Enrico Rava - Pupa o Crisalide (1975) [re-rip>flac]

"Pupa o Crisalide" isn't his most acclaimed record, but it's my favourite one. It's a good summary of the first phase of his solo career, and it contains tracks recorded with three different ensembles: an all-Italian line-up for the opener and closer - recorded in Rome, an Argentinean octet for the B-side of the LP - recorded in Buenos Aires, and finally an impressive American septet (just two names: Jack DeJohnette, John Abercrombie) for the A-side, recorded in New York. The musical style clearly reflects the composite nature of the album. The first half is funkier, edgier and fierier, evidently influenced by the jazz-rock/fusion tendencies that were spreading during those years. The second one is more placid and skippy, and elegantly incorporates some Latin/Samba elements in the alchemy.

The two halves are held together by the timbric similarity of the line-ups (which feature almost the same elements), and by Enrico Rava's renown trumpet style. Often compared to Miles Davis and Kenny Wheeler, his technique envisages rarefied notes, full of ambience, and erratic melodic lines which surprisingly do not undermine the "presence" of his trumpet sound. On the contrary, Rava's trumpet charisma seems to emerge right from this amazing equilibrium of detachedness and red-bloodedness. Source: Ilgolpeeluva.blogspot.com

RCA-VISTA, THP1 1116, 1975

Recorded on 15th-16th July, 1974 (#A1, B4) in Rome, Italy;

December, 1973 (#A2, A3) in New York:

April, 1974 (#B1, B2, B3) in Buenos Aires, Argentina

Personnel:

Enrico Rava - Trumpet

Tommaso Vittorini - Tenor Saxophone, Arranger (#A1,B4)

Finito Ginbert - Tenor Saxophone, Flute (#B1-B3)

David Horowitz - Piano, Electric Piano, Synthesizer (#A2,A3)

Franco D'Andrea - Piano (#A1,B4)

Matias Pizzarro - Piano (#B1-B3)

John Abercrombie - Electric Guitar (#A2,A3)

Ricardo Lew - Electric Guitar (#B1-B3)

Michele Ascolese - Guitar (#A1,B4)

Rodolfo Mederos - Bandoneon (#B1-B3)

Giovanni Tommaso - Bass (#A1,B4)

Herb Bushler - Bass, Bass Guitar (#A2,A3)

El Negro Gonzales - Double Bass (#B1- B3)

Bruno Biriaco - Drums (#A1,B4)

Jack DeJohnette - Drums (#A2,A3)

Nestor Astarita - Drums (#B1-B3)

Mandrake - Percussion (#A1,B4)

El Chino Rossi - Percussion (#B1-B3)

Ray Armando - Percussion (#A2,A3)

Warren Smith - Percussion (#A2,A3)

Tracks:

A1. Pupa O Crisalide (4:03)

A2. C.T.'s Dance (6:43)

A3. Tsakwe (8:11)

B1. El Samba Graciela (4:09)

B2. Revisione Del Processo N. 6 (10:25)

B3. Lingua Franca (4:35)

B4. Giromondo (3:35)

All Compositions by Enrico Rava

Rava's early works are strongly influenced by Miles Davis music and (fortunately!) almost don't include that honey-sweet South European melodies and over-emotional sentimentality that can destroy even good compositions. “Pupa O Crisalide” was recorded with three different ensembles in three different continents and naturally it contains a variety of music.

The album's opener and closer both were recorded in Rome with Italian musicians and are closest to Rava's later "Italian recordings". Still Miles Davis influences are obvious. The rest of the vinyl on side A was recorded in New York with an American septet (including such musicians as John Abercrombie (on electric guitar) and drummer Jack DeJohnette); these tracks are strongest part of the album. Similar to Miles Davis electric fusion period, the music here is a bit warmer, more airborne and a bit softer, but in itself sounds excellent (if not extremely original).

The first three compositions on side B were recorded in Buenos Aires with Argentinean musicians and hence contain music influenced by Latin Fusion. Overall album is can be considered variable and has some really strong moments. Very soon Enrico will start working for ECM and his music will become much more predictable. One strong Italian jazz album and excellent entry to Enrico Rava music. ~ Jazzmusicarchives.com

Enrico Rava - Quotation Marks (1973,74)

“Quotation Marks” was a milestone for Italian trumpeter, now ECM mainstay, Enrico Rava. In addition to being his first of many projects on Manfred Eicher’s watch, it was his debut as leader. The record blends two sessions into a seamless program. The first (December 1973) went down in New York City, where he was backed by guitarist John Abercrombie, drummer Jack DeJohnette, keyboardist David Horowitz, bassist Herb Bushler, and percussionists Ray Armando and Warren Smith. The second (April 1974) placed Rava in Buenos Aires alongside Radolfo Mederos on bandoneón, Finito Bingert on tenor sax and flute, Matias Pizarro on piano, Ricardo Lew on guitar, and percussionists Nestor Astarita and El Chino Rossi.

