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Fellini
icdisc.nl 0401

Tracks:


1- Tiramisú (Bo van de Graaf)
2- Dolce vita suite (Rota)
3- Saraghina (Rota)
4- In A mitrailleur no.1 (Martin van Duijnhoven)
5- XXXXX (v d Graaf)
6- Pin Penin (Rota)
7- Fellini (v d Graaf)
8- Dolce Vita slow (Rota)
9- Amore per tutti (Rota)
10- Il teatrino delle suore (Rota)
11- Mia malincionia (Rota)
12- Adioos (Pieter Douma)
13- La Strada (Rota)
14- Milano e Nadia (Rota)
15- Dolce vita , latin Party (Rota)
16- La passarella di addio (Rota)

Musicians:


Bo van de Graaf soprano, alto & tenorsax ;
Frank Nielander alto, tenorsax;
Jeroen Doomernik trumpet;
Tessa Zoutendijk violin ;
Simin Tander vocals (6,8,10,11,16)
Hans Hasebos keyboards and samples;
Jeroen van Vliet piano;
Carel van Rijn bass-ac-
Pieter Douma bass –el-
Fred van Duijnhoven drums;
Martin van Duijnhoven drums –el-

Track 16: vd Graaf; Vera Vingerhoeds saxes; Paul Vlieks trumpet; Jeroen Goldsteen vibraphone; Frank van Merwijk piano; Carel v Rijn bass; Fred van Duijnhoven drums. recorded at the  BIMhuis 1993 

Recorded at

the Bimhuis Amsterdam and LUX Nijmegen jan. 2004 by Cris Weeda (1-10) and Mark Peters (11-16) Frank v d Weij (16)

Mix and editing :

Chris Weeda, studio le Roy Amsterdam.

 


          .

Recensies Fellini


Film is vergroeid met muziek: zelfs bij de stomme film was er al (live-)muziek. Sommige componisten hebben een zesde zintuig voor de muzikale dimensie in het spanningsveld tussen beeldtaal, epische lijn en dramatiek. Zo zijn er in de filmgeschiedenis tussen cineasten en componisten heel wat 'congeniale' samenwerkingen tot stand gekomen, waaronder de tandems Alfred Hitchcock/Bernard Herrmann, François Truffaud/Georges Delerue, Agnes Varda/Michel Legrand en Rainer Werner Fassbinder/Peer Raben. Misschien wel de meest innige werkrelatie was die tussen het Italiaanse genie Federico Fellini en zijn landgenoot Nino Rota. Met haar curieuze mozaïek van uitzinnige circusmuziek, weemoedige melodieën en complexe harmonische structuren draagt de muziek van Nino Rota in hoge mate bij tot de even bezwerende als verheffende werking van Fellini's films.

De kwaliteit van Rota's muziek is zeker in jazzkringen van meet af aan erkend. Musici als Carla Bley en Charlie Haden rekenen zichzelf tot de adepten van de Italiaan die zelf natuurlijk ook een greep in de jazztraditie deed. De Nijmeegse saxofonist/componist/ bandleider Bo van de Graaf gaat nog een stap verder: hij heeft zijn muzikale bestemming verbonden aan de muziek van Nino Rota. Het is deze maand twintig jaar geleden dat hij I Compani oprichtte, een groep die zich bijna uitsluitend richt op het repertoire van de Italiaanse filmmuziekcomponist.

Bekendheid kreeg I Compani vanwege de projectie van filmfragmenten bij de muziek. De vorig jaar verschenen cd 'Fellini'
geeft een mooi beeld van de manier waarop Van de Graaf zich het typische en herkenbare idioom van zijn inspirator toeëigent. De onnavolg-baar fraaie en ingenieuze thema's blijven in de meeste gevallen intact, krijgen af en toe zelfs nog een inkleuring door het accentueren van beeldbepalende noten. Maar net als Fellini is ook Bo van de Graaf een onverbeterlijke improvisator en als zodanig neemt hij het originele materiaal graag op sleeptouw in avontuurlijke escapades, daarbij onder-steund door een werkelijk fantastisch spelende band, waarin met name de toetsenisten Hans Hasebos en Jeroen van Vliet voor een dicht gelaagd geluid zorgen dat optimaal de dubbele bodems in Rota's muziek weerspiegelt.

'Fellini' heeft naast gave en gedurfde adaptaties nog een paar prachtige verrassingen in petto, zoals de messcherpe zang van Simin Tander, de getructe drummer Martin van Duynhoven (wat een solo!) en de virtuoze bassist Pieter Douma. Maar desondanks is voor het doorgronden van I Compani toch echt het bijwonen van een live-concert aan te raden: bij de simultaan vertoonde, weergaloze videobeeldenstroom van veejay Martijn Grootendorst gaan de geesten van Rota en Fellini pas echt uit de fles.



Deze recensie werd geschreven door Laurent Sprooten


Critic's Review USA

Steven A. Loewy

, All Music Guide

Best know as the composer for the films of Frederico Fellini, Nino Rota's compositions have evoked a mystique, creating a following of their own - something unique for film compositions. I Compani has been performing the works of Nota for years, and this CD collects a sampling of their recorded output. At heart, the interpretations of I Compani of Rota's music are faithful to the originals, and make for delightful background music. While incorporating elements of circus music, cabaret, folk tunes, and ambient cheerfulness, there is little improvising by the members of the groups. The influence of Carla Bley pervades, and she is even credited with co-arranging one of the pieces. While the pieces evoke individual charm, warmth, and humor, there is nonetheless a feeling that more could have been done with the assembled talent. Some of Rota's melodies are instantly recognizable, and the tunes display a wondrous joy. In the end, though, this lightweight effort, while commendable and often delightful, is disappointing for not achieving something a bit more substantial.


