The Italian violinist Stefano Pastor,thanks to its vast and prolific musical career, has established HIMself in recent years as one of the most salient identities of European jazz scene.In the grounds of their aesthetic proposal converge an unusual ability to express multidimensional interests, an unwavering attachment to explore new horizons of improvisation and invariable fidelity to developing a sound all their own and others-even cliché that travelling various musical contexts - has given public recognition and international critics as one of the most personal and original voices on his instrument.
The record production fertile and scenic deployed byStefano Pastorthrough the years, accounts for both their versatility and the breadth of artistic interests that drive it.After an early approach to music-classical stage where he shared the stage with artists such as Jose Carreras, Cecilia Gasdia, Daniele Gatti and Massimo De Bernart and served as first violinist of theQuartet Alberti- and a brief but intense approach to Art-rock singer-songwriter Paolo Conte accompanying and integrating the famous progressive rock bandPicchio del Pozzo- the career of Pastormade definitive center leading jazz trends.In that field, plus close collaborations with Harry Beckett, Dominic Duval, Ken Filiano,George Haslam, Joe Morris, Satoshi Takeishi and Harris Eisenstadt, among others, set about developing a successful work as leader and sideman; starred various musical projects, such asChet Moods(with pianist Carlo Morena),The Stefano Pastor Jazz-Poetry Connection(withErika Dagnino,Steve Waterman,George Haslamand Ken Filiano),Easy Clan(in the company ofGeorge Haslam, Steve Kershaw and Carlo Sezzi) and integrated two separate duets with bassist Furio Di Castri, pianist Borah Bergman and Kash Killion cellist.The indisputable qualities of his work are well documented in a motley discography including albumUna Notte in Italia2004,Transmutationsin 2006,Cycles,Uncrying Sky,Holywell Session - Live in OxfordandHelios Suite2007,July Forgiving - Live at Novara Jazz,Live at TortonaandChantsin 2009,FreedomandBows, 2010 andNorth South Dialin 2011.All this not to mention their multimedia projects with artist-visual poets Roberto Masotti and Steve Dalanchinsky, Anthony Barnett, Mark Weber andErika Dagnino- and the work displayed in the educational field as a teacher of the famousVerdi Conservatoryin Milan and assistant the prestigiousSeminari di Siena Jazz.
The truth is that the course artistic deployed byStefano Pastorspeaks clearly of a strong knowledge of their inner world, a strong acceptance of his own musical identity and a constant desire to improve.These qualities, of which his work gives full testimony-they seem to St. Augustine's maxim that heads this comment as north on the compass of the path traveled byPastorin relation to art.
A vibrant production that now must be added his two most recent: the solo albumSongsand multidisciplinary assemblyNarcéte.
Songs seem to be a natural continuation of the imprint launched byStefano Pastorin 2009 with his albumChants, ie an exploration solo song format through the violin and voice.To this end, the interpreter provides here a very personal reading of a diverse program of songs from different authors and integrating in the same body of work together genres as diverse as classic rock, Brazilian music and traditional jazz.
In compliance with that company, Pastorwill work with nurturing the unique musical identity of his violin-enhanced here by the imaginative use of amplified acoustic violin and a limited arsenal of effects such as modulation throughphaser, signal saturation sound, delay pedal modulated by adelayand signal mix withchorus effect- coupled with the use of his voice in a more prone to physical examination of the song that the structural rigidity of the vocal techniques of interpretation.
The album opens with I Got Rhythm, piece that brothers George and Ira Gershwin composed in the thirties for the musicalGirl Crazyand later-both for its unusual chord progression (was the first song to use so-called rhythm changes) popularity as obtained by integrating the soundtrack of the filmAn American in Paris-end becoming a jazz standard.The reading offered here by Stefano Pastoris mostly instrumental (vocal segments appear only at the beginning and end of the release, "hidden" behind an effect that resembles the "frying" a vinyl) and the violin in the center of the scene, thus enabling the full splendour of an interpreter capable of pooling technical sophistication, energy and imagination.
