Doctor 3
The Songs Remain The Same

The history of African American music cannot be separated from the condition of its interpreters. In the '40s, racial marginalization and the genius of figures such as Charlie Parker, Dizzy Gillespie, and Thelonious Monk contributed to a phenomenon that shaped an important aspect of jazz language: the Standards. These were pieces drawn from the traditional American repertoire or Broadway musicals, which were revisited, distorted, and used as a pretext for torrential improvisations and daring harmonic evolutions. It was the triumph of creativity over the mediocrity of the white, racist bourgeoisie, a language made up of allusions, a slang known only to the initiates of this revolutionary new music. Today, more than half a century later, things seem not to have changed much. Sure, many rights have been granted, but the sales charts are still filled with poor-quality music, and recognition rarely goes to the artists who deserve it, much like when critics were praising the white Chet Baker (who was nonetheless an excellent musician) while ignoring Miles Davis. . .

I don't know if it was the intention of these three musicians to take revenge against top-ten music. I don't think so, anyway, given that the selected pieces are excellent pop or rock compositions (and, honestly, it matters little). The fact is that pianist Danilo Rea, double bassist Enzo Pietropaoli, and drummer Fabrizio Sferra with their project Doctor 3 are creating new Standards. If discussing the sociological value of this choice perhaps no longer has meaning, certainly discussing its artistic value does. It is a true spectacle to hear the interplay between these three musicians. It really seems as if there is some kind of telepathy when Rea wonderfully interprets Baglioni's "Stelle di Stelle", then launches into the whirlwind of "Tale Nine", an intricate and cerebral original composition that gradually transforms into Domenico Modugno's "L'uomo in Frack". Yes, because themes often succeed one another within the same track, sometimes they are only hinted at and become a part of improvisations, or they constitute the harmonic framework that serves as the basis for solos. What strikes me is the imagination with which Danilo tackles the solo parts, completely free from clichés, always extremely lyrical and communicative; but also the extremely creative rhythm approach of Fabrizio Sferra, who fully exploits the tonal colors of his instrument; or Enzo Pietropaoli's double bass, always timely in following the path indicated by Rea and proposing his own deviations. Listen to how one of the most famous rock songs, "Stairway to Heaven", is reinvented and how, after 3 minutes and 20 seconds, it transforms into "Cam Camini" (yes, it's really him: cam camini, cam camini spazzacamin!).

This is, in my opinion, the modernized spirit of proposing standards: the beauty of jazz lies in the infinity of solutions, the freedom of improvisation, the fun that arises among the musicians when playing while knowing how to listen to each other, fun that is evident on an album like this and that is most perceived in live performances. And, albeit unintentionally, there is still an implicit revenge today for those who play because it is the only thing they could do in life, because it's the thing that gives them the most pleasure and personally fulfills them, concepts that are at least unsuited to show business... Thank you, Doctor 3, and thank you to all the true musicians who make true music!