Another Italian Maestro: Renato Sellani

Renato Sellani was born in the province of Ancona on the west coast of Italy in 1926, and is another master of the jazz piano; in fact, he is often referred to as "Il Maestro." He came to jazz late, after studying political science at the University in Rome.  It was during this time that he got hooked on jazz, spending a lot of his time in the nightclubs of the capital, and then teaching himself to play the piano at the home of a friend. This was during the period right after World War II when Italy was returning to normalcy after the Fascist era, and  the nightlife was grand.  Sellani evidently was a natural at the piano, since by 1958 he was invited  to Milan by his friend and fellow musician Franco Cerri, widely considered the best guitarist ever produced by that country. Milan was a center of the arts and a major stopping point for American jazz players at that time, and Sellani prospered by being among them. He joined the quintet Basso and Valdambrini, and played in that group for quite a long time, although he also became well known as a solo artist as well. Sellani must have been already recognized as a star, for he met and played with the singer Billie Holiday early on, and then was clearly  good enough to be Chet Baker's first pianist in Italy, and later an accompanist for Sarah and Sarah Vaughan and Helen Merrill.  The pairing produced at least one classic album, "Chet Baker in Milan" (Jazzland/OJC 1959) which is easily recommended and they also toured together. Sellani went on to play with other major figures including Lee Konitz, Sarah Vaughan, Dizzy Gillespie, and Phil Woods; in addition to his Italian comrades such as Rava, Basso, and of course Cerri.

Sellani has few recordings under his name until the late 1990s, when he began his current relationship with the Italian label Philology, for which he has now recorded in excess of 40 albums in a range of settings from solo to small ensembles, most often with the leading players of Italian jazz.  Still, he is hardly a household name in the United States, which according to Thomas Conrad of All About Jazz is almost tragic: "The fact that Sellani is one of the most complete, most romantically seductive interpreters of standards in all of jazz is criminally underappreciated outside Italy."

Sellani has been at it for over 60 years and is a master of the American songbook, along with Italian classics, his own compositions, and a classical repetoire including Chopin and Puccini among others. His creativity is outstanding, his playing luminous. He plays with the grace and delicacy of a master, and his seemingly casual attitude at play is more the product of years of experience than of his actual feeling toward the music. Raised in the period of the big bands and swing, he is definitely grounded in melody, and produces wonderfully lush and loving interpretations of them along with passionate embellishments and improvisations. He has been compared to Hank Jones and Tommy Flanagan, two of the United States' most respected and tasteful pianists of all-time.

As noted earlier, Sellani has recorded prolifically for Philology during the past dozen or so years, seemingly catching up for all those years before. I have six discs of Sellani as leader that are all worthy of listening to and, incredibly, they were recorded between March 2007 and December, yet each is a jewel. I also have a number of discs on which he plays a support role, whcih cover his earlier period, including the Gianni Basso recordings I wrote about yesterday, as well as the Chet Baker mentioned earlier. These will be described when I discuss other Italian leaders. Here then are the seven discs in order of recording date.

The first CD was recorded on March 2007, "La Mia Finestra Su Napoli" (Philology 2007). Translated as "My Window on Naples" and featuring a pretty picture of Naples Bay at night, this solo recording is a paean to Naples and its beauty. The program is purely Italian classics like "Torna a Surriento" and "O Sole Mio" and while we in the U.S. sometimes think of these songs a corny, in Sellani's hands they are anything but. Here they are poetry, as Sellani enhances the beauty of the melodic lines wtih lush chords and simple enhancements. Still, a program that would bring Italians to tears may not live up to  that standard in the U.S. despite the beauty of the music and delicacy with which it is played. Recommended for the beauty and romance but only to those who are not looking for a more standard fare.

In July 2007, Sellani recorded "My Foolish Heart" (Venus Records 2008) with his standing trio of Massimo Moriconi on bass and Massimo Manzi on drums. This is a more standard set of songs taken in fact from the Great American Songbook and features the kind of sound and interplay that one associates here in the U.S. with Hank Jones or Tommy Flanagan. A risque cover but great music inside.

In September 2007, Sellani came right back, this time on Philology, with "Blues for Chet" (Philology 2008), a piano and bass duo with his longtime bassist Massimo Moriconi. With the two playing so closely together and celary listening to each other intently, they role out a series of impeccible melodies, set in 8 sections of paired songs. so they play "Blues for Chet" and "Stella by Starlight" to open, then "My Funny Valentine" with "But Not for Me" and so on tp the end. Delightful, delicious, de-lovely music throughout, with the same attention to melody with just the simplest of frosting added which absolutely will engate you. First class again.