Then two threads happenBrazilian Songbook(both sung byStefano Pastorin Portuguese): the classic Edu Lobo and Chico BuarqueBeatrizand Luiz piece and Lyle Mays AvellarQuemè você.The first one gets a full treatment of contrasts, with an opening section that favors warm vocal performance asceticPastorand a final chapter-instrumental-exclusive manner in which the figure is exaggerated violin to give vent to a hallucinated speech, magnetic and hyperbolic.While in the second case the version running on a more subtle imprint contained threading going ethereal ornaments, a strategic use of tonal elements, which provide a bridge between the original score and the forms of free improvisation, and incorporated herein choose a voice whisper lyrics accentuate your temperament intimate.A recreation of the classic restrained James Lamont "Haven" Gillespie and John Frederick CootsYou Go to My Head, 1938, ensues an effervescent cover of Jimi HendrixPurple Haze(originally included in the albumAre You Experienced?, 1967 ) where instrumental flare emerging from the imaginative and sweeping violinStefano Pastorseem to contrast with the idea, perhaps not too happy-to emulate Hendrix's voice through an echo chamber.Finally the album closes with an exquisite interpretation of the instrumental piece belonging to Charles MingusDuke Ellington's Sound of Love, 1974.
Songsis a job-even with uneven logic imposed by the chosen repertoire and changes in self-treatment at all times looks interesting, honest, credible and, especially, very "physical", very human.
NarcéteshownStefano Pastorinvolved-as it did, for example, on the albumCycles2007 - a proposal that unites music and poetry.This project is powered by the Anglo-Italian ensemble that complete the eminent poetErika Dagnino(who in addition to the texts that give life to this album is the author, among other books, ofIl canto del cuore passer, I Canti dell'occhio MotionsWalls , Signs), veteran saxophonistGeorge Haslam(leader ofThe George Haslam Quartet, former member ofMeltdownandBritish Saxophone Quartet,founded the record labelSLAMand one of the leading actors of the British musical vanguard) and renowned trumpeterSteve Waterman(Steve Waterman Jazz Orchestra,Steve Waterman Trio & QuintetandWaterman / Hooper Band).
Aesthetics designed here by the quartet exploits the close link between poetry and music, both rhythmic relationship implicit in his line as in creating sound spaces capable of being significant.
InNarcétecarefully observed sequence of words, sounds and silences where neither arts disciplines that nurture the work, music and poetry seems to undergo another, thereby enthrone the consecration of an organic body of work marked by their creative freedom.
The album - of inherent conceptual-favors a mix of simultaneous meanings regardless of these come from words or musical notes, a metaphor or a jazz chord and making the spontaneity of improvisation and avoidance of predefined structures share traits with the thought in poetry writing and correctly.
Just as musical notes, depending on who and how the run-related attributes are the words that emerge from a poem acquire meanings that are subject to the temperament and degree of understanding of the reader.InconsequenceNarcéte, to tell here with the presence of three eminent improvisers and with the voice of the author of the texts, acquires an unusual degree of verisimilitude creative and expressive undeniable authority.
The album travels climates and different moods in certain passages allowing garnish music poems in other segments latter seem verbalize sounds and also, at times, causing both evolve in tandem.
The musical motifs, either aposentándose vaguely blues-likeChant I,Chant IIIandVI Chant- or adopting a more exploratory route-as inChant II,Chant IV,VIII ChantandChant X-, assuming an introspective temperament -as inChant V-or tone-chamber music as inChant VIIandIX Chant- and outstanding contributions interpretiveStefano Pastoron violin and bass,Steve Wastermanon trumpet andGeorge Haslamon baritone sax and tarogato, are linking to poetry conposeded byErika Dagnino.Texts where the numerous references to the dreamlike and subliminal world of dreams or icons isolated references to Greek mythology (NarcissusChant IIIand Hermaphrodite inChant V) end mancomunándose to music to officiate as an episteme of life itself.
