Carlo Maria Nartoni – piano – Italy
Adrian Myhr – double-bass – Norway
Tore Sandbakken – drums – Norway
The trio’s proposal is essentially based on totally free improvisations and original pieces, mostly composed by the pianist Carlo Maria Nartoni. Such pieces happily combine musical aspects that may seem in sharp contrast between them, but that end up merging in a delicate alchemy made up of mutual listening and interplay.
Varied themes, simple melodies, unusually rhymed harmonie, moments of pure improvisation, rock fragments from the latest decades, where musicians usually exchange roles, are just a few of the characteristics of a group who considers the jazz language as a starting point for a deep artistic and inner research.
Pianist Carlo Maria Nartoni originates from a classical music background which began at the Conservatory of Como and Milan, followed by jazz and ultimately by impromptu performance.
He was also the permanent pianist with the “Civica Jazz Band” Milan directed by Enrico Intra. He can boast concerts in important European theatres performing together with prestigious musicians such as Franco Ambrosetti, Kenny Wheeler, Franco Cerri, Enrico Rava, Diana Torto, Gianluigi Trovesi, Claudio Fasoli, Giorgio Gaslini,Lenneart Aberg and many others.
Currently, he performs promoting his own original music.
Adrian Fiskum Myhr is a bassist from Trondheim, Norway, now living in Oslo. Active in the improvised music scene in Norway, Adrian has performed across Europe as well as in Chile, South America and Japan. Adrian is focusing on the big sound repertoire of the doublebass, and works continuously on extending this vocabulary with various strategies, through preperations and different bowing techniques.Adrian has collaborated with a wide variety of musicians such as Sidsel Endresen, Ab Baars, Toshimaru Nakamura, Tetuzi Akiyama, Michel Doneda, Andrea Neumann, Raymond Strid, Michael Moore, Tobias Delius, Oliver Lake, Xavier Querel, Xavier Charles, Bugge Wesseltoft, Nana Vasconcelos, to mention a few.
Tore T. Sandbakken, master degree in drumming and improvisation from the Norwegian Academy of Music, Oslo, and Rythmic Music Conservatory, Copenhagen. A versatile drummer who is established as a widely used musician in many bands in Oslo. Tore has played a lot around Norway, Europe, Japan and USA with bands like Speakeasy, Aphrodisiac, Off Topic, Vojtech Prochazka Trio, Jens Carelius and Astrid E. Pedersen Ensemble, and participated in the competition Jazzintro, Young Norwegian Jazz Talents 2008 and 2010 as well as Young Nordic Jazz Comets 2010.
Nominated for "best jazz album of the year" for the Speakeasy album "Kayak" by the Norwegian grammy committee in 2009.
Listening to "syria" by Carlo Maria Nartoni you can perceive a tranquility that dialogues with a creative voluptuousness. It is in this duality that, in my opinion, space and strength naturally coexist.
Among the young pianists who have played with my group, I have a vivid and precise memory of the natural talent of Nartoni who is gifted with an original and personal approach to pieces, enriching them, whether he is accompanying or is improvising in his tasteful, wonderful and elegant manner. He has a strong, contained and respective presence."
FOR BOOKINGS CONTACT
Salem Machine Promotions
THE WONDERLAND ROOM BY CARLO MARIA NARTONI
Some months ago when the excellent jazz pianist Carlo Maria Nartoni paid me the honour of allowing me to listen to a preview of a recording he had made in Lugano along with two young Norwegian musicians, Adrian Myhr on double bass and Tore Sandbakken on drums, I had expected to hear something really good but certainly did not expect this explosion of creativity.
The term “explosion” is used loosely and has nothing in common with ferocity or violence. Carlo's
pianism is in the sign of complete control and dimension indicating a high level of musical
maturity. And yet, the mixture of the magical, surreal and surprise of this suggestive scenario leads one's imagination to an “explosion” in its tambourine like sound and freshness or even better, a “wunderkammer” those “wonderland rooms” where, in the XVI to the XVII century you would come across surprising and unusual objects. At Carlo Maria Nartoni's fingertips a piano ceases to exist as just an instrument, it seems to disintegrate and take on multiple, infinite and dazzling qualities. These qualities range from crystalline and rarefied tinkling sounds in his piece “Specchi” to the almost sonorous continuum in “Riding in the Desert”, almost like that of Ligeti, to the lyricism reminiscent of Keith Jarrett in “Ancient Times”, to the mid-oriental atmosphere in “Inno Armeno” and also to punctualism and swing evocative of Thelonious Monk in the four “Impro a pois”. These four pieces are well placed throughout the CD and serve to break away from the bewitching and magical atmosphere of the other pieces, bringing us back to moments of jazz and its traditions. The rest is dominated by muted tones, pastel colours, a sort of abstract colouring far removed from the modal atmosphere and neo-impressionists so very fashionable in today's jazz pianists who are nearly all descendants of Bill Evans or Herbie Hancock. The only similarity to Bill Evans in Carlo Maria Nartoni's playing, is in his extremely light and refined touch while there is very little similarity to Afro-American pianists except in the case of citations. His pianist of reference is certainly Keith Jarrett, who he can equate to in lyrical phrasing and diatonic but moreover in his extra-ordinary technique which leads him to use the piano to take advantage of all its potential in timbre and dynamics. However, he does have something more in respect to Jarrett. He has a sort of holding back [hesitancy], almost prudery as if wishing to stop before events take over, a lack of complacency which could bring to mind Paul Bley. This is Nartoni's true style , the capacity to unite variety of atmosphere and sound but at the same time keeping to measure and constant control. Exactly like Bley. The difference is that Bley's touch can hold harshness, impediments and irregularities, whereas, here these traits are missing and the influence of Afro- American jazz is revealed. Here everything is mobile but dolce, smooth, almost abstract. It is as if Nartoni loses himself in a kingdom of beauty and purity of his own and jazz is simply a channel to bring life to his world. Jazz of Nordic inspiration? Well, yes. For about ten years a sweet and poetic measure has characterised Nordic jazz and not by chance has Jarrett recorded some of his best works with Nordic musicians. Nartoni, who is an admirer of Jarrett, has done the same. The presence of the two Norwegian accompanists with their extra-ordinary attention to measure, contributes to the general compactness of the trio and the result of this collaboration is very near to Jarrett's records with Palle Danielsson and Jon Christensen.