I think that the title of this disc is perfectly congenial - ”Metamorphosis” stands for “profound transformation in form and structure”.I have known and listened to pianist Guido Mansuardi, born in 1935, for more than 40 years and consider myself schooled in his impressive musical productions since his 1966 record debut. Guido is a full-blooded swinger and his playing is rooted firmly in the tradition.Surprisingly, after listening to this record I hear and find a pianist astonishingly original and dynamic, playing with a moving fluidity and freshness.His compositions perfectly reflect the essence of his current state of playing, with changing moods and situations of remarkable harmonic complexity. (Giovanni Bianchi)In the 1950s-‘60s, during his long stays in Sweden and Romania, Guido Manusardi recovered elements of European folk music and mixed them with his “classic” way of piano playing, creating a personal musical language appreciated throughout Europe.In these two countries the pianist experienced early success, then enjoying upon his return to Italy the esteem given to foreign musicians.

The Italian pianist and composer Piero Umiliani (1926-2001) began his film scoring work in the 1950’s, collaborating with such Italian director luminaries as The Taviani Brothers (“Painters in the City” – his first film score), Nanny Loy (“Fiasco in Milan”) and Mario Monicelli, who’s great 1958 film I Soliti Ignoti (“Big Deal on Madonna Street”) can be counted as having the very first Italian jazz soundtrack.

2010 release from this Jazz outfit. In today's Jazz scene, it's pretty much common knowledge that maintaining a stable group of working musicians is no small task. All too often, economics dictate that in order to survive in the creative jungle, a working musician must keep his options open. So with this in mind, one can take heart when many such in-demand musicians through their own desire make time in their very busy lives to return to a project that they hold close to their creative souls.

The Italian pianist and composer Piero Umiliani (1926-2001) began his film scoring work in the 1950’s, working with The Taviani Brothers and Mario Monicelli (1958’s “Big Deal on Madonna Street”), among others. After hearing this 1957 LP, Monichelli invited Umiliani to score his great 1958 film. Of Da Roma a New York, Umiliani noted, “In (arranging my tunes) I tried to express myself in a contemporary yet classic manner, without pretense, focusing on a good sound and effective rhythm.”

2010 release. Pianist and composer Antonio Figura was raised in a family of musicians. His father, a professional Sicilian drummer, provided a daily soundtrack of music for his family: Classical, Jazz, Blues, Pop, Beatles, soundtracks and many other genres. During his adolescence, he shared the love for music and never stopped dedicating himself to it. At the age of six, the only way for him to start the comprehension of music of the great masters was through the records suggested by his father and friends, trying to play what he listened to. Seven tracks. Rearward.

In every artistic field it is hard to understand how critically important first impressions are. I am talking about those quick and uncontrollable connections, like an electric shock, that originate from the direct proportion between the work of art standing before US (a picture, a poem, a piece of music) and our feelings. The critical judgment as such requires a deep meditation and the artistic work in question should be examined probably in the microscopic detail of the cultural tradition, filtered through the aesthetical parameters and controlled as a sort of X-ray, giving a careful analysis of every overtone and undertone, spontaneity and trick. So I think it is right to say my first impression on listening to this record was skin-deep, on which the more meditative critics no doubt would respond correctly. Rearward. 2009.

Reissue of this 1981 release. Gianni Basso represents one of the most solid institutions of Italian Jazz. He has been like this since the beginning, when he appeared in Milan after some years abroad. At that time, he already had a long story behind him as an activist Jazz musician: he started playing during his childhood in his hometown of Asti (where he was born in 1931) and then in Belgium, where his father emigrated with his family to work in the mines.

Jazz in Studio by the Enrico Intra Trio is the fruit of five months of hard work in the recording studio, rehearsals and even sacrifices. Per Enrico Intra, 'I am obviously satisfied with it. But I sure don't want to consider it a goal. I feel like I'm going toward the right direction and I hope my next work is further confirmation of the effort, seriousness and true passion I've put into my music.'

