O pianista italiano Tonino Miano, expoente europeu do free jazz e da improvisação livre, regressa ao activo para dar continuidade ao projecto de explorar as potencialidades do duo de piano. Depois da inventiva troca de ideias com o trompetista Mirio Cosottini, ouvida eno marcante The Curvature of Pace, disco inaugural da editora Impressus Records, eis que o pianista regressa ao formato original com o saxofonista bolonhês Edoardo Marraffa. Miano e Marraffa expõem as suas ideias em movimentos amplos e abertos. Criam, transformam e adaptam continuamente o seu particular mundo sonoro intimista, tecnicamente exigente e organizado de modo informal, no sentido da não definitividade da composição instantânea, na qual surgem evidentes os vários eixos e pontos de referência a partir dos quais irrompe, imparável, o livre curso da improvisação. Edoardo Marraffa e Tonino Miano, há muito que se conhecem pessoal e musicalmente. E isso nota-se na fluidez do diálogo, na inclinação para a frente, no contentamento vivo e dialogante que o ouvinte pode testemunhar. Apesar das afinidades partilhadas, só em Junho de 2008 tiveram finalmente a oportunidade que procuravam para o encontro musical em duo, ligação interrompida em 1993, com a mudança de Tonino Miano para Nova Iorque ocorrida naquele ano. O momento-chave surgiu na sequência da participação do quarteto de Edoardo Marraffa na edição de 2008 do Vision Festival. E o ensejo veio a revelar-se feito à medida para Marraffa – que toca saxofones tenor e sopranino à vez ou em simultâneo, aplicando-lhes um vasto arsenal de técnicas ortodoxas e heterodoxas – e Tonino Miano irem para estúdio registar o disco que a Impressus acaba de publicar, com capa estampada em papel 100% reciclado. Edus Tonus (título formado a partir dos nomes de Edoardo e Tonino, é mais que provável), reúne um conjunto de nove temas de espontânea nascença. Música criativa, inteligente e bem-humorada, produzida para ser pensada e sentida em toda a sua fácil complexidade, simultaneamente leve e profunda no modo de se expor à fruição por ouvidos receptivos. ---EDUARDO CHAGAS, JAZZ & ARREDORES, NOV. 2008.
MARRAFFA - MIANO Edus Tonus (Impressus Records, CD-R): Der Pianist Tonino Miano machte bereits im Duett mit dem Trompeter Mirio Cosottini (BA 58) auf sich aufmerksam. Jetzt gibt es ein Wiederhören, im Duo mit Edoardo Marraffa. Die beiden sind alte Bekannte von Anfang der 90er her, als beide an der Universität in Bologna Musikologie studierten, und trafen sich nach 15 Jahren in New York wieder. Marraffa bläst abwechselnd Tenor- und Sopraninosaxophon. Vor allem dieser quäkig näselnde Ton, der zuerst bei ‚Compianti‘ erklingt, von Miano per Innenklavier vorsichtig angefunkt, bis sich ein temperamentvolles Tête-à-tête entspinnt, lässt aufhorchen. Das Titelstück markiert Marraffa mit auffälligen Haltetönen, um die das Piano herum stelzt. Die Es-Tonlage, eine Oktave über dem Alto, weckt unwillkürlich Assoziationen zu Lol Coxhill, der den - wenn man vom seltenen Soprillo absieht - kleinsten Sprössling der Saxfamilie ebenfalls gern verwendet. Aber Marraffa kommt tatsächlich auch mit einer Coxhill-verwandten Quirligkeit und Keckheit daher, so dass das Piano wohl aus Gründen der Balance und Dialektik den Part des Tiefgründigen und Bedächtigen übernimmt, der bloß zu Leichtsinn und Übermut angestiftet wird. Bei ‚Here and There‘ bläst Marraffa beide Saxophone gleichzeitig, à la Kirk oder Chekasin, Miamo rumort dazu in den tiefen Registern, überhaupt ist die linke Hand seine starke. Er macht sich nichts aus flinkfingrigem Geperle, sondern pickt die Noten selektiv, operiert auch gern mit kleinen Wiederholungen, die er mit gewagten Sprüngen kombiniert. Das macht insgesamt einen poetischen und geistreichen Eindruck und was ihnen an vordergründiger Effekthascherei abgeht, das machen die beiden Italiener durch Hintersinn wett. [ba 61 rbd]
Marraffa/Miano Edus Tonus
Impressus Records No #002.
[Edoardo Marraffa/Chris Iemulo/Stefano Giust Live at Crash Setola Di Maiale SM 1190 Francesco Guerri/Chris Iemulo Anàrcode No Label No #]
Strung out along one of the highest parts of the boot, and boasting a cluster of renowned conservatories, the cities of Northern Italy have always attracted musicians and provided places to play. Residing not far from France, Germany, Austria, Switzerland and the Netherlands – and beneficiaries of the Internet and modern communications – the most recent generation of local improvisers is more other-directed then their elders. Also, judging from the sessions here, in the main they eschew the romantic tinge that in the past has affected even the most avant-garde Italian players. When it comes to pure improv, these players can be appreciated for the way they mix external influences, extended technique and atonality with cohesion, while being careful not to shrivel interaction into stasis, no matter how small the formation. Additionally, each has some connection with music cooperatives that attract members from Bologna, Milan, Turin and nearby smaller centres. Some have ranged even further afield, however. For instance pianist Tonino Miano, featured on Edus Tonus, while a musicology graduate of the University of Bologna, also has a physics degree from New York’s City College and lives near that city. This session is a reunion for him and Edoardo Marraffa, with whom he had a duo in Italy. [.......] Ranging from frenetic to meditative, Marraffa and Miano’s textures often musically circle one another. The pianist outputs cadenzas and the reedist trills and key slaps. At points Miano goes his own way, chromatically patterning and splintering chords as Marraffa/ swiftly squeaks, echoes and shrieks. The most instructive contrast comes with “The Far Side” and the title track however. On the first tune, Miano’s metronomic key thumping becomes the ballast which holds the performance together. As he buries himself in piano innards or plinks continuous low-frequency syncopation, the saxophonist buzzes, barks and squeaks, alternating sharp bites, irregular obbligatos and held notes. Contemplative but not brooding, the slower-paced title tune has an unvarying, contrapuntal sax line mutating into solid trills, as the pianist gently thumps low pitches with pedal pressure, languidly suggesting a nocturne. Marraffa unexpectedly concludes by upturning his sound to resonating altissimo lines with wide vibrato squeaks. [.......] Each of these discs confirms that Northern Italian improvisers are still as frisky, first-rate and frenetic as they have been in the past – even if they live in the United States. -- Ken Waxman, Jazzword March 2009.