 

COMPANI
Fellini

(icdisc.nl)   bron:  Jazztimes USA


I Compani has been around since 1985, and its mandate hasn't changed much at all since. The ensemble, formed and still directed by alto and tenor player Bo van de Graaf, devotes itself to the music of Nino Rota, whom film fans will recognize as Federico Fellini's Bernard Hermann. Over the years, van de Graaf and other members of the band have fattened the band's book with original compositions in the style of Rota, but it's Rota's work that still forms the core of I Compani's output. Fellini (IcDisc), a collection of Nota and van de Graaf compositions performed live, marks the band's second decade, and by now this routine is old hat. The band performs Rota's surreal folk music, minor-key ballads and carnival marches with balance and precision, saving the longer solos for van de Graaf's more atmospheric and open-ended pieces. Pieter Douma's electric bass gives the music a slightly funky touch, but the overall mood is respectful. For the curious: Fellini pulls from La Dolce Vita, 8 1/2, La Strada, Juliet of the Spirits, Amarcord and Casanova.

-Aaron Steinberg


 

Un American Activities # 32

Dutch Big Bands

By Ken Waxman feb 7 2005

Tributes, recreations, and interpretations appear to fascinate advanced improvised musicians in the Netherlands even more so than in other places. Part of the reason is that instead of numberless CDs dedicated to Miles, Monk, and Ellington, Dutch jazz and improv players and composers extend their accolades to other spheres.

Saxophonist Bo van de Graaf, for one, has made multi-media tributes the cornerstone of his work with the i compani band, with projects dedicated to Italian director Frederico Fellini and Nino Rota, who composed most of the soundtracks for that director’s films. Featuring rearrangements of Rota tunes, plus original works by van de Graaf and other members of the eleven-piece ensemble, Fellini (icdisc.nl) demonstrates how you can honor your influences without having to be a slave to existing material.

Van de Graaf has also played in trombonist Chris Abelen’s 6-tet, the Bik Bent Braam big band, and in a trio with pianist Michiel Braam and i compani’s drummer Fred van Duynhoven. Van Duynhoven was part of violinist Ig Hanneman’s Tentet. Martin Van Duynhoven—relationship with Fred unknown—who plays electric drum set here, has worked with everyone from pianist Misha Mengelberg to reedist Ab Baars. Pianist and Wurlitzer organist Jeroen van Vliet plays in bassist Eric van der Westen’s band. Other band members are trumpeter Jeroen Doomernik, Frank Nielander on alto and tenor saxophones, Tessa Zoutendijk on violin, Hans Hasebos on keyboards and samples, Carel van Rijn on bass, Pieter Douma on bass guitar, and vocalist Simin Tander.

Dispensing with the latter first, boasting a delivery that moves from little girl-like warbling to lyric soprano, Tander is rather underutilized, unless you understand Italian. Mostly she functions the way Laura Biscotto did on John Zorn’s The Big Gundown, which reinterpreted Enrico Morricone movie scores incidentally. She provides breathy, kitschy "sexy Italian vocals" and recitations. Other places, the exaggerated focus of the entire group is weakened with faux swing violin parts, curt rhythms, and a Latinesque dance routine that collectively ends up sounding more like dramatic cues than composition.

To be honest, the band sounds best when it strays farthest away from Rota’s somewhat baroque and overwrought themes with its original arrangements. Case in point is the more than eleven-minute, five-part "Dolce Vita Suite", and van der Graaf’s reworking of the main themes from "La Strada" and "Milano e Nadia".  Drawing as much on the (Dutch) fanfare as the (Italian) banda tradition, for the first, the band blends walking bass and comping piano with long, clean staccato lines from an altoist. Along the way it moves from Rome to a "Parisian Thoroughfare" via suggestions of Charles Mingus and Max Roach, and ends with some fruity tenor sax lines, plunger brass, and rippling piano arpeggios that wouldn’t be out of place in a pre-war Berlin cabaret.

The cabaret influence is also felt on "La Strada", as a speedy tarantella-like tune built on high-pitched clarinet and wah-wah trumpet features the rhythm section aiming for a rock’n’roll beat. Fellini’s most instrumentally impressive track, it showcases van Vliet applying darker, low frequencies with heavy pressure to the piano keys and both [?] drummers showering hard and heavy rebounds and clattering ratamacues before ending with press rolls.

Another 1960-composed artifact, "Milano e Nadia" features mocking riffs from the horns, a bluesy piano section and abstract counterlines from the trumpet that lob bent notes into the stratosphere. When the double-timed, strummed chords from the piano pair up with shimmering electric keyboard waves, the variations nearly push the theme into indolent near stasis. It’s then up to a smeared soprano saxophone to loosen up the sounds. Changing character completely, "Milano..." is taken out with some forced Bubber Miley-like bluesiness from Doomernik. Other pieces depend more on skittering piano chords, sampled accordion and electronics, brassy trumpet pops, dance rhythms, and either galloping or rubato reed vibrations.

Overall, if the vocals and some of the more frantic output are put to one side, Fellini’s almost 69 minutes provide the more consistent vista. Still, the beyond 76-minute panorama that is With Strings Attached shows that after more than 30 years on the road, Breuker and the Kollektief are still after new challenges