Pierluigi Balducci
Il Peso Delle Nuvole

THE REVIEW

Make way for the young talents of our local jazz scene, especially when they display such freshness and originality. Pierluigi Balducci, born in 1971, an electric bassist with solid classical studies behind him, already has four albums to his name, and starts to gain attention with this beautiful work "Il Peso Delle Nuvole," dated 2003.

A respectable band: the names of pianist Mirko Signorile and drummer Vincenzo Lanzo may not mean much to you, but they are two exquisite musicians. On soprano sax, the talented Roberto Ottaviano, already a key player in prestigious collaborations with internationally renowned artists. Completing the lineup, one of the most notorious "saboteurs" of the European jazz avant-garde, the Dutch cellist Ernst Reijseger.

Right from the opening track, "Woland's Polka," the leader's compositional flair and arrangement care emerge, making his group sound like an eccentric and quirky little orchestra, thanks to the successful blend of piano, cello, and sax. Reijseger plays masterfully but stays adherent and functional to Balducci's musical conception, using the bow, but more often plucking the strings of his instrument, making it sound like a "small double bass." Ottaviano is on great form and feels comfortable both with the cellist and pianist Mirko Signorile.

Next is the poignant "Milonga Bajo La Luna". Balducci, in a solo, displays a sinuous, measured yet effective phrasing reminiscent of Steve Swallow. Stirring the waters is Signorile, with an oblique and fragmented solo, followed by Reijseger who concocts one of his own, highlighting his highly personal style.

"Son De La Rosa," preceded by an alluring intro from Ottaviano, stays within the Latin sounds that are often explored in this record. The sax solo starts with the rhythm section reduced to a minimum, a very restrained drum, almost emphasizing the beauty of Ottaviano's sound. Gradually, the piano and bass join in, and the solo gains vigor and power. Then it's Signorile's turn, who goes off on a tangent, banging the piano keys, producing a grumbling, magmatic solo, but then finds his "way home" and brings us back to smiles and lightness.

"Devien Que Ce Tu Es," the most cultured and Central European moment, reveals another of the stylistic coordinates of our artist. Here, the baton is passed to the cello and piano, which find the right atmosphere to linger in a series of refined variations on the theme. "Leggero" is a playful and danceable track, almost a rumba. Balducci's solo is as excellent as ever, but here the centerpiece is a splendid dialogue between the soprano sax and the piano, almost an improvisation for two.

Next comes "Il Peso Delle Nuvole," divided into two parts: the intro is a gloomy little march, reminiscent of some of Carla Bley's works, then gives way to an intense solo by the leader (again, thoughts drift to Swallow...). The theme is nervous and syncopated, resting on a robust "ostinato" of piano. Ottaviano goes wild, supported by Reijseger who maltreats his cello, and there's also room for a fine drum solo by Lanzo.

The album closes with a reprise of "Woland's Polka," which sounds even more irreverent and over the top than the first take, with Ottaviano playing like a car horn and Reijseger delivering a spine-chilling solo, played with the bow.

The entire work is permeated with subtle and detached irony. It alternates between exotic and dreamlike moments, intimacy and mockery, refined tension and amusement, singability and experimentation. Is the boy "unripe" and will "mature"? Maybe. But it's already just fine for me like this...