Danielle Di Majo Quartet
Chromatism

That a debut album represents a sort of leap into the unknown for any band or solo artist is a well-known fact in any musical field, and jazz is no exception.
Often, people proclaim the arrival of a new Messiah, who will open the path to a new era of jazz exhilarations, and just as often, young talents who honestly do not deserve it at all are harshly criticized.

Chromatism is the debut work of a young promise in the national jazz scene named Danielle Di Majo, who plays the saxophone.
Her résumé is impressive, with a roster of awards won in various Italian competitions, and illustrious collaborations she has been part of, which would intimidate any “insider,” as they say nowadays. And it is precisely from winning one of these competitions, "Incroci Sonori Jazz 2004," in Moncalieri, that the opportunity arose for the Danielle Di Majo Quartet to record this album, thanks to the heroic courage, at this point, of a local label like Philology, which evidently decided to look beyond the incense surrounding the usual known figures in the Italian jazz scene.

The result is a work of exquisite craftsmanship, well-played and well-recorded, which in its honesty reveals the potential for very vast future developments.
All compositions are by the pianist, Michel Zanoboli, except for the beautiful ballad Soul Eyes, by Mal Waldron, here in a faithful and heartfelt interpretation. The album opens with the title track, a minor blues, which represents both the trial and delight of any soloist, but Di Majo manages excellently, with a display of technique always supported by a perceptible melodic vein. Notable is Zanoboli's happy composing streak, which in my opinion expresses itself best in the 3/4 of Midnight Sun, a truly beautiful piece, almost worthy of inclusion in the real book.
The journey continues with the subdued bossa Nine, where the leader expresses herself excellently on the soprano sax as well, in a very lyrical solo, and Zanoboli contrasts with his brilliant piano technique, clearly demonstrating his solid classical preparation, one can almost see his hands, with fingers very close to the keys and movements very measured.
Certainly noteworthy is the clarity and precision of the rhythm section, composed of Marco Piccirillo on double bass and Ermanno Baron on drums, two other young but already appreciated Roman musicians, well showcased in Homepage, also closed by a series of tight exchanges between sax, this time alto, and piano. Finally, the polyrhythm of Real Changes is of interest, almost Monkesque in flavor, with a very bop solo section.

In short, an album that well represents an undergrowth of young musicians ready to make their voices heard in a musical field that is not exactly commercial, but precisely for this reason, much more fascinating and full of ideas compared to the flatness organized by a handful of saboteurs who, for a while now, ultimately focus on deciding people’s tastes by depriving them of any neural necessity.
Of course, it's a debut work, and as such, it is not without flaws; in my humble opinion, I would say that the rhythm could have dared a bit more at times, and certain cascades of notes could have been avoided, but it represents a very clear starting point aimed at a true search for one's own musical identity.