In view of his discography, Mauro GARGANO is known above all as the indispensable accompanist of musicians with whom he has been able to forge unwavering links. However, in 2009 he created his first group Mo’Avast (“that's enough” in the Apulian dialect), which is no small detail. He returns with a new formation and an album, simply titled FEED, conceived in full Covid, between April and September 20. While many confined artists reserved themselves solo, the double bassist is the cornerstone of an inspired trio which reinvents over the tracks, eight vibrant pieces that give these “foods” a rare coherence. If he does justice to certain influences (in “Feed”, he follows Craig Taborn who favors the bass as the main line of the melody), the double bass player gives a free and rigorous interpretation which owes a lot to the collective performance, to the alloy effective timbres, to a fusion in the flow of improvisation, to a clearly exposed overall vision. The music follows an imaginary line of eliant prog rock, fragments of folk (“Lost wishes”), Italian song, municipal harmonies during the Easter processions (“Ilva's Dilemma”) but also contemporary and jazz is sometimes expressed in " small rhythmic patterns, repeated with small variations ”, a sort of musical haikus. Feverishly communicating with the never slowed down rhythms of Christophe Marguet who blossoms in crescendos, the pulsation remains the dominant element of the trio, with sharpness and a determination that we can after the fact associate with the danger of the orange of the cover, a “radioactive” color, criminal and polluting No sentimentalism or self-fiction in this music which also sings the love of native Puglia , attachment to a certain culture. Feed also alternates elegant moments of respite, tinged with melancholy, shivers where pianist Alessandro Sgobbio detaches the notes of silence. Music composed by Mauro Gar gano has the right gravity to exalt this emotional “uplift”. All that matters to him is to follow through on his idea. And it achieves its purpose since it still resonates loudly in our consciousness, long after we have listened to it. Sophie Chambon (The Latest Jazz News)....
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In view of his discography, Mauro GARGANO is known above all as the indispensable accompanist of musicians with whom he has been able to forge unwavering links. However, in 2009 he created his first group Mo’Avast (“that's enough” in the Apulian dialect), which is no small detail. He returns with a new formation and an album, simply titled FEED, conceived in full Covid, between April and September 20. While many confined artists reserved themselves solo, the double bassist is the cornerstone of an inspired trio which reinvents over the tracks, eight vibrant pieces that give these “foods” a rare coherence. If he does justice to certain influences (in “Feed”, he follows Craig Taborn who favors the bass as the main line of the melody), the double bass player gives a free and rigorous interpretation which owes a lot to the collective performance, to the alloy effective timbres, to a fusion in the flow of improvisation, to a clearly exposed overall vision. The music follows an imaginary line of eliant prog rock, fragments of folk (“Lost wishes”), Italian song, municipal harmonies during the Easter processions (“Ilva's Dilemma”) but also contemporary and jazz is sometimes expressed in " small rhythmic patterns, repeated with small variations ”, a sort of musical haikus. Feverishly communicating with the never slowed down rhythms of Christophe Marguet who blossoms in crescendos, the pulsation remains the dominant element of the trio, with sharpness and a determination that we can after the fact associate with the danger of the orange of the cover, a “radioactive” color, criminal and polluting No sentimentalism or self-fiction in this music which also sings the love of native Puglia , attachment to a certain culture. Feed also alternates elegant moments of respite, tinged with melancholy, shivers where pianist Alessandro Sgobbio detaches the notes of silence. Music composed by Mauro Gar gano has the right gravity to exalt this emotional “uplift”. All that matters to him is to follow through on his idea. And it achieves its purpose since it still resonates loudly in our consciousness, long after we have listened to it. Sophie Chambon (The Latest Jazz News).
Au vu de sa discographie, on connaît surtout Mauro GARGANO comme l’indispensable accompagnateur de musiciens avec lesquels il a su tisser des liens indéfectibles. Il a néanmoins créé en 2009 son premier groupe Mo’Avast ( “ça suffit” dans le dialecte des Pouilles), ce qui n’est pas un détail. Il revient avec une nouvelle formation et un album, simplement intitulé FEED, conçu en plein Covid, entre avril et septembre 20. Alors que beaucoup d’artistes confinés se réservaient en solo, le contrebassiste est la pierre angulaire d’un trio inspiré qui se réinvente au fil des morceaux, huit pièces vibrantes qui donnent à ces “nourritures” une cohérence rare. S’il rend justice à certaines influences (dans “Feed”, il suit Craig Taborn qui privilégie la basse comme ligne principale de la mélodie), le contrebassiste donne une interprétation libre et rigoureuse qui doit beaucoup à la performance collective, à l’alliage efficace des timbres, à une fusion dans le flow de l’improvisation, à une vision d’ensemble clairement nexposée. La musique suit une ligne imaginaire eliant rock prog, fragments de folk (“Lost wishes”), chanson italienne, harmonies municipales pendant les processions de Pâques (“Ilva’s Dilemma”) mais aussi le contemporain et le jazz lui s'exprime parfois en "petits motifs rythmiques, répétés avec de petites variations”, sorte de haïkus musicaux. Communiant fiévreusement avec les rythmes jamais ralentis d’un Christophe Marguet qui s’épanouit dans les crescendos, la pulsation demeure l’élément dominant du trio, avec du tranchant et une détermination que l’on peut après coup, associer au danger de l’orange de la pochette, couleur “radioactive”, criminelle et polluante. Pas de sentimentalisme ni d’autofiction dans cette musique qui chante par ailleurs l’amour des Pouilles natales, l’attachement à une certaine culture. Feed alterne aussi des moments élégants, de répit, teintés de mélancolie, frémissements où le pianiste Alessandro Sgobbio détache les notes du silence. La musique composée par Mauro Gargano a la juste gravité pour exalter ce “soulèvement” émotionnel. Tout ce qui lui importe est d’aller au bout de son idée. Et il atteint son but puisqu’elle résonne encore fort dans notre conscience, longtemps après l’avoir écoutée. Sophie Chambon (Les Dernières Nouvelles du Jazz).
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