Piazza Martiri, 3, 09010 Sant Anna Arrresi CI
0781 966102

Guitto Gargle – Guitto Gargle


Recorded at Sant’Anna Arresi, 2005 




“Sono veloci, agili, scattanti. Nervosi e frammentati. Vanno al sodo. Rapidi, puntano e mirano. Fanno fuoco. Non c’è spazio per le chiacchere né per i languori d’altri tempi; il dubbio sembra non sfiorarli, grazie al cielo. Hanno voglia di dire, di fare e hanno l’urgenza di dimostrarlo. Non c’è molto tempo da perdere: quello che hanno da farci sentire, devono suonarlo ora.”

Pino Saulo / Radio3 Rai

“Last month, one of the members of this Italian quintet left me with a copy of this disc and again I was knocked by yet another fine Italian modern jazz unit. Although I wasn’t familiar with any of the members, it turns out their bassist Ms. Silvia Bolognesi, has studied with William Parker and has worked with Sabir Mateen. All of the songs on this disc are originals written by members of the quintet. Piero’s “Gallus Dixit” opens with a slightly bent Monkish melody. I dig the way the piano, guitar and sax play around with the theme, completing each other’s lines. On “Gris Collera,” the group play the quirky theme quickly while both the guitar, sax & piano all take inspired, somewhat twisted solos. Silvia’s “L’alieno” has a free yet dreamy vibe with Alberto on haunting electric piano. The beginning of “Luxia” has an punk/funk groove and it is hard-hitting and exciting with some burning sax and guitar over a super tight rhythm team. Every song on this disc draws from a different inspiration and you never know what direction will pop up next – jazz, rock, soundtrack music, Satie, dreamy silk and even some spikes…
Guitarist Simone Schirru likes to alter the sound of his guitar on each song to give the band a different vibe on each piece. The rhythm section is equally impressive, flexible and elastic, constantly changing and reinventing themselves throughout, sometimes laying out to let the other three frontline players do their thing. “Histerica Sed” sounds like Pachora playing one of those difficult start & stop Masada-like songs with a great wailing guitar solo thrown in. “Tigregorilla” even sounds like acoustic Masada when Joey Baron plays with his hands. The final tune has an odd robotic groove with strange bari sax and guitar lines played against a feisty piano solo. It almost sounds as if two songs are being played simultaneously, yet it comes together and then burns furiously. This is certainly one of the best debut discs I’ve heard in a longer while and it is filled with many delightful surprises”.



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