Viewing entries in
Co-Leader 1978 2017

Blue Waltz [Live at Gustavs]

Blue Waltz [Live at Gustavs]

Blue Waltz

ENRICO PIERANUNZI - THOMAS FONNESBÆK

LIVE AT GUSTAVS

 
Blue Walts CD cover.jpg

Enrico Pieranunzi  piano
Thomas Fonnesbaek  bass

Recorded live at Gustav's Bistro,
Copenhagen, July 14 & 15, 2017

Release date, 2018 (Label: Stunt Records)

Album Tracks

1. Everything I Love  (C. Porter)  6:44
2. Blue Waltz  (E. Pieranunzi)  8:56
3. Come Rose dai Muri  (E. Pieranunzi)  7:06
4. Molto ancora  [per Luca Flores]  (E. Pieranunzi)  7:33
5. All the Things You Are  (J. Kern)  9:52
6. First Impression Last  (Th. Fonnesbaek)  5:10 
7. Miradas  (E. Pieranunzi)  6:10
8. Si peu de temps  (E. Pieranunzi)  2:45 
9. Tales from the unexpected  (E. Pieranunzi)  5:19
10. WIMP  (E. Pieranunzi)  5:03

During my childhood and teen age it was exactly the bass the “engine” that brought me to get deeper and deeper into the jazz language. So, shortly, I placed the bass in the top position of my personal list of favorite instruments. When in 2015 I met Thomas for the first time I had a further confirmation of all this. During the set we played in duo in fact his technique and musicality really impressed me and made me think that when somebody plays the bass the way he does it it’s difficult for me placing any other instrument in that top position.

However, one year after our first meeting we performed in trio with the fine drummer Stefan Pasborg. Then, in 2017, we played an entire duo concert, whose results are now accessible to all the jazz listeners and fans. Well, I’d like to say here that Danmark seems really to be a very special and productive country for bass players. All of us in fact remember and regret the great NHOP, kind of pioneer and example for many generations of fantastic Danish bass players. Thomas, in my opinion, represents at it’s best the heritage coming from him and I’m proud to have shared with him the music recorded in this CD. Enjoy!

Enrico Pieranunzi

DUKE'S DREAM

DUKE'S DREAM

After two decades of wonderful collaboration in different contexts Enrico Pieranunzi and Rosario Giuliani have finally found themselves in the studio for a project of their own. In Duke's dream Pieranunzi and Giuliani best express that common vision of music that has long made them two stars of the international jazz scene.

Buy NOW

AMAZON    iTunes   Google Play

AMERICAS

AMERICAS

"Two beautiful pianos, tuned with exactness and played with the kind of hemispheric understanding that very quickly permits the illusion that just one voice is heard, in gentle dialogue and contention with itself."(Brian Morton)

Buy NOW

AMAZON    Cam Jazz

Home Is Where The Heart Is

Home Is Where The Heart Is

Tina's long association with '33' continues with this long awaited collaboration between Tina and one of Europe's greatest pianists, the incomparable Enrico Pieranunzi. 
The album features several well-known Pieranunzi compositions that are given lyrics by Tina – including to Chet Baker's original solo on Pieranunzi's 'Night Bird', that the pianist recorded with Baker in the 1970's. 

Buy NOW

Juno Records    AMAZON.co.uk    iTunes

Double Circle

Double Circle

A piano and an acoustic guitar. A sweet melody, “Anne Blomster Sang”, which can positively affect your daily mood, if listened to when you wake up. This brightly beautiful gem is the opening track of “Double Circle”, a CD that brought Enrico Pieranunzi and Federico Casagrande together in a recording studio for the first time: two musicians from different generations and with different backgrounds, but united by their love for jazz. This love has led Pieranunzi to become a reputable piano master over time and Casagrande to live far from home, since he left the province of Treviso (Italy) and moved all the way to Paris to learn the ropes in the jazz clubs of the French capital and returned more mature and ready to tell his musical tale.

Buy Now

Cam Jazz     AMAZON     iTunes

Bluestop

Bluestop

Due colonne storiche del jazz italiano si sono incontrate il 15 aprile 2013 sul palcoscenico del cinema teatro Splendor di Bollate, per improvvisare su composizioni di Intra contenute nel suo volume  Improvvisazione altra?  pubblicato nel 2013 e su due brani classici novecenteschi, Valse di Poulenc e Kleine Klaviermusic #1 di Hindemith.

Buy Now

AMAZON    iTunes    Google Play

Live conversations

Live conversations

Un grande evento: Dado Moroni ed Enrico Pieranunzi insieme in "live conversations" 
Un incontro storico tra due dei più grandi pianisti che l'Italia abbia mai
proposto sulla scena mondiale. L'incisione, di eccellente qualità audiofila, 
riproduce una serata che ha sconvolto il parterre di appassionati e musicisti
presenti in sala. Straordinario manifesto del jazz Made in Italy. Ricordiamo infatti che nella recentissima manifestazione presso il celebre tempio americano del jazz, il «Birdland " di New York, proprio Dado Moroni ed Enrico Pieranunzi hanno letteralmente esaltato la platea americana. 

