Pianist
Stefano Battaglia and, to a lesser extent, bassist
Paolino Dalla Porta have established considerable reputations, both in Italy and abroad, as masters of sensitivity and purveyors of delicacy. Here, they are part of a trio led by countryman
Mirco Mariottini, a clarinetist with a distinct, chamber-like sound who easily transcends any inherent limitations of this drum-less group. As is so often the case, the generalizations expose the exceptions, and each of these fellows is capable of fiery exchanges, but for the most part, they produce charming and beautiful music, devoid of dissonance but nonetheless exhibiting flights of freedom. On "G.W.G.," for instance,
Mariottini expands his range with atypical lurches and intervallic leaps while
Battaglia swings with unusual vigor. Even on pieces a bit more relaxed, such as the following "Lila," there is a sense that there is little ordinary about the interaction of the players, that each piece is going to be characteristically uncharacteristic. The relatively short "Nuga II" is almost a dialectical synthesis of the opposing perspectives, with
Mariottini boldly -- and sometimes radically -- reaching for the upper echelons, and doing a splendid job of it, while also exhibiting bebop roots as
Battaglia quietly comps behind the scenes. "Folk" offers the sort of slo-o-ow fare one has come to expect from
Battaglia, the notes of the piano cascading in measured streams.
Dalla Porta is one of the best of the European bassists, and he is heard splendidly in support and as a soloist.
Mariottini is rightfully highlighted throughout the album, his clarinet solos defined by their deliberate structure, technical skills, and broad range. Although he prefers lowered volume and slower tempos, he also recognizes the value of innovation, and his solos incorporate a variety of approaches, some extremely exciting.