released January 20, 2020

FRANCESCO BIGONI tenor sax, clarinet
GIORGIO PACORIG fender rhodes
ZENO DE ROSSI drums
featuring
ALESSANDRO “ASSO” STEFANA electric guitar, banjo, tape echo on "Sam"

Produced by Zeno De Rossi, Francesco Bigoni and Giorgio Pacorig
Recorded and mixed at Duna Studio by Andrea Scardovi
Mastered at Greedy Little Sisters by Enrico Terragnoli
Artwork by Francesco Chiacchio

SKIRL Records 49



As I’m writing this, I realize that the first time I met Zeno De Rossi he was a teenager working in his family’s restaurant in Verona. I was in town to play with the group "Miniature", with Tim Berne and Joey Baron. It must have been in the late 80’s. Zeno was our waiter at the restaurant, and was also providing drums for Joey to use in our concert later in the evening. Happily, we kept running into each other over the years, and now we find ourselves in the position of playing together in the group "Pipe Dream", which I am grateful and happy for. It’s amazing to be reflecting on those times from 30 years ago, and to be listening to this wonderful album, "Elpis", right now.

Having the opportunity to travel with Zeno, I learned that his "mix tapes" are highly valued by those of us who might travel with him. I’ve heard a lot of great music with him in the car, and on stage, and so I know that he possesses a huge musical vocabulary, as well as a deep appreciation for listening to and enjoying music. Those abilities to listen and enjoy are not to be taken for granted in any person, especially a musician. I once mentioned to him that he could have a great radio show, if he wanted to. I can hear that broad perspective, and perhaps his passion for patiently listening here in this record.

The selection of music seems to be informed with a consciousness about what songs go together, and in what order. Hearing it all the way through had a very satisfying effect on me; each song filled with eloquent rhythmic and melodic invention, thoughtful restraint, and a feeling of respect for the intensity and thematic source of the improvisation that is a part of each piece.

It’s great to hear Zeno in this format. His rhythmic invention embraces a broad spectrum of styles within contemporary and traditional frameworks, and yet surprises with a quality of abstraction and other-worldliness. His attention to tone has me looking forward to the next sound, which he waits to deliver in the right moment, never disappointing.

Pianist Giorgio Pacorig paints colorful tonal textures wonderfully negotiating the harmonic/rhythmic frameworks of the songs, and then surprises the listener with a unique palette of tone and sound that eloquently walks the line between abstraction and the earthy fundamentals of the music.

Tenor saxophonist/clarinetist Francesco Bigoni plays with bravado and strength when called for, and then with restraint and thematic richness in subtle undertones at other moments, weaving well-crafted alluring melodies. I’m drawn to his tone, and appreciate how it changes with each different piece. The feeling of melody is not obscured with over-playing.

None of these players, including guitarist/banjoist Alessandro Stefana’s fine contributions on "Sam", are getting in the way of the music’s natural development and full potential.

Somehow the whole record all together; the choice and order of the music, the tonal sound, and the beautiful music flowing from these musicians has the overall feeling of something that I would call "classic", and that is a statement partly about the quality and potential longevity of it’s value.

This is a record that I will listen to often. I love the sound, the tone, the songs, and appreciate the wonderful musicianship that has developed over years to bring together a beautiful mature expression like this. I think that Elpis would agree that "Hope" resides and flourishes here in this vessel. For me, it indeed feels like a classic. Bravo!

Hank Roberts – December 2019



About the songs:

CATHY CLINE A quirky song written by the late Daniel Johnston, first released on his album Rejected Unknown (Gammon 1999).

ABUELA MARIA In loving memory of my grandma Maria (1904-1990).

BEING KEPESH A very brief musical reflection on how it feels to be the main character of Philip Roth’s The Breast.

BREAD was conceived while I was going to buy some … bread.

TO THE MASTERS A small tribute to all the Masters who have left this planet in recent years. Thanks to their art, they have made it a better place to live for all of us. To name a few: Kenny Wheeler, Charlie Haden, Ornette Coleman, Allen Toussaint, David Bowie, Leonard Cohen, Prince, Toots Thielemans, Irving Fields, Mose Allison, Paul Bley, Geri Allen, Misha Mengelberg, John Abercrombie, Al Jarreau, Aretha Franklin, Cecil Taylor, Mark Hollis, Joao Gilberto, Dr. John, Daniel Johnston, Ginger Baker, …

KADDISH was written in 2012 by Bill Frisell for a multimedia project produced by Hal Willner about Allen Ginsberg’s eponymous poem. It’s also featured on the record The Declaration of Musical Independence (ECM 2016) by Andrew Cyrille.

SAM was named after the american folk singer, Sam Amidon.

RYE as in rye bread, or as in a small Danish village northwest from Copenhagen. Nothing to do with Salinger’s novel, actually.

JEAN is dedicated to the unfortunate icon of the Nouvelle Vague film movement, Jean Seberg.

SPEED LIMIT 50 was written for the fiftieth birthday of my brotherly friend Chris Speed.

LES ANGES is part of Trois Mélodies de 1886, written by Erik Satie. I discovered this piece of pure beauty thanks to singer Marta Raviglia, who brought this song for us to play together in a concert that we were both involved.

NOT IN TOULOUSE Not there … when you’re in Toulouse you have nothing to lose …