Stefano Di Battista - A Prima Vista
This fresh and infectious record opens with Spirit of Messengers, alto and trumpet trading 8s
before bouncing back into a Monk style head. Classically trained Battista seems to have imbued
the spirit of Jackie McLean and Cannonball with a rare ease and relish. His tone on soprano sax
is one of the most sophisticated around and suffers none of the usual splitting and tuning
gremlins that plague jazz soprano players. The trumpet is bright and lively executing mature
language in Funny Moon. A heavy left hand piano propels the solos along with grooving bass
and solid ride working together beautifully. Aiova's skewed waltzing showcases Battista's
melodic writing which is nuanced and thoughtful, serving as an ornate springboard for the
improvisations. More interesting harmonic language from the piano here sets up a beautiful
trumpet solo. The minor blues is explored with metric modulations abounding by Battista's
soprano spirallings again. Totally at home in his own compositions, Battista has proved his
mettle as a jazz musician. The classic, singing\muttering bassist takes his solo with convincing
attention to detail. There's a tangible sense of enjoyment in the band as the album continues
with Ne'll Acqua, Harmon muted trumpet could have easily be mistaken for Miles for a few
measures, at least by non-trumpet players. The harmony develops into a warm embrace and
smile as the piece progresses, contributing to the general optimism which characterizes the
album. The mood is similar on Battista's later album 'Round About Roma' where full orchestra
galvanizes the atmosphere in the most delightful way. Battista feels likes he's skirting the edge
of Smooth Jazz at times, but never slips over the precipice, always remaining authentic and
thoughtful. The bluesy Buffo teases us with a laid back groove where cheeky R&B interjections
abound. Here Battista shows his adaptability with full bodied trills and wails a la Maceo. The
traditional form of these tunes shouldn't put off aficionados, the head-solo- head structure is a
tried and tested formula after all. Another Time introduces more surprising harmonic
progressions not dissimilar to some Maria Schneider language. Interjected "yeah"s are always
enjoyable to note when the groove is this solid and again demonstrate the live and organic
approach of this group. All the soloists often slip in and out of implied double time lines,
executing their bebop roots admirably. Quartal lines in the melody are very enjoyable, as more
through-composed material is presented. Dina sounds like a rollercoaster Italian love story with
the soprano and trumpet dancing together and then running through the rain. The record is
quite safe and perhaps doesn't break new ground in the context of the most progressive jazz
around today, but it has a feel and a truthfulness which puts it beyond any serious criticism.
Few can reign in the wilder traits if the soprano sax like Battista. His alto sound is different,
more dangerous and forceful, but no less nuanced and eminently enjoyable. T-Tonic is a late-
Coltrane trio tribute with piano laying out to allow bass and drums to make a mad journey
together. Miccetina's Latin/Swing dichotomy has a strong energy and presses forwards
relentlessly as Battista deconstructs the changes for us very thoroughly in a unique solo for this
record. Piano picks up with more angular language and happily lays out some more complex
harmonies not dissimilar to Battista's. A strict-to- form drum solo follows with bell ride hits
signalling the final head. First Smile surprises with falling patterns from the horns in a
sumptuous memory. As the groove settles, Battista fills and plays freely with aplomb. A tender
and humorous ending here. Benji sounds as cheeky and quirky as its name with lengthy unison
melodies dancing about happily. It feels like Battista has included a great deal of material on
this record, indeed perhaps there was enough for two recordings, not that it is ever bad to get
one's money's worth! It would have been interesting to hear some of the tunes developed over
longer arrangements, but perhaps the professional sound would have been compromised. The
first fade out on the recording, always an interesting choice. To conclude, Battista plays
Strayhorn's beautiful classic 'Lush Life' which is such a fascinating tune that it requires little
more than the solo saxophone here to be enjoyable. This is as worthy of transcription as any
Coltrane or Chris Potter solo. Battista has matured as a player since this 1998 release, which
followed his debut record. This is no difficult second album though and shows that Blue Note
still have fearsome talent in their armoury of jazz performers.
