1) Gentle Rain (L.Bonfa); 2) B Minor Waltz (B.Evans);
3) If I Should Lose You (R.Rainger);
4) You Don’t Know What Love Is (G. De Paul); 5) Nocturnal (M.Di Toro); 6) What Are You Doing the Rest of Your Life (M.Legrand);
7) ShwinGer (Y.Goloubev); 8) For All We Know (J.Fred Coots);
9) Darn That Dream (J.Van Heusen);
10) Like a Lover (D.Caymmi, N.Motta).
Recorded and mixed on July 26 and 27, 2018,
at Bess Recording Studio,
Montesilvano (Pescara), by Claudio Esposito.
Il sodalizio musicale fra Michele Di Toro e Yuri Goloubev, musicisti quasi coetanei e con solidi studi classici alle spalle, risale al 2005, quando il contrabbassista russo è entrato a far parte del trio del pianista abruzzese, gruppo tuttora attivo, completato da Marco Zanoli alla batteria. Alcuni dischi riusciti – il più recente è «Play» (Abeat 2014) – e molti concerti, non solo in Italia, ne testimoniano l’originale cifra stilistica e la straordinaria coesione raggiunte. È parso quindi naturale il desiderio di Goloubev e Di Toro di affrontare una formazione ricca di suggestioni ma anche di insidie com’è quella del duo; e quando se n’è presentata l’occasione i due non se la sono lasciata sfuggire. La lunga frequentazione ed un comune modo di intendere il jazz hanno reso tutto più facile: i magnifici risultati raggiunti ne sono la tangibile testimonianza. Due giorni di studio di registrazione sono stati più che sufficienti. Musica per la musica, senza troppe mediazioni, gioia di improvvisare allo stato puro ed una naturale predisposizione alla melodia: si sono così evitate le trappole di un approccio troppo concettuale ed astratto. È questa la semplice ricetta che rende «Duonomics» un lavoro profondo, intimo ed allo stesso tempo estremamente godibile. Di Toro e Goloubev – che nel 2011 aveva pubblicato a proprio nome per la nostra etichetta «Titanic for a Bike» – sembrano davvero ispirati e suonano con mirabile interplay, scambiandosi continuamente il ruolo di solista ed accompagnatore, a tal punto che spesso si fatica a capire chi sia realmente a condurre il gioco, aiutati in questo dalla scelta di non utilizzare – come si fa di solito in studio – stanze separate e di rinunciare anche alle cuffie, un po’ come succede in un concerto non amplificato. Accurata la scelta del repertorio, che presenta molti standard poco praticati dai jazzisti e due brani originali, il primo, Nocturnal, breve prologo allo splendido brano di Legrand, il secondo non celato omaggio a Gershwin, anche nel gioco di sillabe “ribaltate” del titolo (ShwinGer). Dopo la finale Like a Lover non c’è stanchezza, anzi, si vorrebbe addirittura che il disco continuasse ancora. Non resta che attenderne il seguito.
The musical partnership between Michele Di Toro and Yuri Goloubev, two musicians of the same age with solid classical studies behind them, dates back to 2005, when the Russian double–bass player joined the trio of the pianist from Abruzzo, a band that is still active today, together with Marco Zanoli on drums. Some successful records – the most recent is «Play» (Abeat 2014) – and many concerts, not only in Italy, testify to the original style and the extraordinary cohesion achieved.
It seemed natural for Goloubev and Di Toro to choose the duo, a lineup that is full both of suggestions and of pitfalls; and when the opportunity came, they didn’t miss it. The long association and a common way of understanding jazz made everything easier: the magnificent results achieved are the tangible proof. Two days in the recording studio were more than enough.
Music for music, without too much mediation, pure joy of improvising and a natural predisposition to melody: this is how the traps of a too conceptual and abstract approach were avoided. And this is the simple recipe that makes «Duonomics» a profound, intimate and at the same time extremely enjoyable work. Di Toro and Goloubev – who published «Titanic for a Bike» for our label in 2011 – seem very inspired and perform with admirable interplay, constantly exchanging the role of soloist and accompanist, to the point that it is often difficult to understand who is really leading the game. The decision of not using separate rooms while recording, as is usually done in studio, and even giving up headphones, as in an unplugged concert, particularly helped achieving this result.
The choice of repertoire is accurate, with many standards little practiced by jazz musicians and two original pieces: the first, Nocturnal, is a short prologue to the amazing piece by Legrand, the second, ShwinGer, a heartfelt tribute to Gershwin, also in the title which flips the syllables. After the final Like a Lover there is no weariness, indeed, one would even like the record to continue. We just have to wait for its sequel.
credits
released August 13, 2019
Michele Di Toro (piano), Yuri Goloubev (double bass).
The compositions and their performance drag you right into a phantastic world. Very interesting to be in that place and to forget about time. freejazzy
September 2018. It's July 2020 now. I'm feeling that's too long, y'know..?
This stuff's addictive. You just have to get more of it.
The composition and performance on show are in a class of their own. But I say that every time.
This is jazz like nothing else. Peter Jones
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The interplay between the members is exemplary, indicative of their skills and musical synchronicity.
An albums for traditionalists and modernists alike, and perfect listening for a Sunday morning.
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