Buy NOW:

Jazz and More    AMAZON     iTunes

Duologues

Duologues

Legendary guitarist Jim Hall and piano virtuoso Enrico Pieranunzi play together for the first time. Sublime.

Buy NOW

Cam Jazz     AMAZON     iTunes

Trasnoche

Trasnoche

Enrico Pieranunzi (pianoforte), Marc Johnson (contrabbasso). Un nuovo incontro tra due protagonisti della scena jazzistica internazionale. L'incontro piano/contrabbasso ha precedenti illustri nella storia del jazz, basti pensare alle collaborazioni di Bill Evans con Eddie Gomez o di Paul Bley con Gary Peacock. Pieranunzi e Johnson rinnovano ed estendono questa tradizione sottolineandone gli aspetti più cameristici. Le nove tracce del cd propongono prevalentemente composizioni originali di Pieranunzi le cui atmosfere fanno di questi brani delle vere e proprie riflessioni musicali in forma di dialogo. 

Buy Now

EGEA     AMAZON     iTunes

Doorways

Doorways

Without a moment of hesitation, go ahead and trespass these DOORWAYS to experience the natural symbiosis and telepathy between these masters of the art

Buy Now:

Cam Jazz     AMAZON     iTunes

YESTERDAYS

YESTERDAYS

YESTERDAYS

Enrico Pieranunzi  -  Mads Vinding  -  Alex Riel

 
Yesterdays Front Cover.jpg

Featured Artists

Enrico Pieranunzi  piano
Mads Vinding  bass
Alex Riel  drums

Recorded LIVE
Nov 111997 at Copenhagen Jazzhouse

Release date
2017, Stunt Records

About YESTERDAYS

Questo LIVE di Novembre 1997 alla Copenhagen Jazzhouse giova dell’approccio romantico e al contempo diretto di Pieranunzi, del timbro aristocratico e della tecnica raffinata di Vinding e dell’espressione intuitiva e matura di Riel: prende il meglio di ciascuno e lo distilla in una musica generosa, virile, gioiosa e poetica.

Album Tracks

1. Yesterdays (J. Kern)                                                         
2. Vignette (G. Peacock)                                                    
3. Jitterbug Waltz (F. Waller)                                             
4. A Nameless Date (E. Pieranunzi)                                        
5. My Funny Valentine (R. Rodgers)       
6. My Foolish Heart (V. Young) 
7. If There Is Someone Lovelier Than You (H. Schwarts) 

 

11:08
08
:34
09
:27
07
:55
12
:54
08
:47
07
:28

Buy NOW

AMAZON     ibs     iTunes     Google Play

Nausicaa

Nausicaa

Due maestri riconosciuti del jazz italiano alla ricerca delle radici profonde della propria cultura, non solo musicale. Lirismo, melodicità e intensità del sentire al di là di ogni distinzione di genere. Quasi un documento programmatico del Jazz secondo Egea.

Buy Now

EGEA     AMAZON     iTunes

Flux And Change

Flux And Change

"If the specific nature of this performance reaffirms what we know about Motian, it reveals an entirely new side of Pieranunzi.

Buy NOW

Cam Jazz     AMAZON     iTunes

Elsa

Elsa

Phil Woods' prolific recordings for the Italian label Philology (which is named in his honor) are always enjoyable; this duo concert with pianist Enrico Pieranunzi is no exception. The creativity of both men during a jaunty "Have You Met Miss Jones?" would be a difficult standard for any group to match during a live performance, yet the duo does just that, seemingly without effort. 

Buy NOW:

AMAZON     iTunes

 

The dream before us

The dream before us

The dream before us

Enrico Pieranunzi     Marc Johnson

Featured Artists
Enrico Pieranunzi  piano
Marc Johnson  acoustic bass

Recorded
December 17 & 18, 1990, at Gimmick Studio (Yerres - France)

Release date
1992

Record Label
IDA Records

Album Tracks
1.  Something There  (E. P. - M. Johnson)  6'32
2.  Night and Day  (C. Porter)  5'38
3.  Ein Li Milin (No More Words)  (E. P.)  5'16
4.  Impromptu N° 4  (E. P. - M. Johnson)  2'38
5.  Si Peu De Temps  (E. Pieranunzi)  3'23
6.  Silkworm  (M. Johnson)  3'49
7.  All The Things We Are  (E. P. - M. J.)  6'03
8.  Impromptu N° 1  (E. P. - M. Johnson)  4'54
9.  On Green Dolphin Street  (B. Kaper - N. Washington)  6'41
10.Impromptu N° 3  (E. P. - M. Johnson)  6'07
11.Subconscious-Lee  (L. Konitz)  4'53

Total Time: 56'42

Buy NOW
   

About The dream before us
A RAINBOW DUO
(From an interview of ENRICO PIERANUNZI and MARC JOHNSON by Paul Benkimoun published in Jazz Magazine, issue n° 41O, in December 1990)

How did the duo come about?
E.P. In June 1990, Marc invited me to come out to a festival of classical music in Virginia. We played together in a trio with Peter Erskine and, outside of the concert context, we explored the possibilities of a duo.
M.J. lt's very exciting to play with a musician like Enrico. He has a fantastic ear and everything is possible harmonically, rhythmically. Without a drummer we can further experiment on the tempo. I play more in this album than in any other. We discovered that in a duo, the best comes when we play a little bit less.

