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Trilemma

by Massimo De Mattia

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Davide Longhi
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Gregory Carr
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1.
Trilemma 05:26
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2.
About Nothing, With Precision 03:06
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3.
A Separate Reality 03:07
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4.
Disamore 02:14
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5.
Transcendence 03:37
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6.
Rapid Obsolescence 01:54
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7.
Minotaur 03:11
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8.
Soziale Plastik 01:04
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9.
Not To See, Not To Be Seen 02:08
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10.
Atlas of Contempt 02:43
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11.
Fission 03:47
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12.
Lost God 01:34
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13.
Confutation 01:02
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14.
Abjuration 01:05
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15.
Inert 01:20
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16.
Trilemma 2 01:43
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about

Recorded mixed and mastered in 2012 at Imputlevel Studio, San Biagio di Callalta (Treviso), by Claudio Zambenedetti.

Siamo orgogliosi di poter finalmente annoverare nel nostro catalogo una produzione discografica di un musicista dello spessore di Massimo De Mattia, nato a Pordenone nel 1959, da oltre un ventennio originale ed autorevole protagonista del jazz italiano con uno strumento tra i meno frequentati nel nostro ambito musicale com’è il flauto. Sin dal suo primo disco da leader – il già notevole «Poésie pour Pasolini», del 1993 – De Mattia si è concentrato sull’idea di un piccolo gruppo con il quale lavorare in modo continuativo. Il tentativo è stato quello di riuscire a trovare un nucleo di musicisti e delle modalità di funzionamento che non fossero quelle codificate nel jazz mainstream o di matrice neo boppistica. Dopo il riuscito «Black novel» (Rudi Records, 2012), registrato in quintetto, c’era la precisa volontà di ridurre ulteriormente l’organico, per mettere a punto una formazione dove i ruoli dei musicisti fossero ancor meno statici. Di quello splendido gruppo sono quindi rimasti, oltre al leader naturalmente, il fedele pianista Bruno Cesselli, attivo dal 1980 sulla scena jazzistica italiana, ed il più giovane ma già apprezzato contrabbassista Alessandro Turchet. A solo un anno di distanza dal precedente lavoro De Mattia ha quindi portato il trio così costituito in studio di registrazione ed il risultato, frutto di un ancor più fitto “interplay”, è tutto nei sedici brani racchiusi nei poco meno di quaranta minuti di «Trilemma» (il brano, che dà il titolo all’album, porta la firma di Cesselli), piccola luminosa gemma del jazz italiano di questo nuovo decennio. Citiamo, in conclusione, il critico musicale Alberto Bazzurro, che ha mostrato di apprezzare non poco la nuova incisione del flautista friulano: “…ci sono, così, frangenti decisamente più cameristici e altri quasi sfrontati, ripiegamenti sospesi e gorghi turbinosi, quasi magmatici, lirismo ed asciuttezza, cerebralità e abbandono…”. L’impresa, non certo facile, di coniugare fruibilità e tensione verso la ricerca, la non ovvietà, può quindi dirsi alla fine decisamente riuscita.

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We are proud we can finally count a record by a musician of the importance of Massimo De Mattia in our catalogue. He was born in Pordenone in 1959 and he has been for more than twenty years an original and influential protagonist of Italian jazz with an instrument that is among those least played in our music circles: the flute. Since his first album as a leader – the already remarkable «Poésie pour Pasolini», of 1993 – De Mattia has concentrated on the idea of a small combo with which he could work in a continuative way. He wanted to find a group of musicians and some musical methodologies that were different from the ones codified in mainstream or neo–bop jazz. After the successful «Black novel» (Rudi Records, 2012), which was recorded with a quintet, there was a definite desire to reduce further on the musicians’ number, to achieve a band in which the roles were even less static. Of that marvellous band the following players have remained: the leader, of course, the loyal pianist Bruno Cesselli, who has been active in the Italian jazz scene since 1980, and the younger but already appreciated double bass player Alessandro Turchet. After only one year from the previous album, the trio made up by him and the other two musicians went to a recording studio and the result, which is the outcome of an even more intense interplay, are the sixteen songs contained in the nearly–forty–minutes–long «Trilemma» (which is the title track too, composed by Cesselli), a little bright gem of the Italian jazz of this new decade. To conclude, let’s quote the music critic Alberto Bazzurro, who appreciated very much the new record of the flautist from Friuli: “… there are, thus, moments definitely closer to chamber music and others nearly impudent, suspended retreats and stormy whirlpools, nearly jumbled, lyricism and curtness, intellectualism and neglect…”. In the end the goal of combining availability and tension towards research, what isn’t obvious, which is certainly not an easy one, has been thus definitely achieved.

credits

released April 25, 2021

Massimo De Mattia (flutes),
Bruno Cesselli (piano),
Alessandro Turchet (double bass).

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Caligola Records Venice, Italy

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