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Nicola Cristante - Leer (2020) [African Jazz, Vocal Jazz]; FLAC (tracks+.cue)

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Mike1985
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Nicola Cristante - Leer (2020) [African Jazz, Vocal Jazz]; FLAC (tracks+.cue)

Unread postby Mike1985 » 30 Dec 2021, 07:18


Artist: Nicola Cristante
Album: Leer
Genre: African Jazz, Vocal Jazz
Label: Caligola
Released: 2020
Quality: FLAC (tracks+.cue)
Tracklist:
  1. Happy Inside (Cristante) - 6:01
  2. Bulawayo (Cristante) - 5:32
  3. Massani Cisse (Trad.) - 7:05
  4. Suhail (Cristante) - 5:51
  5. Leer (Cristante) - 9:17
  6. Tarancarola (Cristante) - 7:39
  7. Impro 2 (Cristante) - 6:27
  8. Impro 1 (Cristante) - 6:11

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    Personnel:
  • Nicola Cristante - classical guitar, electric guitar, vocals (#2,6)
  • Peace Diouf - electric bass
  • Moulaye Niang - drums, percussion
  • Mory Thioune - talking drums, percussion (#1,3,6-8)
  • Milky Malick - vocals (#1,3-6)

It’s been two years since the release of «Koan» through Dodicilune, and fourteen years since «Quintessenze» (Caligola 2079), the album that he shared with saxophonist Nagual, and now Nicola Cristante is back with a new album as leader; he has temporarily left aside jazz to give voice to the Afroroutes Projects which has seen him collaborate assiduously with Senegalese drummer and percussionist Moulaye Niang.

Theirs is a similar research which joins African musical traditions to the music of the Americas and singer Milky Malick, who works especially in the reggae field, makes such research even more original. The musicians involved by the Venetian guitarist in such new adventure are all Senegalese, and every track is imbued with Africa through evocative, colorful reflections upon Cristante’s essential and lucid guitar which gives away his blues and funk influences.

The album kicks off with Happy Inside’s rhythmic and solar riff, even though the title–track Leer is better at summarizing different cultures and thus fulfill the leader’s aspiration; such result is also given by the singing of Milky Malick who, being free from any lyrics, can use his voice instrumentally and offer an interesting reinterpretation of scat singing in an exquisitely African key.

Both Cristante’s guitar and Peace Diouf’ throbbing electric bass play a leading part with their solos in the same tunes. Bulawayo stands out for the wide range of its rhythm and harmony, while Tarancarola rolls like movie credits thanks to a singable melody which recalls Metheny’s style; it then speeds up to the pressing and frenzied 6/8 which combines admirably two styles of Italian popular tradition, Taranta and Barcarola.
The album was recorded live at Stefano Amerio’s studio, with no post–production editing, in order to play faithfully that “live” spirit so dear to the band which shows remarkable cohesion and harmony, especially in the two improvised final tracks.

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