Jazz listeners, those most passionate and experienced, usually seek out less celebrated, less publicized, niche works, hoping to find a masterpiece. However, it seems that this kind of attention is directed mainly toward the American jazz scene, forgetting, for too long now, that even in Italy there might have been artists of the caliber of John Coltrane or Albert Ayler.

Obviously, the cultural roots of our country do not allow us to have an abundance of talents in the realm of African American music; however, by chance, in Rome, in the heart of Italy, an extraordinary man was born, endowed with extraordinary talent: Massimo Urbani.

Massimo Urbani was a stunning artist, he felt like the reincarnation of Charlie Parker, adored Trane and Ayler, and managed to synthesize the language of the three artists in a natural and incredibly original way. He was a visceral, passionate musician; on the alto sax, he had a powerful cry like Sanders', and when he played a ballad, he could move the listeners.

This album from 1980 is one of my favorites; I say this because I want this writing to be a tribute - really modest - from me to this immense artist. I believe that when talking about an artist of this kind, the personal and emotional component is fundamental.

In '80 Massimo was as young as he was talented and adored; he is the type of artist who gives his best in live performances, but on this record, he plays truly superbly; thanks also to the other members of the quartet.
Luigi Bonafede, on piano, manages to be powerful in his touch like McCoy Tyner and proves to have nothing to envy of any other musician on a global level, despite being unknown to many. If one continues to make analogies between this quartet and the Coltrane quartet, one notices how Furio Di Castri is perhaps cleaner than Garrison, but without losing the direct expressiveness that characterizes that way of playing the double bass that was so successful in the '60s free scene; thus, there will be no lack of solitary monologues of the deep instrument also used with the bow.
Finally, Paolo Pellegatti, on drums, manages to balance the soloist's explosiveness in an original way and with the right power.

The album is very varied. The two tracks signed by the leader (Dedications; Max's Mood) are representative of most of his compositions, ample space is left for improvisation which often takes place on a blazing rhythmic carpet, the themes are just pretexts to be launched into long solos.
Bonafede's compositional style is more elaborate and is evidenced in the long introduction of L'Amore leading to a very Coltrane-like 3/4.

Urbani's choice of group members turns out to be very happy; this is evidenced by Bonafede's splendid solo in Naima, which, thanks to the repetition of a note cell, "takes off" towards the end, the interplay created in the duo between Urbani and Di Castri in Scrapple From The Apple, and the groove that Pellegatti manages to deliver in Speak Low.

In the finale, the artists give us a great version of Soul Eyes, the ballad by Mal Waldron so loved by Trane. Urbani lets poetic, poignant phrases emerge from his sax with an incredible sound, which could also recall Dolphy at times or even McLean, in short, there is really everything in Urbani's mind: musicians, solos, styles.

Much more could and should be written about Massimo Urbani, but I hope I have at least piqued your curiosity.

Massimo was Parker, in every way, he also died young like him, for the same reasons, like him he knew how to give unique emotions, for this reason, it seems appropriate to write:

MASSIMO LIVES!

 

Tracklist Samples and Videos

01   Dedications (16:27)

02   Naima (09:23)

03   L'amore (09:47)

04   Max's Mood (14:39)

05   Scrapple From The Apple (03:53)

06   Speak Low (06:13)

07   Soul Eyes (10:13)

Loading comments  slowly