NEW VISIONS

ENRICO PIERANUNZI TRIO

NEW VISIONS

Enrico Pieranunzi  piano
Thomas Fonnesbæk  bass
Ulysses Owens Jr. drums

Recorded March 10, 2019
at The Village Recording, Copenhagen

Release date, 2019
STORYVILLE RECORDS Made in Eu

Album Tracks

1 · Free Visions 1 3:25
2 · Night Waltz 3:20
3 · Anne Blomster Sang 6:47
4 · You Know 6:35
5 · Free Visions 2 2:03
6 · Free Visions 3 4:06
7 · Alt kan ske (more Valentines) 6:46
8 · Free Visions 4 4:08
9 · Brown Fields 5:07
10 · Dreams and the morning 4:13
11 · One for Ulysses 4:40
12 · Orphanes 5:10

Total time 56:23

The story behind this recording began in the summer of 2018 when Enrico Pieranunzi played with Ulysses Owens Jr., for the first time: two awesome concerts during the Copenhagen Jazz Festival that cast a breathtaking spell over the audience and an exciting new musical collaboration was born.

Enrico has been a popular guest in Copenhagen for over 30 years, where he has played with elite Danish musicians like Mads Vinding, Alex Riel and Jesper Lundgaard. In recent years he has collaborated closely in a duo context with the phenomenal bassist Thomas Fonnesbæk and the two, together, were soon able to achieve new heights of creativity.

Pieranunzi is an exceptional pianist, whether he’s playing solo, duo or trio. Melodically, harmonically, and not least of all rhythmically, he is “out of this world”. He has something you simply don’t hear with other musicians.
Part of the explanation is likely due to a unique combination of influences, from his deep roots in classical and Italian music to his collaboration with iconic film composer Ennio Morricone and jazz giants like Chet Baker and Art Farmer. The rest – and most importantly – is due to Enrico himself.

Yet, Enrico Pieranunzi is totally his own man. He knows what he’s looking for, and for that reason alone one must be cautious in suggesting with whom he should play. So when in the winter of 2017 I asked Enrico if he would like to play in a trio with Thomas and American drummer Ulysses Owens Jr., it didn’t come as a complete surprise when he said “no, thanks”. Still, I couldn’t help asking about Ulysses one more time because I had the feeling he was precisely the drummer whose playing would inspire both Enrico and Thomas. I was convinced that Ulysses would be a good counterpart, and that the match-up had to be tried out.

Ulysses in fact belongs to a great new generation of drummers who play on a level of energy and technical proficiency rarely found outside the United States and which isn’t always compatible with European musical norms.
But this doesn’t apply to Ulysses Owens Jr., whose incredible sensitivity and attentiveness allow him to fit into the European context. He is one of the warmest, most smiling individuals I’ve ever met. At the same time, beneath his affable exterior lurks the classic drive and strength of an American drummer – an essential cultural ingredient that jazz cannot do without.

Well, luckily, since Enrico is naturally curious, after a while I succeeded and he accepted to perform and record with Ulysses.

With New Visions, Enrico Pieranunzi demonstrates that at the age of 69 he is at the peak of his career. This recording bears witness to his greatness as a musician, and also how open he is in his musical approach. Chances are taken. It is a delight to hear this trio as it sets the standard for how jazz can be played, here and now.

Christian Brorsen, Executive Producer

Blue Waltz [Live at Gustavs]

Blue Waltz

ENRICO PIERANUNZI - THOMAS FONNESBÆK

LIVE AT GUSTAVS

Enrico Pieranunzi  piano
Thomas Fonnesbæk  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

YESTERDAYS

YESTERDAYS

Enrico Pieranunzi  -  Mads Vinding  -  Alex Riel

Featured Artists

Enrico Pieranunzi  piano
Mads Vinding  bass
Alex Riel  drums

Recorded LIVE
Nov 11, 1997 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

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The dream before us

The dream before us

Enrico Pieranunzi     Marc Johnson

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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

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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...