This Big German Band without Germans, have sold their records so far mainly in the United States. But now amongst other things it is being released to the German market with this album. The following are the musicians who were gathered in the Cologne studio: Kenny Clarke, from Paris, one of the founders of the Modern Jazz quartet, Bebop-father and together with Art Blakey and Max Roach one of the most significant jazz-drummers ever. Francis Boland, the sensitive pianist and Arrangeur from Namur, who worked one after the other for Aim� Barelli, Count Basie, Woody Hermann, Kurt Edelhagen and Werner M�ller, who also became well-known over the Belgian border. From Stockholm came the trombonist Ake Persson and the bariton-saxophonist Sahib Shihab, who this time produced together with Sadi from Belgium the incredible introduction for the "springvoices Waltz"on the flute. Trumpeter Benny Bailey left Munich and met here with Jimmy Deuchar, Great Britain, Dusko Gojkovic, Jugoslavia, Shake Keane, Jamaica, Nat Peck, USA, Derek Humble, Great Britain and Sal Nistico, Italy. Ahead of them all is the Vienesse tenor saxophonist Carl Drevo, who demonstrates here profile to the sounds of his home country. What they produce is powerful swinging music with a fresh sound, which covers the former melodies of that time with a beaming gleam of today and gives lavish Big Band jewelry to the compositions.

2008 repressing of a very rare album by Jazz saxist Johnny Griffin. This album was recorded in 1968, during his European experience with the Clarke Boland Big Band. The line up includes Griffin, Benny Bailey (trumpet, flugelhorn), Ake Personn (trombone), Sahib Shihab (baritone), Francy Boland (piano), Jimmy Woode (bass) and Kenny Clarke (drums). Rearward.

WHAT'S HAPPENING?

Vinyl LP pressing of this reissue of the 1971 album from the Jazz trumpeter. To share in his return to the studios as a leader, Bailey naturally looked to his colleagues in the Clarke - Boland Big Band. From the wealth of resources there he plucked Tony Coe, Sahib Shihab and bassist Jean Warland. As drummer, he brought in another expatriate, Tony Inzalaco, a young man with a very broad vision of what music is about. Between them, Coe and Shihab handle various flutes, tenor saxophone and clarinet, enough of a tonal palette for arranger Boland to feel free and unhindered. Rearward.

Double vinyl LP pressing. This Big German Band - as the location is Cologne - without Germans, have sold their records so far mainly in the United States. But now amongst other things it is being released to the German market with this "twen-Produktion". The following are the musicians who were gathered in the Cologne studio: Kenny Clarke, from Paris, one of the founders of the Modern Jazz quartet, Bebop-father and together with Art Blakey and Max Roach one of the most significant jazz-drummers ever. Francis Boland, the sensitive pianist and Arrangeur from Namur, who worked one after the other for Aim� Barelli, Count Basie, Woody Hermann, Kurt Edelhagen and Werner M�ller, who also became well-known over the Belgian border. From Stockholm came the trombonist Ake Persson and the bariton-saxophonist Sahib Shihab, who this time produced together with Sadi from Belgium the incredible introduction for the "springvoices Waltz"on the flute. Trumpeter Benny Bailey left Munich and met here with Jimmy Deuchar, Great Britain, Dusko Gojkovic, Jugoslavia, Shake Keane, Jamaica, Nat Peck, USA, Derek Humble, Great Britain and Sal Nistico, Italy. Ahead of them all is the Vienesse tenor saxophonist Carl Drevo, who demonstrates here profile to the sounds of his home country. What they produce is powerful swinging music with a fresh sound, which covers the former melodies of that time with a beaming gleam of today and gives lavish Big Band jewelry to the compositions.

Starring the multi-awarded vocalist Cleveland Watkiss and pianist Antonio Figura, UKITUSA was recorded in July 2011 in an open, mountainous region of Northern Italy in a peaceful town in the vicinity of Udine. Five musicians from three different countries came together with open ears and hearts to create a special collection of music. The genesis of the band was interesting. Through Antonio Figura, the nuclear member of the group, each of the musicians had some prior contact with at least one other member of the band. The music recorded in those two days demonstrates a shared experience with various improvised and composed music, European, American, African or otherwise. It will be interesting to see how the sound of this band expands in concept and depth as it concertizes. The chemistry among the musicians in the sessions was exciting and full of potential. UKITUSA begins to tell a story of common experience, differing expressions, and all through the desires of five men to communicate their stories.

Lunar is a journey into the magical freedom of Lorenzo Tucci and Luca Mannutza. Is there any need to say that 'Duke's Nightmare' is their eccentric and fascinating rework of 'Caravan', and Tucci at the drums delivers six minutes of pure magic? Hard to believe, there hasn't been any overdubbing. Is there any point in noticing that Mannutza switches from Lunar intro to Lunar, from piano to electronic keys and back with disarming simplicity? Or, is it pointless to mention their ability to express in music the uneasiness of a 'sidereal breakdown'? This musical journey at the end leaves US astonished and almost drunk, and exalts for the sureness with whom these musicians can afford unexpected drifts, swoops and loops...