Abbiamo deciso che il ricavato totale delle vendite digitali del disco, fino al 15 giugno, sarà devoluto alla Fondazione IRCCS Policlinico San Matteo di Pavia che da settimane è in prima linea nella ricerca e nella gestione dell'emergenza da Coronavirus.

We have decided that the total proceeds of the album’s digital sales, until June 15, will be donated to the IRCC Foundation of the San Matteo’s Hospital (Pavia, north Italy) that is strongly engaged in research and management of Coronavirus’ emergency.

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CARLO NICITA C flute, Albisiphon bass flute
ELOISA MANERA violin
TITO MANGIALAJO RANTZER double bass

Cover notes by Claudio Sessa

The encounter between Jazz improvisation and ancient European music (perhaps more aptly named "pre-classical") is one which always raises a few eyebrows, and with good reason. Often, even prominent performers, during Jazz history, have approached great academic tradition with superficiality, in the belief that a famous aria could be treated according to the same logic as a Broadway song, or in the easy presumption that the rhythmic impulse of a certain author will respond to African American Swing logic.
There are, of course, bright exceptions: John Lewis's and Uri Caine's Bach (and also the magical Concerto for two violins recreated by Stéphane Grappelly and Eddie South, supported by Django Reinhardt's basso continuo),or Enrico Pierannunzi's Scarlatti. These are exceptions, though. So, among these beautiful exceptions, we must add the musical adventure of the Trio Sonata, which spans five centuries of European musical inventions with the attitude of authentic jazz musicians. This means that the "theme/improvisation on the chords/return to the theme" structure is not necessarily respected, a formula which only the inattentive would consider as «the» way of Jazz.
Carlo, Eloisa and Tito are inspired by these pieces' melodies and harmonic territories which constitute their basic musical material, but also by their deepest formal organization, used in order to dismantle and reconstruct their spirit, thus evoking the connecting tissue between Europe and North America through the inventiveness of instrumental timbres. They do this without neglecting the material's original cultural richness, but also by adding new expressive significance. In their articulated performances, they allow us to perceive in filigree what musical exploration has achieved in the meantime, while also proving that the use of history is always a reflection about the present.

Claudio Sessa is writing a jazz history for Il Saggiatore publisher, who until now has released two volumes: Le età del jazz - I contemporanei and Improvviso singolar