Amedeo Tommasi - The Sound (1970)

"The Sound" is a classic for all the collectors of jazz and Brazilian sound library out there, typical 70's Brazilian lounge sound that have made movies that takes you back to scene to the soundtracks of some Mastroianni's film. ~ centraldoprog.blogspot.com. 

Amedeo Tommasi is a man with a history. Getting his start in 1961 after meeting Chet Baker, he toured Italy with his combo in the 60s & 70s before moving on to film work with the legendary Ennio Morricone. "The Sound" is a classic for all collectors of jazz, Brazilian, & Lounge. (Arision) 

Cenacolo Records, M 707, 1970
Arision Records, ARI029 CD, 2007
Recorded at Globe Records, Roma, Italy 

Musicians:
Amedeo Tommasi - Piano, Organ, Celesta, Spinet
Mario Midana - Trombone
Quarto Maltoni - Flute
Sergio Coppotelli - Guitar
Giovanni Tommaso - Electric Bass
Enzo Restuccia - Drums, Percussion 

Tracks:
01. Brasilia (4:17)
02. Fuoribordo (2:53)
03. Montevideo (3:19)
04. Riviera del Fiori (3:03)
05. Marina (3:48)
06. Alexandra (2:58)
07. Passeggiata (3:07)
08. Exploration (4:12)
09. Gita al Mare (3:03)
10. Distesa (3:15) 

Total Time: 34:00 

Credits:
Sound Technician - Domenico Panzeri
Cover, Design, Photography - Studio Santucci, Roma
Liner Notes - Umberto Santucci 

Marina

Lee Konitz - Stereokonitz (1968) [re-rip]

Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso; and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea, trumpeter Enrico Rava and drummer Gegé Munari. Tommaso's charts delve into bop and cool, with Konitz primarily playing the varitone, though he does play some alto sax and also makes a rare appearance on flute (doubling on it in "Take Seven"). While the music from this 1968 session is enjoyable, even though the sound quality of the varitone pales when compared to a regular saxophone, this remains one of Lee Konitz's more obscure recordings from the '60s. ~ Extracts taken from review by Ken Dryden, AMG.

This LP is one of my favourite Lee Konitz albums. It’s a truly distinctive session revealing a brilliant class of sound! For this album Konitz tries out a varitone sax, as well as playing flute and alto. This session is a rather different undertaking in that Lee comes together with an elite grouping of some of Europe’s top musicians, at this time 1968, playing some very contemporary tunes that are partly modal and in a soul jazz style. This uniqueness being mainly due to the absorbing compositions penned by the bassist Giovanni Tommaso. The group includes other Italian stars Enrico Rava on trumpet and Franco d'Andrea on piano. This assemblage of great artists allows Konitz to in reality to stretch out more so, especially noticeable when soloing. All tracks showcase the musical talents of all the players. It is wonderful to hear matching of both Rava and d’Andrea throughout this fine LP. Highlights include “Five, Four And Three”, “Komonia”, “Midnight Mood”, “Terre Lontane” and “Tune Down”. However in essence the whole LP is fantastic, Enjoy!

Recorded in October, 1968 in Rome, Italy

DejaVù Records, DJV 20000 42, 2008

Personnel:

Lee Konitz - Alto Sax (#A3,B1), Flute (#B2), Varitone (#A1,A2,A4,B2-B4)

Enrico Rava - Trumpet
Franco d'Andrea - Piano

Giovanni Tommaso - Bass

Gegé Munari - Drums

Tracks:

A1. A Minor Blues (4:37)

A2. Five, Four And Three (3:32)

A3. Komonia (4:43)

A4. Midnight Mood (3:50)

B1. Terre Lontane (5:25)

B2. Take Seven (3:11)

B3. Giovanni D'Oggi (4:20)

B4. Tune Down (4:51)

Credits:

All Compositions by Giovanni Tommaso

Arranger - Thomas Giovannio
Sound Engineer - Guilio Spelta

Assistant Music - Guido Cenciarelli

Photos and Design - ZOOM

Other releases include:

RCA Italiana [Original Cast]; Catalog#: OLS 2; 1969

RCA Records [Jazz Masters - France]; PL 31257; 1969

Enrico Rava Quartet - Ah (1979) [vinyl]

>>Ah<< features bassist Giovanni Tommaso, drummer Bruce Ditmas and Franco D'Adrea, whose pianism lights up even the darkest corners.

