The work of the Priciples Sound is an interesting project and not at all obvious. Not just because the music that has been selected in “Lost in the Jungle”, the new album by the group led by guitarist Dario Chiazzolino (with Gianni Branca on drums, Pino D’Eri and Jimmy Haslip on bass, Bob Mitzer sax and Russel Ferrante on piano), it is new, very dynamic and framed in a project evidently consistent. But also because, listening to the album, shows the will to impress at a time, in a series of impressions, something very dynamic. Something that is born from the convergence of an innovative writing, and sometimes linked to an original vision, and the suggestions of the endless confrontation between instrumentalists. If you trace back the production of this scenario jazz sextet – which is reflected in the entire course of the album, in the selection of sounds, organization structures – do not surprise us to recognize some sort of indefinable trait in the flow of the musical flow, an extemporaneity that remains on the surface and adds a number of elements and sinuous iridescent, even when based on the solid foundation of writing and design. Then rolling some of the news affecting the ensemble meet some references that go beyond space and coming jazz to fusion, to the world, a few eco ethno – I might add – that complete the profile of this work. In fact, in addition to reflecting the guidelines defining the character, the songs in the lineup (around seven) inform us of a voltage of up to the last track. And that turns into an opening in a context of sound more distant and traditional. The song is titled “Pearl of Monzambique” and is an excellent connection of the ideas expressed in the development of the album. Just as it is a great hook to a larger cross and, possibly, the most recognizable. On the one hand because it takes shape a more fluid narrative, even “broken” by the use of repeated citations of African vocals. Secondly, because the prospect of the band leads to an array that belongs to jazz more than to the Western world music, which tends to synthesis rather than experimentation. Certainly not surprising the quote itself. Rather is interesting the way it is organized in the structure of the piece. Which, while differing from the others because it leaves emerge more clearly a sound and stylistic (cultural) reference, still managed to keep itself within the general structure of the album. Enriching the profile. Right from the prologue you enter in a new, restrained after the bass line and the sax. If this mentions a variation that overlaps at times to piano, the bass structure a framework taut with the drum, which leads the song to the end. As mentioned, the incursions of the voices suspend the march on rhythmic and melodic level, but are also increasingly, thanks to the guitar, which develops fast melodies that alternate with the sax, more fluid and soft.
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