Steve Wyzard NOIRISH UNDERCURRENTS

Released in 2005, this album probably came as a surprise to many long-time listeners of Italian trumpeter Enrico Rava. Not only is there no bass player, but also no cornet, no flugelhorn, no trombones, no saxophones, and no guitars. Just trumpet, piano, and drums. Naturally, this provides for a very intimate and personal recording, and no doubt some will complain it's too slow and doesn't swing. Without being too derivative, Tati is reminiscent of the darker, after-hours tones and textures of ECM labelmate Tomasz Stanko.

Rava's glistening tone and time-honored style are heard to their best advantage on "The Man I Love" and "Golden Eyes". Those expecting innocuous background music are directed to the piercing and shrill tones of the impressionistic title track. The clouds part for the three best songs on the album, "Mirrors", "Jessica Too", and "Cornettology". All Rava originals, they feature faster tempi, fiery trumpet outbursts, excellent piano accompaniment from Stefano Bollani, and intense pounding from legendary drummer Paul Motian. Other tracks are simple dirges ("Birdsong", "Gang of 5") or improv pieces ("Fantasm", "Overboard").

The black-and-white booklet photos from the sessions help add to the late-night, noirish atmosphere. Bollani shines throughout, while Motian adds shimmering brush and cymbal work behind the horn lines. This has unobtrusively become one of my favorite Enrico Rava albums, and he deserves credit for simultaneously wandering off the beaten track while remaining true to his own individual style. At 54:47, Tati does not outstay its welcome and remains a frontrunner in all "Best Jazz Album of 2005" lists.

Steve Wyzard LOST MASTERPIECE OF 1977

If you are reading this review and do not own this album, stop immediately, drop everything, mortgage the house, and buy it! The Plot is hard to find and now a true rarity, but it really is that good. Trumpeter Enrico Rava's other recordings, many of which are well worth hearing, simply pale in comparison. The Plot's four performers have appeared on hundreds of albums, but very few can match the virtuosity and over-the-top intensity of this one. Jon Christensen, known to most as the cool ECM house drummer, plays with a DeJohnette/Williams fire that is unbelievable. Bassist Palle Danielsson, coming off classic performances on Witchi-Tai-To and Belonging, almost impossibly reminds one of Dave Holland. Guitarist John Abercrombie plays with an outrageous brilliance that ranks among his career best. This one demands a track-by-track breakdown:

"Tribe": The opener establishes a pattern: Christensen/Danielsson/Abercrombie lay down a heavy groove before Rava enters last. With an unforgettable riff, this one should be a standard. "On the Red Side of the Street": At first, you might think this is one of the obligatory free improv numbers that appear on almost every ECM album before 1982. Then Rava plays one of the saddest, most mournful lines you will ever hear. Abercrombie and Danielsson create a magical mood and keep this from becoming a dirge. "Amici": It sounds like a missing track from the Abercrombie/Holland/DeJohnette Gateway albums, with Danielsson's playing particularly mind-blowing. Rava's trumpet cries/wails/shrieks and howls over a very busy background. "Dr.Ra and Mr.Va": Abercrombie and Rava push each other to new levels of intensity. Also features a bluesy intro and a fabulous descending note melody. Another one that should be a standard. "Foto di Famiglia": A quiet duet interlude before the epic. Abercrombie's acoustic guitar backs Rava's beautiful solo. "The Plot": A 15-minute slow intro/long jam/slow coda classic. Once the rhythm section gets going, everyone just TAKES OFF! Rava plays from sweet to sour, from fire to ice, while Abercrombie's fluid, "out there" solo reminds one of his Timeless album.

The only question that remains to be answered is: "Why is this masterpiece so hard to find?" Maybe everyone who owns it would be hard-pressed to part with their copy. If ECM can give the wild avant-garde early Jan Garbarek albums an American release, why not The Plot, which is much more accessible? All I can say is, if you love the trumpet, love amplified jazz guitar, or love the ECM sound in general, you will not be disappointed with this lost classic. And shame on ECM for not making it easier to find. Beatrize Vidal's ethereal cover design is the cherry on top!