Back in the studio on January 2008, bay now it should be clear to those reading this that Sellani is the romantic master of the standard, a ballad player of the first magnitude, and truly "Il Maestro." The penultimate recording in my collection is "Amapola" (Venus 2008), a duo piano outing with another of the deans of Italian jazz, Danilo Rea. Over 10 songs, the two trade back and forth with the same delicacy and charm each shows so often through the length of their discography (More on Rea in a coming post). The music is part American songbook and part Italian songbook, with a bit of Jobim on "Wave". Another smashing performance.

Next up in December 2008 is a tribute to Cole Porter called "True Love" (Philology 2009) with a few solos, the trio, and on a couple of songs, either Fabrizio Bosso on trumpet or Joe Lee Wilson on vocals. Sellani's piano playing is made for Cole Porter's music, and this does not dissapoint. From a snappy "Begin the Beguine" and "Just One of Those Things" to the lilting beauty of "I Love Paris" and "So In Love", the music exudes the warmth, charm, and even houmor of Porter's music and lyrics, even without the words. Classic.

Finally, Sellani takes on one of the true romantic composers of our times, Michel Legrand, on "Grand Piano" with his trio of Moriconi and Manzi. He actually mixes 6 solos in with 8 trio recordings, among them gloriously moving takes of "Windmills of You Mind", You Must Beleive in Spring", "I Will Wait for You ( twice, as a solo and trio), and "Summer of '42." Romance is clearly in the air, and Sellani brings it to you with his usually expressive play and lush improvisations along the way.

Sellani is "Il Maestro", and is among the most traditional of all jazz piano players. His strength is taking well know melodies and breathing into them deep expression and romance enahnced with his own embellishments and improvisations. Not a risk taker, but a delight to listen to.

     

A Saxophone Giant You Probably Never Heard: Gianni Basso

Enrico Pieranunzi, of whom I wrote in the last post, most likely appeared on the radar screen of a lot of readers, given his long and brilliant career and his recent recordings on CamJazz, which is a label widely available in the U.S.

I am really not sure that Gianni Basso, despite a longer tenure on the jazz scene in Italy, has nearly the recognition in the U.S. and perhaps not even in the rest of Europe. He came to my attention via Adam Nussbaum, the accomplished drummer, during a conversation at Sally's Place, as somebody I had to hear, and as I know now, for good reason. Basso is an old school tenor sax player out of the 40s and 50s mold -- a great big round sound, accomplished player of swing and hard bop, and a wonderful balladeer to boot. Think Don Byas, Ben Webster, Dexter Gordon, all of them his contemporaries, and you immediately get the picture.

Born in 1931 in Asti, Italy, his discography as a leader dates from 1960, while his career in jazz began shortly after World War II. He recorded right up until his passing in 2009, and left a long legacy of great music in his wake.  He actually began as a clarinetist playing professionally in Germany and Belgium in the late '40s with the Raoul Falsan Big Band, and then played regularly around Italy in the early 50s. He partnered with a young Italian trumpeter and composer named Oscar Valdambrini and it was their fascination for American jazz that led them to form a small combo that was the rage of Italian jazz in the 1950s. Their popularity in turn got them gigs backing up many touring American stars such as Billy Holiday, Gerry Mulligan, and Chet Baker, and that in turn opened a whole world for him of recordings, beginning in 1960 as the Valambrini-Basso Band, and later as a leader with many other recognized players from around the world.

I have ten of his CDs as a leader, and all are good, with each featuring a different grouping and aspect of his musical personality. In all he has 29 CDs listed as a leader, but many are very hard to get as they are on small or out of print labels. The bulk of my collection is from Philology, one of the outstanding labels in Italy and in fact the jazz world in general. Philology is not a readily available label in the U.S. and coupled with his very few visits, this likely explains why he is under the radar. Several others are from Japan, equally hard to get and often expensive to purchase if you find it.

Hopefully a short discussion of each album will suggest what you are missing if you have not heard Basso. I begin with a reprint of a title "Exciting 6" (Easy Beat 1967), featuring Gianni Bass on tenor sax, Oscar Valdambrini on trumpet, Dino Piana on trombone, Renato Sellani on piano, G. Crovetto or Giorgio Azzolini on bass, and Lionello Bionda on drums. Of the group, it is Basso and Sellani who went on to brilliant and very long and distinguished careers.  The CD clearly features songs based on the Jazz Messengers model, as heard at the outset on the opener "Before Ten O'Clock"; and on Horace Silver with some more afro-cuban rhythms like "Look Out" or Guernica"; but it also features many ballads and blues that are clearly original to the band and very nicely played. A lot of potential at an early point in his career, as well as in the career of Sellani, who has some nice solos as well. Nice disc but not essential.

