All too often, one realizes that some Italian jazz musician accaso with good luck in some other country in the world. To act as a cradle of artistic Aldevis Tibaldi's England that welcomed him and gave him bright opportunities that Tibaldi took putting on a London ensemble of particular value and where beautiful an amalgam crackling.
(We've used an online translator because the original was naturally written in Italian. Although not a perfectly grammatical one, it's clear enough...)
The compositions are mostly signed by the saxophonist, except for four beautiful brackets that make it clear what the jazz tradition loved by the leader: "Weird Nightmare" by Charles Mingus, the beautiful and meaningful "Black And Tan Fantasy" by Duke Ellington, "We See" Thelonious Monk and, icing on the cake, "Like" Lelio Luttazzi, that swing had to sell.
The compositional vocabulary of Tibaldi sucks these Giants moving brackets between massive doses of blues, swing, ballad also lopsided, up-tempo choral mainstream doc, as in "Night Bus" where you listen to a rousing solo Liam Dunachie fluttering in tied on the keyboard with the metronome traveling at step of the way, thanks to glowing rhythmic Sadler and Gale. All this, mind you, not with haughty elegance and stubborn taste of retro, but with a refreshing performance, with interesting innovations and tonal harmonies always ready to amaze and entertain.
The saxophones Tibaldi alternate with equal success, sporting with the standard a warm personality and a generous talkative and determined; sweetness of the stamps, compact sound and rhythmic phrasing fluid and balanced when pointed his soprano.
Tibaldi knows her, so his associates. And the music that comes out is a long embrace jazz: without jackets. Only and only the good jazz.
The question is: in Italy there is no room for this music?
Alceste Ayroldi for Jazzitalia