Narcéteexpression is a multidisciplinary art too.A job that, beyond the aesthetic values circumstantial, is destined to become a must for those who, in times to come-hurguen in the history of the connection between jazz and poetry of our time.
In short:Stefano Pastor, bothSongslikeNarcéte,interpretive exhibits its well-known qualities, reaffirms the variety of aesthetic interests and, above all, manifests loyalty and conviction to continue attached to building an own artistic identity.
El violinista italianoStefano Pastor,merced a su vasta y prolífica trayectoria musical, ha logrado posicionarse en años recientes como una de las identidades más sobresalientes de la escena jazzística europea. En los fundamentos de su propuesta estética confluyen una inusual capacidad para expresar intereses multidimensionales, un inquebrantable apego por explorar los nuevos horizontes de la improvisación y la invariable fidelidad con el desarrollo de un sonido propio y ajeno a todo cliché que -aun transitando contextos musicales diversos- le ha conferido el reconocimiento del público y la crítica internacional como una las voces más personales y originales en su instrumento.
La fecunda producción discográfica y escénica desplegada porStefano Pastora través de los años, da cuenta tanto de su versatilidad como de la amplitud de los intereses artísticos que lo impulsan. Luego de un temprano acercamiento a la música clásica –etapa en la que compartió escenario con artistas del calibre de José Carreras, Cecilia Gasdia, Daniele Gatti y Massimo De Bernart y ofició como primer violinista delCuarteto Alberti- y de una fugaz pero intensa aproximación al Art-rock –acompañando al cantautor Paolo Conte e integrando el célebre grupo de rock progresivoPicchio del Pozzo-, la carrera dePastorhizo centro definitivo en las tendencias punteras del jazz. En ese campo –además de estrechas colaboraciones con Harry Beckett, Dominic Duval, Ken Filiano,George Haslam, Joe Morris, Satoshi Takeishi y Harris Eisenstadt, entre otros- se abocó a desarrollar una fructífera labor como líder y sesionista; protagonizó diversos proyectos musicales, tales comoChet Moods(junto al pianista Carlo Morena),The Stefano Pastor Jazz-Poetry Connection(conErika Dagnino,Steve Waterman,George Haslamy Ken Filiano),Easy Clan(en compañía deGeorge Haslam, Steve Kershaw y Carlo Sezzi) e integró sendos dúos con el contrabajista Furio Di Castri, el pianista Borah Bergman y el cellista Kash Killion. Las indiscutibles cualidades de su obra se encuentran debidamente documentadas en una variopinta discografía que incluye a los álbumesUna Notte in Italiade 2004,Transmutationsen 2006,Cycles,Uncrying Sky,Holywell Session – Live in OxfordyHelios Suitede 2007,Forgiving July – Live at Novara Jazz,Live at TortonayChantsen 2009,FreedomyBowsde 2010 yNorth South Dialen 2011. Todo esto sin dejar de mencionar sus proyectos multimedios -junto al artista visual Roberto Masotti y los poetas Steve Dalanchinsky, Anthony Barnett, Mark Weber yErika Dagnino- y las labores desplegadas en el campo pedagógico como profesor del afamadoConservatorio Verdide Milán y asistente en el prestigiosoSeminari di Siena Jazz.
Lo cierto es que el derrotero artístico desplegado porStefano Pastorhabla a las claras de un marcado conocimiento de su mundo interior, una decidida aceptación de su propia identidad musical y un permanente afán de superación. Esas cualidades –de las que su obra da pleno testimonio- hacen parecer a la máxima de San Agustín que encabeza este comentario como el norte en la brújula del camino transitado porPastoren relación al arte.
A esa vibrante producción deben agregarse ahora sus dos trabajos más recientes: el álbum en solitarioSongsy el ensamble multidisciplinarioNarcéte.
