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Lonely woman

by Roberta Brighi L.W. 6tet

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1.
2.
Lorraine 05:24
3.
W.R.U. 04:59
4.
Peace 07:22
5.
Ramblin’ 05:09
6.
Chronology 05:33
7.
Lonely woman 08:20
8.
Congeniality 09:32

about

Recorded by Stefano Spina on 14th /15th March 2017,
mixed and mastered by Roberto Cecchetto and Stefano Spina,
at Orlando Music Studio, Milano


Stupisce non poco che una ragazza di non ancora 24 anni (ci riferiamo ai giorni della registrazione), già eccellente specialista del basso elettrico, scelga di omaggiare per il suo album del debutto da leader (precoce) Ornette Coleman. Sorprende ma colpisce nel segno Roberta Brighi, affascinata dalle teorie armolodiche del maestro del free, linguaggio che non ha certo imparato al Conservatorio di Como, dove ha da poco completato gli studi sotto la guida di Marco Micheli.
La bassista lombarda é qui alla testa di un sestetto giovanissimo e d’inusuale composizione, almeno in relazione ai brani scelti, provenienti da quattro album del primo quartetto con Don Cherry, registrati fra 1959 e 1961. La formazione rimanda piuttosto al Coleman che suonava con Dewey Redman, forse per l’accostamento sax contralto–sax tenore; sono invece del tutto inediti sia l’inserimento della voce, quella di Giorgia Sallustio, la più nota fra i componenti del gruppo (ha pubblicato due anni or sono per Caligola «Around Evans»), che quello del pianoforte di Lorenzo Blardone (splendido il suo solo nella finale Congeniality). Rimane da menzionare il batterista Andrea Bruzzone, che forma con la leader una coppia ritmica pulsante ed affiatata, in grado – scusate se è poco – di far rivivere senza snaturare la musica di Ornette, ancora attualissima.
E’ proprio sul ritmo che viene compiuta l’operazione forse più originale (divertente il battito delle mani a tempo dei musicisti in Lorraine). Il basso elettrico sembra cadenzare in modo più serrato quei tempi che il contrabbasso invece talvolta dilata (illuminante a questo proposito l’incipit quasi ossessivo di Ramblin’, fra gli episodi più convincenti del disco), ed il pianoforte – usato peraltro da Coleman solo nel disco del debutto ed a fine carriera con Geri Allen – non appare mai invadente, centellinando con intelligenza i suoi interventi, alla stregua della voce.
Bella infine l’idea di accostare Ornette Coleman ad Horace Silver unendo due loro brani che portano lo stesso titolo (Peace, Lonely woman) e che vengono accostati come in una sorta di medley: quella che poteva sembrare una forzatura artificiosa si rivela invece un esperimento felicemente riuscito.

_______________________________________________________

It is astonishing how a not yet 24 years old girl, already an excellent electric bass player, chooses to pay homage to Ornette Coleman in her (early) debut album as a leader. Roberta Brighi amazes, but hits the spot, fascinated by the theories of the master of free jazz, language that she has certainly not learned at the Conservatory of Como, where she has recently completed her studies under the guidance of Marco Micheli.
The Lombard bassist is here at the head of a very young and unusually assorted sextet, at least in relation to the chosen pieces, coming from four albums of the first quartet with Don Cherry, recorded between 1959 and 1961. The line-up refers rather to the Coleman who played with Dewey Redman, perhaps because of the combination of alto-sax – tenor-sax; instead, the inclusion of vocals, by Gioria Sallustio, the most renowned member of the band (she published «Around Evans» two years ago for Caligola), and that of the piano by Lorenzo Blardone (his solo in the finale of Congeniality is excellent), are completely new elements. We need to mention the drummer Andrea Bruzzone, who forms with the leader a pulsating and tight-knit rhythmic pair, able to revive whithout distorting Ornette’s still very current music, no less.
It is precisely on the rhythm that the most original operation is performed (the beat of the hands in time to the musicians in Lorraine is fun). The electric bass seems to tighten those tempos that the double bass sometimes instead dilates (the almost obsessive incipit of Ramblin’, among the most convincing episodes of the record, is illuminating in this regard), and the piano – that Coleman only used in his debut album and at the end of his career with Geri Allen – is never intrusive, and its interventions are intelligently sited, as well as the vocals.
Finally, juxtaposing Ornette Coleman to Horace Silver by combining two of their tracks that bear the same title (Peace, Lonely Woman) in a sort of medley is a good idea: what might seem an artificial forcing turns out to be a happily successful experiment.

credits

released November 18, 2018

Giorgia Sallustio (vocals), Gianluca Zanello (alto sax),
Natan Sinigaglia (tenor sax), Lorenzo Blardone (piano),
Roberta Brighi (electric bass), Andrea Bruzzone (drums).

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Caligola Records Venice, Italy

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