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CD |
| 6.872 Ft
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| 1. | Amenhotep
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| 2. | Poulet Fumo
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| 3. | Pigiami Firmati
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| 4. | Yazilikaya
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| 5. | Adjame
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| 6. | Nemrod Dagi
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| 7. | Gioia dei Bimbi
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| 8. | La Luna Laggio
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| 9. | Autumn Leaves
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| 10. | 10,000,000/Iva Chiovi in Mano
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| 11. | Commagene, the King
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| 12. | Ducks' Dance
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| 13. | 'Round Midnight
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| 14. | Tahi
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| 15. | Dado, the Dog
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| 16. | Chanson de la Pleine Lune
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Jazz / Avant-Garde Jazz, Free Improvisation
Carlo Actis Dato - Sax (Tenor), Composer, Sax (Baritone), Clarinet (Bass), Saxophone
Giorgio Antoci Cover Art
Isabel Seeberg Translation
Jimmy Van der Plaas Photography
Leo Feigin Producer
Lora Denis Artwork, Design
Marco Giaccaria Engineer
Markus Muller Liner Notes
Paul Lytton Translation
A solo CD by one of the heroes of the Italian new music scene.
16 compositions performed on baritone and tenor saxophones, and bass clarinet.
As Markus Muller writes in his liner notes: "Don't be surprised if a rhinoceros walks into your living room and starts whistling "Autumn leaves" when you are listening to URARTU". Sounds of the avant-garde wrapped in melodies.
Italian reedist Carlos Actis Dato, the "man from Milan," as he is known among European free jazz fans, is well known as one of the principals in the Italian Instabile Orchestra and as a soloist who leads a group called the Atipico Trio. Despite appearing on over 35 releases, this is his first solo recording. Principally consisting of improvisations on baritone saxophones and bass clarinets -- though there are a few tenor pieces tossed in -- Actis Dato is reminiscent in his playing manner of Evan Parker, whose modalities and sound sheets are the overlay by which he conducts his investigations. It's true that he doesn't carry Parker's fire -- no one does -- but he does dig deep into the notion of polyphony that Parker ascribes to, or, shall we say, the illusion of polyphony, unless microphonics count, but that's for the music scholars to argue. There is also a deeper blues sensibility that seems to come equally from the horns of Hamiett Bluiett and Pepper Adams in Actis Dato's playing. His flurries of harmonic exchange in the mirror of interval and arpeggio are certainly in Bluiett's style, but his flow, the glide from one idea to the next so seamlessly, is out of the Adams technique book. There are 16 pieces here, 15 of them original improvisations that express the cry of the reedist own voice as he seeks resolutions to questions of esthetic expression and harmonic trickery. His voice is passionate and humorous and the playfulness in it is not a disguise for anything or its lack -- however, his insistence on wearing of a gigantic Donald Duck mask in performance may be something other than a Fluxus statement. But the two most revealing moments on this very satisfying solo debut come during the brief "Pigiami Firmati," where he uses Gerry Mulligan's arpeggio style and inverts it for the sake of harmony and comes at the melody he has created sideways playing it from the inside out, and on the microtonal experiment "Yazilikaya," in which long tones are breathed into the horn and then superimposed via circular breathing with other ones, producing a microphonics of tone rather than just of notes. The fact that layered on top, without overdubbing, are soloing intervals of scalular depth and complexity, makes the piece seem like a technical impossibility in the first place and an emotional wonder in the second. And finally, as if to prove that improvising is not his only strength, Actis Dato does a gorgeous if irreverent reading of "'Round Midnight." He uses the melody to extrapolate tonal fragments necessary to its architecture and carry them over into a different set of pitches to produce a counter melody that mirrors the original. It is deft, complex, and soulful. Urartu is a solo debut that has more than its share of quirks and surprises -- some of them unpleasant -- but it holds great delight and deep interest for the listener of modern improvised music. This is a fine debut with a few rough spots; if Actis Dato continues in his present direction, his next solo album should be a monster. ~ Thom Jurek, All Music Guide
Carlo Actis Dato
Active Decades: '70s, '80s, '90s and '00s
Born: Mar 21, 1952
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Post-Bop, Hard Bop, Avant-Garde Jazz, Free Improvisation
Multi-reedist Carlo Actis Dato has performed and recorded modern creative jazz since the 1970s. Over the next 30 years, he played on 50 recordings, serving as co-leader or leader on about 20 of these. An integral member of the Italian creative music scene, Dato was a co-founder of Art Studio, one of the first groups to play new jazz in Italy. He is also a member of the Italian Instabile Orchestra, a project that occasionally groups together the finest in the Italian new jazz scene -- including composer and clarinetist Gianluigi Trovesi and trombonist Sebi Tramontana -- which released several recordings during the 1990s, including a live double disc on Leo Records. Dato also leads his own quartet, formed in 1984, which was voted Top Italian Group by the Musica Jazz magazine in 1988, 1990, 1992, and 1996, and has performed at festivals and for radio broadcasts in several European countries. The other members of Dato's quartet are bassist Enrico Fazio, drummer Fiorenzo Sordini, and reedsman Piero Ponzo. Dato also leads the reeds-only Atipico Trio and co-leads the Brasserie Trio, who also have a release on the Leo Records label. He has performed in many groups including Mama Quartet and Mitteleuropa Orchestra, and has collaborated with Georgio Gaslini, Roberto Ottaviano, Oliver Lake, Leroy Jenkins, Franz Koglmann, Pino Minafra, Mark Dresser, various members of the Italian Instabile Orchestra, and more. Dato also took part in many theater and dance performances, and taught jazz and saxophone in the Civic School of Torino and the Percstudio Music Information. At the end of the 1999, a duo recording with Kazutoki Umezu came out on Leo, entitled Wake Up With the Birds.
--- Joslyn Layne, All Music Guide |
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