Jumping ahead to 1981, we have a set of four tunes played by Basso and a piano trio as part of the Swiss Radio Days series, which was released as "Swiss Radio Days Volume 24 Gianni Basso and Guy Lafitte" (The Montreux Jazz Label 2010). Lafitte also plays four tunes so there are eight in all on the disc. Basso plays with his lush and rounded sound, and in particular shines on "Groovin' High" and "Lush Life." Again, nice but not essential.

A jump now to 1999 and a really nice disc, "All Those Melodies" (The Montreux Label 1999) again with Basso leading a piano trio. Basso was 68 at the time and his sound, dynamics, expression, and improvisation was peaking. Beautiful renderings of a range of classics like "I'll Walk Alone", "What a Difference a Day Made" and "That Old Feeling" simply bring out the best in Basso as he recaptures the golden sounds of the great tenors of the 50s. This one is worth having if you like solid standards play by a classic sounding tenorman. This is also the disc Adam introduced me to Basso with, and it was a worthy introduction.

Basso hits his stride from 1999 until his passing in 2009, as demonstrated on the next seven recordings.

The next recording is brilliant -- "Two for the Cities" (Philology 2001) and why not -- it is a tenor sax and piano duo of Basso with Renato Sellani, another giant in the Italian jazz pantheon. And of course, one of my favorite settings that I beleive brings out the best in both players. The "gimmick" is that each song is named for a city, so we get glorious renditions of "Do You Know What it Means to Miss New Orleans", "A Foggy Day in London Town" and "Autumn in New York" played to the highest standard possible, along with a number of originals and songs by Italian composers. Just great -- nuanced, expressive music by two pros and timeless music. A surefire winner here to listen to.

Since the previous disc was so good, Sellani and Basso do it again on "Isn't It Romantic" (Philology 2001) with the same results -- a beautiful album played by two masters. This time all twelve songs are classics, from "Nancy With the Laughing Face" to open, to "I Remember Clifford" as the closer. In between are great pairings on "I'll Remember April", Body and Soul", the title song, and "Over the Rainbow" that could make you cry tears of happiness. A glass of wine, a companion, and this is heaven. Only the art on the cover is lousy!

"Blue Woods" (Philology 2002) followed the next year, and takes a different tack, with a quartet of Basso, Andrea Pozza on piano, Luciano Milanese on bass, and Stefano Bagnoli on drums. Enrico Rava makes it a quintet on the finale "Blue Woods", which is earlier played as a quartet. This is the music of Phil Woods as composer, but in Basso's hands the tenor sax changes the dynamics of the pieces, providing a richer tone and deeper voice. Basso caresses the opening ballad "Song for Sass" with the lyricism and sound of the late Ben Webster, the solos on a brisk "Where Do You Go From Here". "Without You" is a lovely and gentle bossa nova. And on it goes -- "The Last Page" suggests Stan Getz,  "Lady J" is a ballad played as a bossa nova, and  "Blue Woods is a stunning blues both with and without Rava. This is a great salute from Basso to Woods.  

In 2003 Basso returned to Renato Sellani, this time with Massimo Moriconi on bass and Massimo Manzi on drums, and the result is "I Wish I Knew" (Philology 2007). This is mostly a set of ballads from the Great American Songbook, with Basso's lush tenor complemented beautifully by Sellani's flawless touch. The two are old pals and show it on this CD as they play back and forth with the melodies, harmonies and improvisations without a pause or hitch. "I'll Be Seeing You" is a gorgeous solo outing for Basso, while Sellani lead in to "The Man I Love" which then opens into a swinging rendition. Basso's round and mellow tone is reminiscient once again of the great Ben Webster. Another highlight for Basso.

When the Basso Quartet, with Andrea Pozza, Luciano Milanese, and Stefano Bagnoli meet Enrico Rava, on "Tea for Two" (Philology 2003) sparks fly, fireworks go off, and the result is magnificent. This is the definition of five stars. The set again features standards and include a lovely take of "Bye, Bye Blackbird," a lush and relaxed "All the Things You Are", and an equally relaxed "Do You Know What It Means to Miss New Orleans?" A gem.

The last recordings of Basso are Japanese imports. The first is "Body and Soul" (Venus Records 2008) and is one more duet with Renato Sellani featuring standards. It is a very nice disc and worthy of a collection but is also somewhat duplicative of the earlier Philology recordings. The second, however, is more unusaul, and find Basso teaming with guitarist Irio de Paula on "Recado Bossa Nova" (Pony Canyon 2009). As noted on earlier recordings Basso had included bossa nova and other latin beats, going all the way back to the "Exciting 6" disc in 1967. Here he teams with a guitarist and piano trio, and delivers a set of delightful, charming latin grooves by Antonio Jobim, Sergio Mendes, Kenny Dorham and others. A charming highlight is a bossa rendition of "It Might As Well Be Spring," but it is all great. Bosso's mellow sound blends perfectly with the group and the mood of the songs, and the result is a winner.

