストを発掘紹介する「ピアノ・シリーズ」＃3000番台。年間に僅かなタイトルしかリリースしないと言い切る、日本のピアノ・トリオ・ファンの期待を決して裏切らない厳選された期待のシリーズ。
「超緊密で緊張感溢れるインタープレイ」、「それを後押しする密度の濃い鮮烈なサウンド」、「一般受けは難しいかもしれないが、これぞジャズオーディオ」と評された前作「The Fourth Door / Tan T-ien」に同じサウンドエンジニアを起用した、本人名義2枚目となる本作。タイトル“Symbiont”（共生）の意味するところは、「個と多の間の関係。それは個々の集まり＝総体として定義される集合体という意味であると同時に、（カオスかつ共生的ないくつもの層が重なって形成された）個々の複雑な美しさを引き立たせる関係でもある」と、ありがたい前置きはさておき、聴けば聴くほどクセになる１枚です。
Cat#:
LABEL: AUAND Piano Series, Italy
Format: CD / AU3007
ARTIST: LUCA DELL’ANNA
TITLE: SYMBIONT
EAN: 8031697300724
Lineup:
Luca Dell’Anna (piano)
Danilo Gallo (double bass)
Michele Salgarello (drums)
Rec data:
All compositions by Luca Dell’Anna
Recorded at il Pollaio, Ronco Biellese (BI) Italy, on May 31 & June 1, 2014, by Piergiorgio Miotto
Mixed and mastered at Digitubestudio, Grazie di Curtatone (MN) Italy, by Carlo Cantini
Produced by Luca Dell’Anna
Notes
Italian pianist Luca Dell’Anna’s second album “Symbiont” is out on May 25th on Auand Records’ Piano Series, following his critically acclaimed debut work “Mana” (2014) that featured Ivo Barbieri e Israel Varela. Dell’Anna is still leading in a trio, this time featuring Danilo Gallo, a versatile, genre-crossing double bass player who founded El Gallo Rojo collective, and Michele Salgarello, one of the most accomplished Italian jazz drummers. “Symbiont” is meant to symbolize the relationship between the one and the multiplicity, both as a collective, made up of symbiotic individuals, and as a celebration of the beauty of individual complexity (which, in turn, is the result of chaotic as well as symbiotic layers). The album includes 10 tracks Dell’Anna has specifically composed for his two band members, focusing on their inner nature and expressive charisma. Gallo and Salgarello share a longtime experience and a solid, many-sided background, easily handling written structures and free improvisations. «The “Symbiont” challenge – Luca Dell’Anna says – was all about finding a common ground this structured writing and my band members’ strong, independent personality could coexist in. Just like a playground, a place everyone can set his style free without losing sight of symbiotic interdependence of each part.» Each composition plays on counterpoint dichotomy between melody and bass, and rhythmic-harmonic juxtaposition of sections, starting with the title-track, with two cyclically different rhythms based on a similar beat and, permeating each other. A light balance between free structures and a firm “call” system reigns, thus getting structures back to the common grid, as in “Exokernel” and “The Turk”. All this results in a fluid, choral conglomerate – an often strict, excited writing free-flowing through a strong common vision, thus keeping interplay free as well.