Songsparece ser la continuación natural de la impronta iniciada porStefano Pastoren 2009 con su álbumChants; es decir, una exploración en solitario del formato canción a través del violín y la voz. A tal fin, el intérprete ofrece aquí una lectura muy personal de un heterogéneo programa de canciones pertenecientes a diferentes autores e integrando en un mismo cuerpo de trabajo géneros tan diversos entre sí como el rock clásico, la música brasilera y el jazz tradicional.
En el cumplimiento de esa empresa,Pastorva nutriendo a la obra con la particular identidad sonora de su violín –aquí potenciado mediante el imaginativo uso de violín acústico amplificado y un acotado arsenal de efectos tales como modulación a través dephaser, saturación de la señal sonora, retraso modulado mediante un pedal dedelayy mezcla de señales conchorus effect-, sumado a la utilización de su voz desde una perspectiva más proclive a la exploración física del canto que a la rigidez estructural de las técnicas vocales de interpretación.
El álbum abre conI Got Rhythm, pieza que los hermanos George y Ira Gershwin compusieran en los años treinta para el musicalGirl Crazyy que tiempo después –tanto por su inusual progresión de acordes (fue el primer tema en usar los denominadosrhythm changes) como por la popularidad obtenida al integrar la banda sonora del filmUn Americano en París-terminaría transformándose en un estándar de jazz. La lectura ofrecida aquí porStefano Pastores mayormente instrumental (los segmentos vocales sólo aparecen al principio y al final de la versión, "ocultos" tras un efecto que asemeja la "fritura" de un vinilo) y con el violín en el centro de la escena, posibilitando así el cabal lucimiento de un intérprete capaz de mancomunar sofisticación técnica, energía e imaginación.
Luego se suceden dos temas delBrazilian Songbook(ambos cantados porStefano Pastoren portugués): el clásico de Edu Lobo y Chico BuarqueBeatrizy la pieza de Luiz Avellar y Lyle MaysQuemè você. El primero de ellos recibe un tratamiento pleno de contrastes, con una sección inaugural que privilegia la cálida y ascética interpretación vocal dePastory un capítulo final -excluyentemente instrumental- en donde la figura del violín se agiganta para dar rienda suelta a un discurso alucinado, magnético e hiperbólico. En tanto que en el segundo de los casos la versión discurre sobre una impronta más sutil y contenida que va enhebrando etéreos ornamentos, un estratégico uso de elementos tonales –que establecen un puente entre la partitura original y las formas de improvisación libre aquí incorporadas- y una voz que opta por susurrar la letra para acentuar su temperamento intimista. A la mesurada recreación del clásico de James Lamont "Haven" Gillespie y John Frederick CootsYou Go to My Headde 1938, le sobreviene una efervescente versión del tema de Jimi HendrixPurple Haze(en origen incluido en el álbumAre You Experienced?de 1967) en donde los brillos instrumentales que emergen del imaginativo y arrollador violín deStefano Pastorparecen contrastar con la idea –quizás no demasiado feliz- de emular la voz de Hendrix mediante una cámara de eco. Finalmente el álbum cierra con una exquisita interpretación de la pieza instrumental perteneciente a Charles MingusDuke Ellington's Sound of Lovede 1974.
Songses un trabajo que -aun con los lógicos desniveles que impone el repertorio elegido y las variaciones en el tratamiento del mismo- luce en todo momento interesante, honesto, creíble y, especialmente, muy "físico", muy humano.
Narcétemuestra aStefano Pastorinvolucrado –como ya lo hiciera, por ejemplo, en el álbumCyclesde 2007- en una propuesta que hermana música y poesía. Este proyecto es propulsado por el ensamble anglo-italiano que completan la eximia poetisaErika Dagnino(quien además de los textos que dan vida a este álbum es autora, entre otras publicaciones, deIl canto del cuore viandante, I Canti dell'Occhio MotionsWalls, Signs), el experimentado saxofonistaGeorge Haslam(líder deThe George Haslam Quartet; otrora integrante deMeldowyBritish Saxophone Quartet,fundador del sello discográficoSLAMy uno de los actores protagónicos de la vanguardia musical británica) y el renombrado trompetistaSteve Waterman(Steve Waterman Jazz Orchestra,Steve Waterman Trio & QuintetyWaterman/Hooper Band).