J-Man Michael Jackson's tragic passing in 2009 may have marked the end of the King of Pop's reign, but it also reignited interest in his music from younger and older listeners alike - one such listener is Italian trumpeter Enrico Rava. Although Rava had largely ignored Jackson's music when it was new, he was prompted to explore the singer's discography following the intense media coverage of his death, and the music connected with him so much that he decided to release Rava On the Dance Floor, a live tribute to Michael Jackson's music recorded in 2011 and released in early 2013 for ECM Records.

As expected, the album consists of jazz renditions of some of Jackson's more well-known tunes, and even a few deeper cuts. These recordings explore multiple styles of jazz, but an electric and distinctly 'Rava' flair pervades the entire album; the arrangements give the songs plenty of room to breathe, and the improvisations are more than competent. At the end of the day, On the Dance Floor isn't the most mind-blowing album you're ever going to hear from Enrico Rava (or ECM Records, for that matter), but it serves as a nice entryway into Michael Jackson's music for any jazz listener as well as a good way for a Michael Jackson fan to begin exploring jazz.

snobb Enrico Rava is for sure one of best known Italian jazz artist and the one who opened world jazz scene to his country musicians some decades ago.The problem with his music (at least for me) is after short innovative early period (one time he was even a member of Steve Lacy band) he was contracted by ECM and switched to much more safe chamber jazz.Besides of all series of quality but often openly boring ECM releases during these decades Enrico released lot of albums on Italian labels, the problem with music "for domestic market" is you need to be Italian to love it (well polished melodic,often melancholic and even cheesy songs in big quantities aren't good for health I'm sure,unless you grew up on romantic operas sounding around). But knowing all this I regularly try to listen one or another new (for me) Rava's album - he's a master who still can be unpredictable in moments.

"Live At Birdland" is no way Rava's revolutionary album, but it is the one I listen quite often. The music here is recorded live during Rava's concert in jazz club in Germany, he plays as soloist supported by competent German post-bop quartet (the only artist I'm familiar with from this band is drummer Dejan Terzic).Sound is excellent, all musicians are in great form and this music represents successful for Rava's releases formula - all supporting band perfectly knows their role and they do their best: competent, almost precise "German" sound fits surprisingly well to warm, emotional Rava's soloing without pushing all the music to dangerous "dolce" zone.

Rava plays two his originals and three standards,including "My Funny Valentine", but nothing sounds too predictable or boring. Clever balance between neo-bop,funky rhythms,bossa and even waltz and reggae,all with light Italian romantic flavor shows Rava's in his best.Not the best artist's work for sure, but the one you will listen repeatedly and not without pleasure.

snobb Italy is a great land for romantic music.For classics and ballads.Jazz (as well as rock) are both aliens there, few successful experiments are just exemptions,confirming the main rule.

Enrico Rava was first Italian jazz artist,representing the country at international level.He was born in Trieste in 1939 - I know this town well, and believe me - it is not real Italy!Being independent town-state for years (last time - for some years after WWII),with long history being a part of Austria, this place is a strange mix of Roman and Germanic culture (with light Balkan flavor and Adriatic breeze as two important ingredients).At the same time it has that characteristic Adriatic coastal town atmosphere with central city square opened to sea, narrow streets,all coming from hilly suburbs to central square and smell of roasted chestnuts on every yard in August...Rava's music at its best is a product of this town - mix of Central European and Italian culture with scent of Adriatic spirit.

Rava's early works are strongly influenced by Miles Davis music and (fortunately!) almost don't include that honey-sweet South European melodies and over-emotional sentimentality that can destroy even good composition."Pupa O Crisalide " was recorded with three different ensembles in three different continents and naturally contains quite various music.

Album's opener and closer both were recorded in Rome with Italian musicians, and are closest to Rava's later "Italian recordings". Still Miles Davis influences are obvious.Rest of vinyl side A was recorded in New York with American septet (including such musicians as John Abercrombie (on electric guitar) and drummer Jack DeJohnette),them are strongest albums part. Similar to Miles Davis electric fusion period,music here is a bit warmer,more aerial and a bit softer, but sounds excellent (if not extremely original).

Two left album's compositions were recorded in Buenos Aires with Argentinian musicians and contains music,influenced by Latin fusion. Overall album is very variable and has some really strong moments.Very soon Enrico will start working for ECM and his music will become much more predictable.

One strong Italian jazz album and excellent entry to Enrico Rava music.