4 PRELUDES ( Erik Satie )

1. Chavaliers Normands et Une Jeune Demoiselle 6.42

2. Prelude d’Eginhard 1.31

3. Le Nazarèen 6.12

4. 2’ Prelude du Nazarèen 4.39

5. C.Q ( M.Sebastiani ) 5.38

6. E_MANTRA ( M.Sebastiani ) 4.55

7. B_MANTRA ( M. Sebastiani ) 3.38

8. G_MANTRA ( M.Sebastiani) 3.49

9. LA SONNERIE [de St.Genevieve du Mont de Paris ]( Marin Marais ) 6.03

10. BASS EXPRESS ( M.Sebastiani ) 3.15

11. EQUINOX (J.Coltrane ) 3.31

12. IN A SENTIMENTAL MOOD ( D.Ellington ) 6.48

13. TUTTE LE FUNTANELLE ( Trad. Abruzzese ) 3.32


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From Bass  Express  LINER NOTES


 Bass Express is a brave album because it doesn’t limit to afro-American music and spreads the sound reflex of the double bass both in a planetary dimension (America, Europe, Asia) and in a time shift, touching the year 1723 (La Sonnerie  de Sainte-Geneviève du Mont de Paris  by  Marin Marais , G.B. Lully’s pupil), after having crossed the 1900 with Four Preludes by Erik Satie.

After a deep sight, you can appreciate the precise, accurate and narrative pagination of the album:  that prevents the listener from an occasional listening of the sequences. The first five pieces are re-readings, agreements, adaptations of pieces, from a classic repertory. A sort of jazzed up  bridge (C.Q.) follows and leads to three compositions inspired by India, three mantras adapted to double bass with various tonal centres, written by Sebastiani. Another bridge, the influence of Marais’ musical scoring and we get to other three compositions, this time strongly jazzed up (the coltranian Equinox and the ellingtonian In a Sentimental Mood, and the most original Bass Express). In other words, it is a sort of multiethnic album, which can be outlined as follows: classic pieces / jazz bridge / Indian pieces / classic bridge/ jazz pieces / folk tail. A whole musical career, an entire life are summed up, in that way.

The repertory choices  find a reflex -but with different lights- in the instrumental and stylistic ones: in the field of classical music, Marcello  Sebastiani frequently uses the over recordings and shares between the bow and the pinched often overlapping them; in the ethnic and jazz field, the picking prevails and the over recordings disappear, as to highlight the concept of instantaneous composition, of performance, even if mediated by the recording studio. In the real dynamic of pieces, however, the styles aren’t strictly separated, but they interlace themselves in an unexpected way creating the polichromy which makes Bass Express unique in his gender

[ Luigi Onori ]