Feeling a little under the weather? Then open up and say Ah, because Doctor Rava is in! This warm rainy day session is the perfect sonic elixir for what ails you. The sumptuous diagnostics of “Lulu” lay their pianistic hands upon us first, and with them the album’s leitmotif. Rava and D’Andrea are in fine conversational form here, as they ever are, cracking open a Pandora’s Box of free improv before re-attuning to a smoldering vamp. Rava starts us off strongly in “Outsider,” in which he swings his rhythm section around and around like children holding hands in a field. A swift kick from Ditmas brings us solid thematic closure. “Small Talk” allows Tommaso his just airtime in what is by far the highlight of the examination. Rava checks our pulse in the groovier “Rose Selavy,” breezes wistfully through the title track, and gives way to “Trombonauta,” the album’s brief yet impactful ballad, before ending “At The Movies.” This eclectic ode breathes with the magic of Cinema Paradiso while threatening to topple from the weight of its own remembrance. ~ by Tyran Grillo, ecmreviews.com.

ECM Records, ECM 1166, 1980

Recorded December, 1979 at Tonstudio Bauer, Ludwigsburg, Germany

Musicians:

Enrico Rava - Trumpet

Franco D'Andrea - Piano

Giovanni Tommaso - Bass

Bruce Ditmas - Drums

Tracks:

A1. Lulu (8:05)

A2. Outsider (6:16)

A3. Small Talk (5:00)

B1. Rose Selavy (4:51)

B2. Ah (6:00)

B3. Trombonauta (2:46)

B4. At The Movies (5:45)

All Compositions by Enrico Rava

Credits:

Producer - Thomas Stowsand

Engineer - Martin Wieland

Cover - Michelango Pistoletto

Layout - Dieter Rehm

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

Johnny Griffin - Jazz A Confronto 10 (1974) [re-rip>true flac]

On this LP Griffin is featured in a quartet backed by renowned Italian pianist Franco D'Andrea, bassist Giovanni Tommaso and drummer Bruno Biriaco. This album is his only collaboration with D'Andrea, despite spending a number of years on the continent. It's a rhythm section that swings beautifully and remains tight, qualities essential to provide the necessary background to Griffin's playing. However not only do the Italian musicians support his work well their own solos are very effective and are an additional source of interest for this album. Above all the style of Franco D'Andrea and his Trio is very distinct compared with other groups Griffin led whilst in Europe. According to all available discographies this album is the only existing testimony of his playing during all of 1974. The bulk of his European dates were set around 1973 and the recordings held at the Jazzhus Monmartre in Denmark are of great interest to aficionados. The LP consists of two fiery numbers and two slower ballads. Three of the compositions are penned by Griffin; "Keep Going" is written by Giovanni Tommaso. In all this album further demonstrates a master tenorman at work, so give it a spin.

HORO Records, HLL 101-10, 1974

Recorded 7th April, 1974 at “Titania’s Studio”, Rome, Italy

Tracks:

A1. Music Inn Blues {Johnny Griffin} (8:34)

A2. For The Love Of {Johnny Griffin} (8:01)

B1. Always Forever {Johnny Griffin} (7:06)

B2. Keep Going {Giovanni Tommaso} (11:52)

Personnel:

Johnny Griffin - Tenor Saxophone

Franco D'Andrea - Piano

Giovanni Tommaso - Bass

Bruno Biriaco - Drums

Credits:

Director - Andrea Camilleri

Sound Engineer - Massimo di Cicco

Graphic Design - Giorgio Spadanuda

Photos - Ennio Antonangeli

Liner Notes - Marcello Piras