So there it is -- ten discs by a marvelous tenor sax player whose influence is felt strongly by the next generation in Italy -- and hopefully enough background to inspire one to go out and listen to his music. For those who love the old Blue Note sound, who loved Ben Webster or Dexter Gordon or Stan Getz, for those like me who love the sax/piano pairing, you really owe youself to listen.

Italian jazz is going to amaze you as we move forward in these posts.

Get to Know the Italians

When I began this blog one of my objectives was to introduce players who somehow have stayed below the radar. Some might be new players to the scene, others might be on small labels with low promotional budgets, and some may perform infrequently or in a limited area. Some may just get overlooked despite a long record of accomplishment, a la Jessica Williams who I wrote about yesterday. And many are foreign players who just do not seem to get the amount of press given to Americans unless they are on a  major label (ECM, CamJazz, ACT seem to lead in that category), and even then they are generally less widely known because they appear less frequently in the U.S. or are reviewed less frequently in "Downbeat" or "Jazz Times" than their U.S. counterparts.

I previously posted on jazz players from the U.K., and have also written individual reviews of a great many recordings from the U.K. Beginning with this post, I intend to do the same for the Italians, who are extremely well represnted in my collection. I love all things Italian. The food is delicious, the art magnificent, the wine glorious, the country beautiful, and the language resonant. Words like "Montepulciano" and "Cinque Terre" roll off the tongue, "Chianti" brings images of Tuscany, "Barbera d'Asti" of the Piedmont, and all of it brings images of  platters of fine foods. Prosciutto and melone, cannoli,  chianti, gnocchi...I could go on for a while like this.

Italy for me is a lyrical place of great beauty, and the music of its leading jazz players follows suit. I have a substantial collection of Italian jazz, and it is almost exclusively full of richly melodic, lyrical, and captivating recordings. The Italian musical heritage of Puccini, Verdi, Rossini et al is one of glorious melodies and opera, and I believe the Italian ear was trained for that same type of music in its jazz heritage, amplified by the music brought by  touring Americans of the 40s and 50s like Chet Baker and others, and of ex-pats like Dexter Gordon and others. In the tones of Rava and Fresu I hear the echoes of Baker; in the rounded tones of Basso I hear the sounds of Gordon and Getz; and in the  pianism of Pieranunzi, Sellani, Rea and others I hear the lush harmonies of pianists like Evans or Tyner as well as of the other instrumentalists.

Today's players of course are expanding the pallette and bringing in more modern sounds, along with electronics, and the heritage of other musical traditions; but for me, the jazz music of Italy is captured by the older masters and their disciples, some of whom are the young lions on the scene carrying on the traditonal sounds and some of whom are expanding the boundaries of Italian jazz.

Over  the next several weeks or even months, I am going to spotlight the leaders who populate my collection of Italian jazz. To begin the effort I pulled from my shelves as many of my CDs as I could find. My collection is neither alphabetized nor in any other way highly organized (someday.....), and I expect that as of today I have forgotten somebody. If so, please send me a comment on who I may have missed in the list below.  

Without further ado, and organized by instrument, I will be commenting on the following players:

Pianists

• Enrico Pieranunzi (pictured on top right)
• Franco D'Andrea
• Renato Sellani (to the right)
• Danilo Rea
• Stefano Bollani
• Roberto Tarenzi 
• Antonio Farao
• Franco Cerri 
• Giovanni Mirabassi  
• Salvatore Bonafede
• Luigi Bonafede 
• Roberto Magris
• Giovanni Guidi
• Stefano Battaglia
• Dado Moroni

Saxes/Clarinets

• Rosario Giuliani
• Massimo Urbani
• Pietro Tonolo
• Francesco Cafiso
• Gianni Basso (above, left)
• Stefano diBatista 

Drums

• Roberto Gatto

Bass

• Giovanni Tomasso
• Enzo Pietropaoli

Trumpet

• Enrico Rava
• Paolo Fresu
• Marco Tamburini
• Fabrizio Bosso

Voice

• Roberta Gambarini (right

Groups

• Doctors Three
• High Five

My first post, coming soon, with be about Enrico Pieranunzi who I consider the Dean of Italian pianists and, for that matter, of Italian jazz, along with other towering figures like Renato Sellani, Franco D'Andrea, and Gianni Basso.