【Pietro Tonolo - Mirando】(2010) ★★★★

(English follows Japanese)


★My Favorite Album (371)

By Takaaki Kondo, Tokyo Jazz Review


Pietro Tonoloさんは1979年、イタリアはベニスの出身のTenor SaxSoprano Sax奏者にして、Composer, Arranger。最初はクラシックのバイオリストを目指したそうですが挫折!ミラノに出てFranco DAndrea, Luigi Bonafede, Larry Nocella, Massimo Urbani, Rita Marcotulli and Enrico Rava等のイタリアの有名Jazz Musician達と共演。1982年にはGil Evans Orchestraに加入しSteve Lacy, Lew SoloffRay Andersonらと共演。1999年~2004年までPaul Motian"Electric Bebop Band"で活動。その一方で、Kenny Clarke, Roswell Rudd, Sal Nistico, Chet Baker, Lee Konitz, John Surman, Steve Swallow, Gil Goldstein, Barry Altschul, Joe Chambers, Aldo Romano, Kenny Wheeler, Dave Holland等と共演。


本作はGil Goldsteinを迎えて録音した作品。オープニングは何とも美しい抒情溢れる世界。名手Gil Goldsteinがアコーディオン、ピアノを多重録音で、実に繊細な世界を創る中、テナー、ソプラノが微睡(まどろ)むように絡み、雰囲気はバッチリ!またTrumpetが参加した曲でもいわゆるアメリカ的二管でなく、スロー・テンポでもスリリングさと鋭さを失っていません。名手Riccardo del Fra(b)も大活躍!独特の室内楽的な部分とEuropean Hard Bopが美しく融合しています




Pietro Tonolo(sax)

Gil Goldstein(p, accor)

Riccardo del Fra(b)

Francesco Sotgiu(ds, perc)

Paolo Birro(p on 3,9)

David Boato(tp on 2,8)

(Track Listging)

1. Ipnosi

2. Professore

3. Bastia Fuori

4. Struscio

5. Molini

6. T. Originale

7. Originale

8. Graticolato

9. Bastia Entro

10. Progresso

Pietro Tonolo - Website

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Pietro Tonolo - T. Originale


Quartetto Mirando



The discography of Pietro Tonolo is as rich as it is varied and has its roots in the years '80 , after leaving the agreements promising career as a classical violinist to take up the saxophone and embrace the African-American music. A turning point that led him not only to support some of the best international jazz artists, saxophonist and composer to become particularly valuable and thickness, for his research and for his compositions always invigorating.
 Tonolo builds a path of memories, a merge of the styles most dear to him, that the most befitting to his nature music. Aiming recalls his birthplace and the beautiful places that belong in Padua, where he was born. It smells of Veneto and the rich history of the city of Venice, thanks to the synergy created with its great solidarity - different from the experience - that contributed to the creation of a working iridescent. The sixty accordionista American pianist and Gil Goldstein , already alongside Michael Brecker , Wayne Shorter , Stan Getz , Pat Metheny , Jim Hall , Riccardo Del Fra, one of the most sought after bass players in Europe, alongside Chet Baker and also director of the Jazz Department Improvised Music and the National Conservatory of Music and Dance in Paris Francesco Sotgiu on drums and percussion, also as the leader, former violinist and a deep knowledge of percussion of the folk tradition. The quartet basic unite, for two songs each, Paul Birro at the piano and David Roar on trumpet.

Affects a habit that is increasingly asserting itself, to let the song fade (often used in practice, most in the past, in the light music), as in Hypnosis and Bastia Out . But, beyond this range, the compositions move with appropriate metric and tonal variety and leave the breath right to all the musicians that carve out spaces of creativity, releasing all their knowledge, as in the case of Mills , where Del Fra gives good proof of his vocabulary of intense measures, dense sound and rhythmic balance, readable and enjoyable. Same parenthesis in Graticolato , modern mainstream music taste, thanks to the overlap between Roar and Tonolo. Just as it is the exclusive prerogative of the persuasive Goldstein Onirico that manifests throughout the universe expressive pianist, measured by the lyricism and free from affectation. The instrument voice of the leader narrative sense in any case, show a greater extent in the descriptive T. Original and the pas de deux with the accordion Goldstein in Progress . Tonolo never loses sight of its impetuosity hardboppistica, both the tenor and the soprano, and carefully avoiding the technicalities exasperated.

- Jazzitalia

Pietro Tonolo is a musician born in Mirano (Venice) in 1979, saxophonist said not only at national level. Equipped with a base of classical studies, he started an initial career as a violinist who then left to give the genre in question, so that put a sale acquisition. Rationality compositional and improvisational narrative vein together with the taste and the sense of the ensemble are the main legacy of these different roots, flowing into an art not dualistic but rich in nuances and elements integrated into a well-balanced mixture. 'Miranda', published dall'Egea in its beautiful necklace black cardboard, is a beautiful poster of this. The rationality of composition is evident in all the songs, with a precise structure characterized by an opening that gives the pedal rhythm of one instrument starts the melody line and then evolving into variations, a second instrument (and often third) involved in continuing continuity often duet with the previous speaker, the conclusions are then often at Cadence. Some examples can be found in 'Hypnosis', with a start at ¾ of 3 notes and a base with an accordion almost drugged, the low start' Professor 'and' rubbed ', the soprano sax work well in' T. Original '. The narrative style is evident in all the work that evokes times past, personal feeling, almost nostalgic memories and intimate areas in a dense lyricism but not silly, in the best tradition of the national jazz. Improvisation is an ingredient of exposure and not a digression end in itself; predominate changes and alterations rather than the joints or flights of fancy, the subject is exposed and taken so as to always hold the place in the song, the rest narrative is spontaneous, as when talking to someone, 'Professor', 'Dreamlike' and 'Bastia Within' are three fine examples of this. Finally the balance by ensembles; integration is special with a real interplay that alternates dynamically each component of the combo on the various roles. The melody can be the prerogative of the saxophone or accordion, bass, or piano, the rhythm is distributed, the beat of the metronome and is often held more by the plan or lower than the battery, generating a feeling of background music absolutely consistent with the spirit of the disc. 'Aiming' seems to us not only a good record but a real project in which each element is the result of a thought, an intention or a feeling shared by all the musicians, which is why its homogeneity and its compactness become the values ​​that allow listening to progressive growth, learning every time something on the basis of what has been understood before. A job that satisfies intellectually, then also recommended to fans of chamber music.

- Mescalina.it



Pietro Tonolo Tenor & Soprano Saxophone, composer, arranger Classical musics loss was jazzs gain in 1979, when Pietro Tonolo gave up a career as a classical violinist to become one of the great jazz saxophonists. Around that time, he moved to Milan, where he played with some of Italys best jazz musicians, including Franco DAndrea, Luigi Bonafede, Larry Nocella, Massimo Urbani, Rita Marcotulli and Enrico Rava. In 1982, Tonolo joined the Gil Evans Orchestra, playing with musicians Steve Lacy, Lew Soloff and Ray Anderson. He later went on to perform in jazz clubs and on radio and television around Europe and the USA, both as a sideman and as a leader with his own band. Tonolo was a steady member of the Paul Motians Electric Bebop Band from 1999 to 2004. Other notable collaborators have included the likes of Kenny Clarke, Roswell Rudd, Sal Nistico, Chet Baker, Lee Konitz, John Surman, Steve Swallow, Gil Goldstein, Barry Altschul, Joe Chambers, Aldo Romano, Kenny Wheeler, Dave Holland and Tony Oxley, to name just a few. Besides Jazz, Pietro Tonolo has been collaborating with contemporary musicians and ensemble