La estética diseñada aquí por el cuarteto explota el estrecho vínculo existente entre la poesía y la música, tanto en la relación rítmica y en su consonancia implícita como en la creación de espacios sonoros capaces de ser significativos.
EnNarcétese observa una cuidada sucesión de palabras, sonidos y silencios en donde ninguna de las dos disciplinas artísticas que nutren la obra –música y poesía- parece someterse a la otra para, de ese modo, entronizar la consagración de un cuerpo orgánico de trabajo signado por su libertad creativa.
El álbum – de inmanente carácter conceptual- propicia una mezcla de significados simultáneos sin importar que estos provengan de palabras o notas musicales, de una metáfora o de un acorde de jazz y haciendo que la espontaneidad de la improvisación y la elusión de estructuras preestablecidas compartan rasgos con el pensamiento en la escritura y la poesía en su plenitud.
Del mismo modo que las notas musicales –dependiendo de quién y cómo las ejecute -tienen atributos relativos; las palabras que emergen de un poema adquieren significados que están sujetos al temperamento y el grado de comprensión del lector. EnconsecuenciaNarcéte, al contar aquí con la presencia de tres eximios improvisadores y con la voz de la autora de los textos, adquiere un inusual grado de verosimilitud creativa y una innegable autoridad expresiva.
El álbum transita climas y humores diversos permitiendo que en ciertos pasajes la música adorne los poemas, en otros segmentos estos últimos parecen verbalizar los sonidos y también, por momentos, haciendo que ambos evolucionen a la par.
Los motivos musicales, ya sea aposentándose vagamente en el blues –como enChant I,Chant IIIyChant VI- o adoptando una ruta más exploratoria –como ocurre enChant II,Chant IV,Chant VIIIyChant X-, asumiendo un temperamento introspectivo –como sucede enChant V-o un tono camerístico –tal como enChant VIIyChant IX- y los sobresalientes aportes interpretativos deStefano Pastoren violín y contrabajo,Steve Wastermanen trompeta yGeorge Haslamen saxo barítono y tarogato, se van enlazando a la poesía pergeñada porErika Dagnino.Textos en donde las abundantes referencias a lo onírico y el mundo subliminal de los sueños o las aisladas menciones a íconos de la mitología griega (Narciso enChant IIIy Hermafrodita enChant V) terminan mancomunándose a la música para oficiar como una episteme de la vida misma.
Narcétees una expresión puntera del arte multidisciplinario. Un trabajo que, más allá de las valoraciones estéticas circunstanciales, está destinado a convertirse en cita obligada para quienes -en las épocas por venir- hurguen en la historia de la unión entre el jazz y la poesía de nuestro tiempo.
En síntesis:Stefano Pastor, tanto enSongscomo enNarcéte,exhibe sus consabidas cualidades interpretativas, reafirma la variedad de sus intereses estéticos y -sobre todo- manifiesta fidelidad y convicción para seguir apegado a la construcción de una identidad artística propia.
Sé tú mismo, los demás puestos están ocupados (Oscar Wilde)
Sergio Piccirilli http://elintruso.com/2012/10/11/stefano-pastor-x-2/
TRANSLATED FROM ITALIAN
Entering the home stretch, let us come down to the south-east, where the Piedmont becomes the Alexandrian Liguria Genoa, to be exact in Campo Ligure, where lived for some years the violinistStefano Pastor, who just recently released his latest album ,Songs(SLAM), solitary journey (with extensive overdubs) through a handful ofsongs, in fact, from all sources, from Chico Buarque Gershwin, from Hendrix to Mingus.There are six songs in total, in which Pastor, as well as manipulate his violin (indicating that all of the sounds just come from there), sings, with his thin voice and a bit 'stunted somewhat reminiscent of the last Chet Baker .The results are remarkable, especially in odd-numbered tracks (I Got Rhythm,Quem and voiceandPurple Haze), where - even in the even, for heaven's sake - the interweaving of the various instrumental voices generates surprises not to be underestimated.
