Enrico Pieranunzi is a first-class jazz pianist,
albeit one that many Americans are unfamiliar with. Nonetheless,
the Rome-based pianist has worked, over the years, with
an amazing array of recognized American jazz talent, including
Art Farmer, Johnny Griffin, Jim Hall, Marc Johnson, Joey
Baron, Charlie Haden, and Billy Higgins. The new millennium
saw his release Plays Morricone, a tribute to the
Italian soundtrack composer. Now Pieranunzi has turned his
attention to longtime Fellini composer Nino Rota on Fellini
Jazz, a sumptuous, sophisticated trip through themes
associated with Fellini films. That’s not all, either:
Pieranunzi has also released a masterful CD of duets with
drummer Paul Motian, with tenor saxophonist Chris Potter
guesting on some tracks, entitled Doorways. The
two discs provide performances that differ in tone but are
of equally high quality.
Fellini Jazz boasts an all-star cast,
including bassist Haden and drummer Motian, augmented by Potter
and flugelhorn player Kenny Wheeler. But Fellini Jazz
is much more than a superstar recording of adapatations
of well-known film music—the disc stands on its own
as an extremely listenable, thoroughly enjoyable series performances
by a combo that gels in a way that many of today’s studio-created
groups never do.
Pieranunzi and his cohorts are able to wring
every drop of lyrical emotion from Rota’s melodies
without resorting to sentimentality of any kind. The opening
track, “I Vitelloni” is set up with a piano
trio intro that evokes both the early work of Vince Guaraldi
and the effortless, lilting swing of the legendary Bill
Evans trio. Potter’s soprano work is gorgeous, yet
still robust, a strategy which he employs on every horn
he plays. Haden also is a natural for this project, adding
a bass that intertwines with the lines played by Pieranunzi
and the horn players as well as a deep, woody tone that
feels like a comfortable pair of slippers. Motian, who has
been working like crazy lately, appearing on excellent recordings
with Potter and Tony Malaby, among others, demonstrates
why he is in such demand. Motian brings a fresh perspective
to every group or collaborator he plays with, never falling
into a rote approximation of a popular style.
“Il Bidone” is given two readings.
The first is a post-bop workout on which Wheeler provides
a beautiful solo. Pieranunzi weaves his commentary throughout
the presentation of the thematic material with a light touch
that ensures he is never detracting, but always embellishing
the front line. The second reading is a smoky, late-night
ballad rendered with consummate authority by Potter. Pieranunzi
provides accompaniment that is far from ordinary comping
while Motian continually peppers things with his out-of-time
traps coloring. “La Citta Delle Donne” (composed
by Argentinian pianist Luis Bacalov), is a humid tango on
which Wheeler’s muted trumpet is the perfect vehicle
for the mournfully sensuous theme. “Amarcord,”
a favorite Rota theme, is given a bluesy interpretation
that underlines its melodic dignity. Also included are two
of Pieranunzi’s own compositions. The ballad “Cabiria’s
Dream” evokes the dreamlike quality of much of Fellini’s
best work, and is a showcase for the tenor saxophone mastery
of Chris Potter. “Fellini’s Waltz” is
a delicate piece that is both beautiful and somehow slightly
off kilter, again capturing the spirit of many of Fellini’s
films, particularly those from the 1950s.
“These movies remind me a lot of my
childhood” says the pianist. “Atmosphere—moods
that these movies show are still deeply inside me.”
That internalization of not only the musical themes presented
here but also of the moods they evoke is key to the success
of Fellini Jazz. It’s the kind of jazz CD
that many older jazz listeners claim aren’t being
made anymore—understated, full of outstanding performances,
and completely without hype. Pieranunzi and the CamJazz
label demonstrate that such recordings can still be found,
and they are to be congratulated for that.
