JèI - Jazz è Improvvisazione

MY THOUGHTS about CAOS Musique
CAOS Musique is music of today with influences from the past and… from the future. It moves along the watershed of present with no ambition in being classified either as jazz or contemporary music... It is contemporary, in the full sense of the word and it is jazz in the sense of what Louis said: “what we play is life”. The sounds of both trumpet and cello are deep and, at the same time, strong and fragile, as humanity (not always the humans) is. The rhythm is often pushing and irregular as life is... nowadays. Electronic manipulation is everywhere. This apparent CAOS can generate music if we find a way to be real in it. This is the idea of CAOS Musique: to create music into the present time with all its contradictions, inconsistencies, hysteric behaviors and still remaining real. Perhaps it is simply "real music". (Angelo Olivieri)

CD NOTES
A hint of nu-jazz and a couple of dancing jazz (The Hero’s waltz, you would say it rather west coast, and Strawberry Mambo with far echoes from Lester Bowie), just a bit of throttled sound, avant-garde grateful to the “bruitisme” - at the beginning of Chernobyl’s Lullaby (let’s hazard: the collection masterpiece) and the wonderful Jimi’s wings referring to Miles – well, it comes out, nothing to do about it. Olivieri is very likely a cool musician of our time. A soloist, of course, his trumpet is always leading, but – reminds of Shorty Rogers - especially interested in the construction of the piece. After William Parker and Hamid Drake in Echoes (2007), this time again Olivieri has a great renown guest, the cellist Vincent Courtois, musician of great skill and versatility who underlines and increases the value of his continuous proceeding for episodes of research on the musical construction. Which is the main prerogative of this work, where Olivieri shows one by one, without hiding to act in a perpetual condition of work in progress, ,,ashes of inspiration which surprise, enliven and motivate him. Lot of nice (new?) restlessness in Olivieri’s music. A lovely odd unquiet cool musician. Probably.

Excerpt from original notes by Mario Gamba

translation by Cristiana Vignatelli Bruni




	Olivieri - Courtois - Ariano - Pulli Caos Musique (TS-JEI-006) Angelo Olivieri trumpet Vincent Courtois cello Marco Ariano drums, percussions, objects Antonio Pulli interactive electronics

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	MY THOUGHTS about CAOS Musique CAOS Musique is music of today with influences from the past and… from the future. It moves along the watershed of present with no ambition in being classified either as jazz or contemporary music... It is contemporary, in the full sense of the word and it is jazz in the sense of what Louis said: “what we play is life”. The sounds of both trumpet and cello are deep and, at the same time, strong and fragile, as humanity (not always the humans) is. The rhythm is often pushing and irregular as life is... nowadays. Electronic manipulation is everywhere. This apparent CAOS can generate music if we find a way to be real in it. This is the idea of CAOS Musique: to create music into the present time with all its contradictions, inconsistencies, hysteric behaviors and still remaining real. Perhaps it is simply "real music". (Angelo Olivieri) CD NOTES A hint of nu-jazz and a couple of dancing jazz (The Hero’s waltz, you would say it rather west coast, and Strawberry Mambo with far echoes from Lester Bowie), just a bit of throttled sound, avant-garde grateful to the “bruitisme” - at the beginning of Chernobyl’s Lullaby (let’s hazard: the collection masterpiece) and the wonderful Jimi’s wings referring to Miles – well, it comes out, nothing to do about it. Olivieri is very likely a cool musician of our time. A soloist, of course, his trumpet is always leading, but – reminds of Shorty Rogers - especially interested in the construction of the piece. After William Parker and Hamid Drake in Echoes (2007), this time again Olivieri has a great renown guest, the cellist Vincent Courtois, musician of great skill and versatility who underlines and increases the value of his continuous proceeding for episodes of research on the musical construction. Which is the main prerogative of this work, where Olivieri shows one by one, without hiding to act in a perpetual condition of work in progress, ,,ashes of inspiration which surprise, enliven and motivate him. Lot of nice (new?) restlessness in Olivieri’s music. A lovely odd unquiet cool musician. Probably. Excerpt from original notes by Mario Gamba translation by Cristiana Vignatelli Bruni
INDIETRO	RECENSIONI

	MUSICA JAZZ - Gianolio (Aprile 2009) L'archetto e il pizzicato del violoncello, gli interveti rumoristici (mai invadenti) dell'elettronica e la batteria insistente e scura contribuiscono a creare un crudo e conturbante sottofondo (dove ogni timbro si staglia con eccezionale chiarezza) per la tromba, lirica e dal suono accorato, rendendo un quadro generale di alta bellezza. L'ottone guida le melodie tormentate, detta i cambi delle situazioni, attira l'attenzione con assoli di variegata fantasia in un'operazione che può ricordare certi piccoli gruppi di Dave Douglas, ripensato da Olivieri anche nello stile strumentale attraverso quelli di Rava e Lester Bowie. Ci sono pochi brani vivaci (non solo nel senso di velocità), alcuni con diverse parti composte (l'unica cover è Dans l'eau de la claire fontaine di George Brassens, difficilmente riconoscibile) e altri (con l'indicazione extemporary composition) dove la piena libertà sembra prevalere, conseguendo una sorta di appassionato, intenso, compatto e primordiale rituale di lamentazione dai sottintesi desolati e oscuri: uno splendido esempio di immaginazione e sensibilità contemporanee.
	JAZZIT - Sergio Pasquandrea (n. 51 Marzo/Aprile 2009) Può sembrare un controsenso, ma alla base di "Caos Musique" ci sono due elementi: l'improvvisazione libera (cinque brani su diciotto sono definiti extemporary composition) e la melodia. Che solo in apparenza sono contraddittori, perché in assenza di riferimenti ritmici e armonici fissi proprio la melodia diventa il riferimento naturale per l'improvvisazione. Melodia che a volte è affidata alla tromba di Olivieri, dal timbro trattenuto e un po' nasale, con gli altri strumenti a costriurvi intorno un pulviscolo di disturbi sonori; altre volte è ripresa dal violoncello di Courtois (l'eterea rilettura brassensiana di Dans l'eau de la claire fontaine); altre volte ancora è sporcata dall'elettronica interattiva di Pulli, ma rimane comunque l'ancora attorno alla quale la musica si struttura. E "struttura" è un altro termine chiave, perché la musica non è affatto "caotica" come sembrerebbe suggerire il titolo, anzi le dinamiche sono perlopiù contenute e la distribuzione degli spazi parca e attentamente calibrata. Un disco che equilibra con grande efficacia free storico e umori urbani contemporanei, dimensione acustica e manipolazioni elettroniche.

	BLOW UP - Piercarlo Poggio (Marzo 2009) Il trombettista e flicornista Angelo Olivieri appronta un quartetto insieme al cello di Vincent Courtois, le elettroniche di Antonio Pulli e la batteria di Marco Ariano. Tutt'altro che caotica, la musica si muove con metodo e chiarezza lungo linee diversificate: la great black music anni Settana, le rarefazioni e i silenzi dell'oggi, l'omaggio a Brassens e quello a Rava (come si evince dal capovolgimento di un titolo, The stars and the pilgrims). Olivieri riesce a leggere molto bene gli spazi, a offrire un suono di gruppo senza rinunciare a un po' di ego (7/8)

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