LABEL: Jazz Engine, Italy
CAT#: JE 8023
ARTIST: Apocalypse Trio
TITLE: Live at Fasano Jazz
Vincenzo Deluci (Elmec trumpet)
Camillo Pace (double bass)
Giuseppe Mariani (electronics)
Paolo Angeli (Sardinian prepared guitar)
Recorded at Fasano Jazz 2014
Mastering Offinica musicale studio by Giuseppe Mariani
Executive producer Ninni Pepe
Electronic sounds from alternative galaxies captured live in Apocalypse Trio’s revolution featuring Paolo Angeli and his Sardinian prepared guitar
The trio featuring Vincenzo Deluci (trumpet, live electronics), Giuseppe Mariani (programming, live electronics) and Camillo Pace (double bass, electronics) debuts under Jazz Engine Records with the fiery and biting “Live at Fasano Jazz”
The world of Apocalypse Trio is a magma of sounds that bursts and explodes in thrilling electro bubbles, leaving a thick lava made up of suggestions behind. Their new “Live at Fasano Jazz (feat. Paolo Angeli)”, out in March for Jazz Engine Records, marks their debut with the Italian label, highlighting a clear stylistic route.
Vincenzo Deluci (trumpet, live electronics), Giuseppe Mariani (programming, live electronics) and Camillo Pace (double bass, electronics) bonded over music more than 20 years ago: the result is a very focused and faultless common intent, embracing the echoes of a dance with electronics and trumpet lashes, on the rhythm set by an altered and bouncy double bass, as in the title-track ‘Apocalyps’.
In support of their spirited will to explore sounds yet to be invented, comes an artist who definitely knows about inventiveness: the Italian musician Paolo Angeli puts his Sardinian prepared guitar at their disposal in an alien-like, somehow hypnotic soundscape, thus generating an interplay that is unworldly and caustic at the same time. In Apocalypse Trio’s own words, «The sound processing becomes the meeting point for our music and cultural experiences, which leads to define the shape of our new electro jazz».
Although sometimes the energy of their approach is quite wild, their work also includes both more thinned-out lunar moments, as in their rendition of ‘A Child Is Born’, and episodes of true cinematic storytelling, as in the ‘Nuovo Cinema Paradiso/C’era una volta in America” medley – tracks punctuated with lo-fi cracks that carry the listener in front of a golden age silver screen, in all its glorious vintage perfection, riding a sophisticated electronic machine that gradually vanishes.