Je ne sais trop que penser de ce disque. Stefano Pastor est un talentueux violoniste italien qui, à force de recherche sonore, a développé un son très original pour son instrument.Songspropose six chansons revisitées au violon et à la voix. Le violon est multipisté pour servir de boîte à rythme, de basse, de guitare, de section de cordes, etc. Pastor pousse la chanson de son filet de voix honnête mais sans plus. Certains arrangements sont fort intéressants ("Beatriz", "You Go To My Head"), alors que certains choix sont questionnables ("Purple Haze"), et que toutes les chansons ont tendance à être trop longues. Bof.
I'm not sure what to make of this album. Stefano Pastor is a talented violinist from Italy who, through deep sonic research, has developed a unique violin sound.Songsfeatures six songs revisited using only violin and voice. The violin is multitracked to be used as a beatbox, a bass, a guitar, a strings section, etc. Pastor sings with a honest but thin voice. Some arrangements are pretty interesting ("Beatriz", "You Go to My Head"), while other choices are questionable ("Purple Haze"), and every song runs a little too long for its own good.
François Couture http://blog.monsieurdelire.com/2012/08/2012-08-21-dornerleimgruberlandfermannl.html
AprèsChants(Slam 519), voiciSongs. Mais l'effet de surprise est passé. L'âpreté du violon deStefano Pastorne nous surprend plus. Idem pour sa voix de crooner fragile. Il faut donc trouver d'autres pistes. C'est ce que fait iciPastoren s'érigeant metteur en scène et en sons des six chansons de ce nouveau disque solo. Le violon se démultiplie. Il est accompagnateur, coloriste, soliste, bagarreur. Et insatiable, toujours. Il racle la corde jusqu'à la rupture quand il s'agit de convoquer leI Got RhythmdeGershwin. Il se pare d'un romantisme toc et navrant quand le Brésil s'invite (Beatriz,Quem E Vocé). Il se fait rageur quand surgit le réjouissantPurple Hazed'Hendrix. Et il retrouve le chemin d'un jazz déviant – et néanmoins poignant – quandYou Go To My HeadetDuke Ellington's Sound of Loveempruntent sa route. Rien de révolutionnaire, ici, mais une singularité à ne surtout pas négliger.
After Chants (Slam 519), hereSongs. But the surprise is gone.The harshness of the violin Stefano Pastor surprises us more.Ditto for his crooner voice fragile.We must find other avenues.This here is what Pastorby erecting director and sounds of the six songs on this new solo album.Multiplies the violin.He is accompanist, colorist, solo fighter.And insatiable, always.It clears up the rope break when it comes to convene the I Got Rhythm by Gershwin. It is adorned with a fake romance and heartbreaking when Brazil invites (Beatriz,Quem E Voce).He gets angry when the rejoicing arises Purple Haze of Hendrix.And it finds the path of a deviant jazz - yet poignant - WhenYou Go To My HeadandDuke
Ellington's Sound of Love borrow its way.Nothing revolutionary here, but a singularity should not be overlooked.
Guillaume Belhomme http://grisli.canalblog.com/archives/2012/11/07/25516395.html
Nell'ormai folta produzione discografica di Stefano Pastor,Songsper molti aspetti si ricollega aChantsedito nel 2009, le cui incisioni, sempre in solo, risalivano prevalentemente al settembre 2006. Tutti i brani diSongssono stati invece registrati nel corso del 2010, salvo "Duke Ellington's Sound of Love" che appartiene alla medesima seduta del 2006.
