Since the middle '70's Eugenio Colombo has been one of the forernost Italian reed players, composers and improvisers of the all-round musical scene (that is, not confined to «jazz», whatever this word may mean). Bom in Rome in 1953, Colombo blows alto, soprano and baritone saxophones,
and also other winds on occasion. He has never followed any orthodox jazz path (bebop training, jam sessions etc.). Even in his very early appearances he has come out as a thoroughly fresh and originai voice, whose roots lay as much in ethnic music as in jazz. His instrumental conception is based on the total control of all resources of the winds he plays, with a special emphasis on the exploraticrn of new tane colours, which he has developed to amazing results. His horns evoke the weircst suggestions — exotic instruments, natural sounds, animal and human calls and yet, there is no mere novelty effect or sterile search for the unexpected. Colambo's music is always, first of all, music; and his improvisatícms are based on original are nearly conceived structures, that can be written out, or loosely kept in mini while playing. Incidentally, le is also composer of larger pieces for ch;mber groups, militaty band, voices, electronics; and badi in Ms composing and in bis ad-libbing you can recognize the imprint of a logica] musical mirai, which is, nonetheless, never I devoid of a touch of magic lyricism.
These four solo performances/compositicms are based on scales and/or motifs that undergo a deep, if concise, development. Nonostante («Notwithstanding») shows us Colombo in a typical manipulation of multiple sounds and microtones, produced by alternate fingering, and sounds lite a mystic, extatic vocalese. Judith is based on a fragment from Colombo’s cantata Giuditta, that was premiered in Florence in 1993. The main melody sounds like an Indian chant, bui is in fact an original tune Here the tone color palette of Colombo's flutc, ranging from the pure and mellow to the rough and ominous, is astonishing. La casa di pietra («The Stone House») is based an the Indonesian pélog scale, however treated with some looseness it is a sort of private meditation, a dialogue between the player and the Nature. Cadice(Italian name for the Spanish town of Cadiz) is founded on a Japanese scale, and shows Colambo's amazing ability in playing two saxophones at the same time, yet keeping a steady, perfect intonation. This piece is inspired to The Maids of Cadiz, but gives no room to cheap Spanish effects it rather conveys suggestions of an archaic Moor chant, alternating with short, blatant mediaeval fanfares — an ultimate document of this artist's relentless strive after an inner synthesis of the sounds of the Earth that is, not a mere anthology of musical curios, but a
new song, straight and simple, all of bis own. (Marcello Piras)
released April 6, 2017
REMASTERING at WONDERLAND studio by Piero Schiavoni