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Slight imperfection

by PAOLO BOTTI QUARTET & BETTY GILMORE

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1.
Ain’t misbehavin’ 01:51
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2.
The pilgrim 03:58
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3.
The storm 03:31
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4.
St.James Infirmary 02:17
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5.
Dobrodosli 03:30
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6.
In terra 04:56
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7.
Mixolydian dance 04:31
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8.
Makeba 04:39
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9.
Careless love 03:44
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10.
Notturno 06:14
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11.
Wild man blues 01:31
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about

Recorded in Milano, in March 2011

Ancient to the future”, era lo slogan dell’Art Ensemble of Chicago. Che
l’avanguardia per sapersi rinnovare non debba dimenticare le sue radici,
dev’esser anche una ferma convinzione di Paolo Botti, violista ma non
solo, che giunge con questo al sesto album Caligola, il secondo di
quello che è ormai il suo quartetto stabile, tre anni dopo il
sorprendente «Looking back», accumunato a «Slight imperfection» dal
dichiarato amore verso il blues e più in generale il jazz delle origini,
senza mai dimenticare per questo Ornette Coleman. Non è mutata la
composizione del Paolo Botti Quartet – ma aumentano gli strumenti
suonati dal leader – completato dall’ispirato sax contralto di Dimitri
Grechi Espinoza, dal solido contrabbasso di Tito Mangialajo Rantzer e
dalla fantasiosa batteria di Filippo Monico. Si aggiunge in quattro brani
al gruppo, quasi a rendere più intensi gli aromi blues della musica, la
profonda voce nera di Betty Gilmore, cresciuta in California ma da
tempo residente a Milano. In Dobrodosli invece, ospite del quartetto è il
violinista Emanuele Parrini, la cui presenza consente al leader di agire
ancor più liberamente, conferendo al brano, quasi danzante, una sapida
atmosfera country–blues. Emblematica a tal proposito è la scelta
effettuata da Botti di aprire e chiudere il disco con due brevi e riuscite
rivisitazioni di brani tradizionali, Ain’t misbehavin’ e Wild man blues,
affrontati entrambi in completa solitudine col suo principale strumento,
la viola. Una scelta di campo certo, ma anche un collegamento
all’album precedente, la splendida parentesi solitaria di «Angels &
ghosts», omaggio ad Ayler del 2010. Se intense e misurate sono le
interpretazioni dei musicisti, é preziosa la presenza della voce di Betty
Gilmore, di cui meritano di venire ricordati almeno il bell’omaggio a
Miriam Makeba ed il blues quasi “sudato” di Storm, entrambi suoi testi.
Ma sono ancora da segnalare sia la colemaniana Mixolydian dance che
l’ipnotico Notturno, dove la coralità si ripete in un’atmosfera più lenta e
meditativa, con un breve passaggio di Botti alla tromba con sordina.

________________________________________________________

“Ancient to the future” was the Art Ensemble of Chicago’s slogan. To be
on the cutting edge doesn’t mean to forget the roots: this is Paolo Botti’
strong belief. «Slight imperfection» is his sixth album with Caligola, the
second with this quartet, three years later the surprising «Looking
back», connected with it by the declared love for blues and traditional
jazz, without ever forgetting Ornette Coleman. Botti Quartet hasn’t
changed and is still completed by the inspired alto sax of Dimitri Grechi
Espinoza, the solid bass of Tito Mangialajo Rantzer and the imaginative
drums of Filippo Monico. In four tracks of the Cd, increasing the intense
blues aroma, we find the black deep voice of Betty Gilmore, who grew
up in California but has been living in Milan for quite a while.
In Dobrodosli, the special guest Emanuele Parrini, violin, allows the
band leader to express himself even more freely than before, giving the
song, almost dancing, a savory taste of country–blues. Botti’s choice of
opening and closing the album with short and successful interpretations
of two old traditionals is emblematic; Ain’t misbehavin’ and Wild man
blues are played alone with the viola. A secure choice, but also a
connection with his previous album, the beautiful solitary parenthesis
of «Angels & Ghosts», a tribute to Albert Ayler. The musicians’
interpretations are intense and measured, meanwhile, the addition of
Gilmore’s voice is precious, and we’d at least mention the wonderful
tribute to Makeba and the hard–earned blues of Storm, both with her
lyrics. We’d also like to point out Mixolydian dance, near to Coleman’s
mood, and the hypnotic Notturno, where the collective playing repeats
itself in a slower and more contemplative atmosphere, with a brief
passage of Botti’s muted trumpet.

credits

released October 28, 2023

Paolo Botti (viola, banjo, dobro, tenor guitar, harmonica, trumpet),
Dimitri Grechi Espinoza (alto sax), Tito Mangialajo Rantzer (double bass),
Filippo Monico (drums).
Special guests: Emanuele Parrini (violin) on n° 5,
Betty Gilmore (vocal) on n° 3/4/8/9 .

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