Nelle chiare, quasi pedanti, note di copertina è lo stesso violinista genovese a esporre i suoi obiettivi tecnici ed espressivi. Egli sente innanzi tutto l'esigenza di sottolineare in modo esplicito le prerogative della sua tecnica strumentale: "...tutti i suoni che ascolterete sono stati prodotti esclusivamente dal violino. Talvolta con l'uso di processori quali distorsori, phaser, delay, chorus etc., ma la sorgente sonora è sempre rigorosamente lo strumento acustico amplificato. Mai un sintetizzatore funge qui da sorgente sonora...". In alcuni brani egli ricorre anche alla voce, mai intesa come virtuosistica forma comunicativa, ma solo come intima e spoglia possibilità espressiva.
Quanto ai contenuti, Pastor vuole tracciare un personale percorso attraverso la canzone, enucleando i modelli culturali, i filoni sui quali si è sviluppata la propria formazione; viene così a individuare pochi titoli emblematici da affrontare, appartenenti a diverse tradizioni musicali.
L'apertura e la chiusura del disco sono affidati a standard americani, nel senso più esteso del termine, che vengono interpretati con un piglio estroso e rigoroso allo stesso tempo. L'esposizione intimista e malinconica, quasi dolente, di "You Go to My Head" si basa su un ritmo dilatato e sospeso, mentre il diafano timbro vocale non può non ricordare Chet Baker. Subito dopo viene affrontato l'hendrixiano "Purple Haze" con sonorità distorte e frenetiche degne del suo modello, anche se la voce non possiede la stessa corrosiva caratura del violino.
Altro amore dichiarato, come nell'ultimo decennio è stato esplicitato da tanti altri jazzisti italiani, è quello per la canzone brasiliana. La sua interpretazione di "Beatriz" risulta attinente anche se forse troppo elaborata, soffusa di una partecipazione che porta dall'iniziale dolcezza vocale a sovrapposizioni delle linee del violino dalle tinte più livide e inquietanti.
In definitiva ci troviamo di fronte a un CD in cui si respira una ponderata ricerca, un'autenticità espressiva, una profonda esigenza creativa; l'autore è proteso a fare in primo luogo i conti con se stesso piuttosto che a finalizzare all'ascolto altrui un prodotto smaliziato e accattivante.
Libero Farnè http://italia.allaboutjazz.com/php/article.php?id=8539
TRANSLATION
In the now thick record production of Stefano Pastor,Songsin many ways is related toChantspublished in 2009, whose engravings, always alone, mostly dating back to September 2006.All tracks ofSongswere instead recorded in 2010, except for "Duke Ellington's Sound of Love" which belongs to the same session of 2006.
In clear, almost pedantic, liner notes is the same Genoese violinist to expose its technical objectives and expressive.He feels the need to emphasize first of all explicitly the prerogatives of his instrumental technique: "... all the sounds you hear are produced exclusively by the violin. Sometimes with the use of processors such as distortion, phaser, delay, chorus etc.., but the sound source is always strictly acoustic instrument amplified. never acts here as a synthesizer sound source ... ".In some passages he also uses the voice, never intended as virtuosic form of communication, but only as an intimate and bare expressive possibility.
regard to the contents, Pastor wants to trace a personal journey through the song, by identifying cultural patterns, the lines on which it is developed their own training is thus to identify a few emblematic titles to be addressed, from different musical traditions.
The opening and closing of the disc have relied on U.S. standards, in the widest sense of the term, that are interpreted with an air whimsical rigorous and at the same time.Exposure intimate and melancholic, almost painful, of "You Go to My Head" is based on a rhythm expanded and suspended, while the ethereal tone of voice can not remember Chet Baker.Will immediately be faced Hendrix "Purple Haze" with distortion tones and busy worthy of his model, even if the item does not have the same caliber of corrosive violin.
Others love declared in the last decade has been expressed by many other jazz musicians Italian, is the Brazilian song.His interpretation of "Beatriz" is relevant though perhaps too fancy, suffused with a participation that leads from the initial sweetness voice overlapping lines of the violin shades more pale and disturbing.
Ultimately we are faced with a CD with you can breathe a weighted search, expressive authenticity, a deep creative needs, the author is straining to do in the first place to deal with it rather than listening to others to finalize a product shrewd and captivating.