During your concerts as a duo, it looks as if you are roaming, while allowing the possible routes of improvisation to emerge, before borrowing them...
M.J. That is the conception which Enrico had in mind: to intertwine improvisation and standards without setting a beginning, a middle and an end. A more organic process if you prefer.
E.P. The duo is the best format for this type of playing. It is difficult with a drummer. We're trying to go into the music and see what we can meet up with. Let's take "All the things you are" for example... We're not particularly trying to play it at the regular tempo, we might very well break up the harmony or the tempo, change the melody or use its core, take the first four notes and build something up from them. It is a dialogue where we give prompts to the other. Sometimes we talk at the same time, other times each plays alone.

A musical relationship such as this one is not very frequent. Have you already had this type of experience during your career?
E.P. Once: with Lee Konitz. Lee is very open, he is the one who gave me the courage to launch into this type of adventure. It may seem strange to see a man over sixty react in this way, but he remains an avant-garde musician.
M.J. The Bill Evans trio during the late 50's most probably showed the way to this type of improvisation, dialogue, exchange and communication. In the trio, the bass no longer stayed in the background but played a melodic role. For a long time people thought I could only do that. I was never called for walking gigs (where the bassist plays every three or four beats of the bar in a walking bass style). People are finally beginning to realize that I also know how to do that. It is a maturing process.

Marc, one of your latest albums was made up of duets (with notably Toots Thielemans, Gary Burton). Would you situate it at the same level as this album with Enrico?
M.J. Yes and no. That project was the producer's idea, Kiyoshi Koyama. If I had been given the green light, I would have played some tracks with Enrico and others with a percussionist, that's all. But the album was supposed to be with established musicians, relatively traditional and not too avant-garde.... I therefore chose pieces that I knew well.

Enrico, you teamed with Chet Baker. How would you situate this experience with regards to your duo with Marc?
E.P.
 You have to be curious, look for stimulating experiences. Playing with Chet was outstanding because it was Chet! He was out of the ordinary, he had the capability of going straight to the essential and to play the notes he wanted to express his feelings. A great lesson for me. When I play now, I try to put everything I picked up before into it: the experiments, the sounds, the memories, and synthetize them. With Marc, we have a solid classical background in common, which gives us a good grasp of form...
M.J. ...composition...
E.P. ...and improvisation; in order to give life to what you're playing. Marc and I are very interested in French XXth century music, in Bartok, Stravinsky, Hindemith. I still teach classical piano and I continue studying. I don't restrict myself to jazz.

Enrico, you stated that you attach more importance in the way the piano rings by voicings rather than by the pedals. What do you mean by that?
E.P. For years, I have been turning around not the notes themselves but their colour. In this way you can give a meaning to the group of keys you activate. I study harmony and voicings a lot. That's what made me interested in Bill Evans.
The first time I played with Marc, I sensed that he had this natural feel for colours, which he develops continuously. When we play standards, we can go through the piece without playing one single chord from the Real Book, but it doesn't matter. You have to forget about it, keep the melody and perhaps add an entirely different harmonic sequence.

A pianist friend said that one must forget about "the mathematics of music"...
E.P. Exactly! Memory is a big problem, because it gives an impoverished approach, it makes you focus on the fact that a theme is in B flat minor or A minor... You have to try to place your hands somewhere on the instrument and maybe you will find what you are looking for. That is what Marc and I do. For the album, we prepared a few pieces but most of the time we played long improvisations.

What you do today is made possible by your skill and your instrumental culture, by the other musical experiences you have had...
E.P.
 Of course, you need training, but for the most part, you have to eliminate more than apply. What facilitates our relationship is that we also have fun. You can draw a horse in a realistic way, but you can also move its head... small signs will remain which indicate that it is a horse, interpreted by me. In the some way, I can play two notes and it will be "Alice in Wonderland" seen by me.
M.J. We also try to give form to the tempo. I don't know how to describe that, but it resembles different parts of a mobile, all linked to one central point. We move on elliptical orbits around the center. We link choruses together, each one in a different portion of time. It is fascinating for me to be involved in this process and all of a sudden, bam! to emerge together...

Yellow and blue suites

Yellow and blue suites

1990 was a “turning point” for me, both in terms of my private life and of my music. It was in that year, in fact, that I decided to open up my way of improvising much more than I had in previous years. I felt that the time was right, despite the current trends or styles. I talked about this with Marc on the occasion of a couple of concerts we did together in the summer of that year and he agreed to explore this new “musical land” along with me ...

Buy Now:

Challenge Records    AMAZON     iTunes