Avorio

cover-Floatin-In
 
 

1. 09 Amore Baciami
Roberto Olzer  

 

2. 01 Endless Stars
Roberto Olzer  

“Avorio” Elisa Marangon & Roberto Olzer, 201editions, DZU002

Elisa Marangon, voice
Roberto Olzer, piano

Recorded and mixed March 12, 2012, at Artesuono, Udine, by Stefano Amerio

  1. Endless Stars (F. Hersh)
  2. Beautiful Love (V. Young)
  3. Cor de Rosa (M. Laginha)
  4. It Could Happen to You (J. Van Heusen)
  5. My One and Only Love (G. Wood)
  6. The Edge (R. Olzer)
  7. Everybody’s Song but not my own (K. Wheeler)
  8. Winter Sweet (K. Wheeler)

BONUS TRACK

Amore Baciami (C. A. Rossi)

 

Presentazione ‘Avorio’

Alcune volte i dischi nascono da intenti programmatici ben definiti; altre volte, invece, è il semplice piacere di far musica insieme che da vita, lentamente, ad un repertorio, distillato di passioni musicali comuni, che accostano stili ed epoche fra loro anche distanti. Così è stato per questa registrazione, che ha a tema semplicemente il gusto per la libertà e l’intimità della voce e del pianoforte. Una dimensione quasi cameristica, che ama la distensione lirica di certo jazz contemporaneo (Kenny Wheeler in particolare), come pure la rilettura, appassionata o divertita, dei brani della tradizione. Un’esigenza di purezza espressiva, libera da sovrastrutture concettuali, e da vivere, com’è nella natura della musica, nell’istante.

‘Avorio’ presentation (English)

At times recordings spring from programmed, well defined intentions and objectives. On other occasions they follow more informal routes, as when two musicians intertwine their musical veins, just for the warm-hearted fun of “playing at music” and slowly the blend of a manifesting mutual passion for combining different periods and styles turns into repertory pieces that naturally fall into place like a perfectly unplanned and unforced puzzle.

Such the foundation of our recording, whose thematic unity is characterized by freedom of communication and intimate voice and piano dialogues, within dimensions bordering on styles, that call to mind quasi-chamber sounds, in tune with the lyrical extension of a specific type of contemporary jazz, particularly Kenny Wheeler’s, as well as passionate or easy going revisitations and interpretations of traditional scores.

All in all our musical divertissement is the fulfillment of an unconscious gnawing need we now recognize: having been able to experiment purity of expression, free from constraints usually present in artistic conceptual stratifications; having been lucky enough to effortlessly fully sip the spirit of our endeavour, intrinsic, in the very nature and essence of music: meaning in the unaffected free-flowing immediacy of its execution, suspended and mesmerized.

 

 
 
previous next
X