Of this fine assembly, Mederos’s sound rings foremost. His lovely bellows open “Espejismo Ratonera” with a lilting air before Pizarro’s smooth pianism flushes its alleys clear for less straightforward melodic explorations. Touches of tango warm the cockles, making for an easy, patient entrance to Rava’s dancing grammar. Youth and joy are obvious in his playing, which by a clever turning of the knob bleeds back into the bandoneón with which the track began. American jazz vocalist Jeanne Lee sings lyrics by Argentine poet Mario Trejo in the “Short Visit To Malena” that follows. It too benefits from studio subtleties, fading in as if we were being escorted from one nightclub to another. We seem to wander in at mid-song and notice the crowd sipping their cocktails, arriving just in time for Rava’s trade-off to Abercrombie. (I cannot help but be reminded at this point, if you’ll forgive the comparison, of “Club Tropicana” by Wham!, which begins outside and plunges the listener into a club atmosphere once the door is opened.) “Sola” throws us headlong into the bounce of the South American band. A flute solo here from Bingert stands as the album’s highlight. Like a light streaking before an open lens, it lingers against the skip of bandoneón and snare. The track fades all too soon, just as Lew catches a tailwind. “San Justo” is another horizontal with dissonant verticals from Mederos and a gritty prison break from Lew. Lee rejoins the cast for the heavenly watercolors of the title track before her cathartic leaps float amid a heady beat of brassy beauty, while in the steady groove of “Melancolia De Las Maletas” she adds flips and dips. All of this gives plenty of ground for Rava to unleash his confidence, handing it over to Abercrombie for a crunchy and edible passage.

We know these musicians are capable of incendiary moves, which renders their restraint (and the occasional burst) all the more intense. Rava especially takes time to introduce himself into nearly every tune. Even those like “Water Kite” cloak him in a deceptively thematic role before asserting his personality at stage center. It is a testament to his maturity as a young player and deference to the talents with which he finds himself. The result is an unspoiled gem in the Rava discography that is more than worth the import price if you can afford it. ~ Tyran Grillo, ECM Reviews.

Japo Records, JAPO 60010 ST, 1976

ECM/Universal Music, UCCE-9071, 2006

Recorded December '73 (#A2,B2,B3) At Blue Rock Studios, New York

Recorded April '74  (#A1,A3-B1) At Audion Studio, Buenos Aires, Argentina

Musicians:

Enrico Rava - Trumpet

Finito Bingert - Tenor Saxophone, Flute, Percussion (#A1,A3-B1)

David Horowitz - Piano, Synthesizer (#A2,B2,B3)

Matias Pizarro - Piano (#A1,A3-B1)

John Abercrombie - Guitar (#A2,B2,B3)

Ricardo Lew - Guitar (#A1,A3-B1)

Herb Bushler - Bass (#A2,B2,B3)

El Negro Gonzales - Bass (#A1,A3-B1)

Jack DeJohnette - Drums (#A2,B2,B3)

Nestor Astarita - Drums (#A1,A3-B1)

Rodolfo Mederos - Bandoneon (#A1,A3-B1)

Warren Smith - Marimba, Percussion (#A2, B2, B3)

El Chino Rossi - Percussion (#A1,A3-B1)

Ray Armando - Percussion (#A2,B2,B3)

Jeanne Lee - Vocals (#A2,B2,B3)

Tracks:

A1. Espejismo Ratonera {Enrico Rava, Fernando de Santa Fe} (6:15)

A2. Short Visit To Malena {Mario Trejo, Enrico Rava} (3:58)

A3. Sola {Enrico Rava, Fernando de Santa Fe} (5:28)

A4. San Justo {Enrico Rava} (8:53)

B1. Water Kite {Enrico Rava} (6:25)

Quotation Marks / Naranjales (7:39)

B2.1. Quotation Marks {Mario Trejo, Enrico Rava}

B2.2. Naranjales {Arr. Enrico Rava, Traditional}

B3. Melancolia De Las Maletas {Enrico Rava} (9:55)

Credits:

Producer - David Horowitz, Jack Tafoya (#A2,B2,B3), Nano Herrera (#A1,A3-B1)

Recording Engineer - Jane... (#A2,B2,B3), Nello (#A1,A3-B1)