before bouncing back into a Monk style head. Classically trained Battista seems to have imbued
the spirit of Jackie McLean and Cannonball with a rare ease and relish. His tone on soprano sax
is one of the most sophisticated around and suffers none of the usual splitting and tuning
gremlins that plague jazz soprano players. The trumpet is bright and lively executing mature
language in Funny Moon. A heavy left hand piano propels the solos along with grooving bass
and solid ride working together beautifully. Aiova's skewed waltzing showcases Battista's
melodic writing which is nuanced and thoughtful, serving as an ornate springboard for the
improvisations. More interesting harmonic language from the piano here sets up a beautiful
trumpet solo. The minor blues is explored with metric modulations abounding by Battista's
soprano spirallings again. Totally at home in his own compositions, Battista has proved his
mettle as a jazz musician. The classic, singing\muttering bassist takes his solo with convincing
attention to detail. There's a tangible sense of enjoyment in the band as the album continues
with Ne'll Acqua, Harmon muted trumpet could have easily be mistaken for Miles for a few
measures, at least by non-trumpet players. The harmony develops into a warm embrace and
smile as the piece progresses, contributing to the general optimism which characterizes the
album. The mood is similar on Battista's later album 'Round About Roma' where full orchestra
galvanizes the atmosphere in the most delightful way. Battista feels likes he's skirting the edge
of Smooth Jazz at times, but never slips over the precipice, always remaining authentic and
thoughtful. The bluesy Buffo teases us with a laid back groove where cheeky R&B interjections
abound. Here Battista shows his adaptability with full bodied trills and wails a la Maceo. The
traditional form of these tunes shouldn't put off aficionados, the head-solo- head structure is a
tried and tested formula after all. Another Time introduces more surprising harmonic
progressions not dissimilar to some Maria Schneider language. Interjected "yeah"s are always
enjoyable to note when the groove is this solid and again demonstrate the live and organic
approach of this group. All the soloists often slip in and out of implied double time lines,
executing their bebop roots admirably. Quartal lines in the melody are very enjoyable, as more
through-composed material is presented. Dina sounds like a rollercoaster Italian love story with
the soprano and trumpet dancing together and then running through the rain. The record is
quite safe and perhaps doesn't break new ground in the context of the most progressive jazz
around today, but it has a feel and a truthfulness which puts it beyond any serious criticism.
Few can reign in the wilder traits if the soprano sax like Battista. His alto sound is different,
more dangerous and forceful, but no less nuanced and eminently enjoyable. T-Tonic is a late-
Coltrane trio tribute with piano laying out to allow bass and drums to make a mad journey
together. Miccetina's Latin/Swing dichotomy has a strong energy and presses forwards
relentlessly as Battista deconstructs the changes for us very thoroughly in a unique solo for this
record. Piano picks up with more angular language and happily lays out some more complex
harmonies not dissimilar to Battista's. A strict-to- form drum solo follows with bell ride hits
signalling the final head. First Smile surprises with falling patterns from the horns in a
sumptuous memory. As the groove settles, Battista fills and plays freely with aplomb. A tender
and humorous ending here. Benji sounds as cheeky and quirky as its name with lengthy unison
melodies dancing about happily. It feels like Battista has included a great deal of material on
this record, indeed perhaps there was enough for two recordings, not that it is ever bad to get
one's money's worth! It would have been interesting to hear some of the tunes developed over
longer arrangements, but perhaps the professional sound would have been compromised. The
first fade out on the recording, always an interesting choice. To conclude, Battista plays
Strayhorn's beautiful classic 'Lush Life' which is such a fascinating tune that it requires little
more than the solo saxophone here to be enjoyable. This is as worthy of transcription as any
Coltrane or Chris Potter solo. Battista has matured as a player since this 1998 release, which
followed his debut record. This is no difficult second album though and shows that Blue Note
still have fearsome talent in their armoury of jazz performers.