Tracce di Canti – Traces of Chants

Artist: Triologos

Date of Release: 27/04/2015

Catalogue no: SLAMCD 562

Label: SLAM

Price: £10

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Track Listing









Paolo Cerboni Bajardi; tenor and soprano saxophones
Bruno Cerboni Bajardi; percussion
Mirco Ballabene; double bass

A collection of eight ethnic-based compositions from seven different countries by a trio of conventional form – sax, bass, drums, but with a very distinctive approach to their music. Each member has a positive role in the music creation, resulting in a style of performance that grabs the listener’s interest on different layers. The inventiveness of the percussion and bass complementing and enveloping the saxophone lines.
This collection, recorded August 2014, is the outcome of years of work by the trio towards a fresh style of world music in jazz.

Sanson ki mala 07.24 (Khan Saheb)
Amor mi fa cantar 06.58 (ancient song)
Punay 09.56 Atahualpa Yupanqui
Ley ley 05.18 (folk song)
Kothbiro 06.54 (M. Achieng)
Canzone in stile popolare 09.48 (folk song)
Kojo no tzuki 06.52 (Rentaro Taki)
Ninna nanna 02.57 (folk song)

Recording details:
Date and place of recording:
Urbino (Italy) 8, 9, 10 August 2014

Name of sound engineer(s) for recording and mastering
Massimo Bonomo Studio Carte Postale




12/01/2016 Rotcod Zzaj

Triologos – TRACES OF CHANTS: This is one of the tastiest jazz trios I’ve heard in a while… features Paolo Cerboni Bajardi doing tenor and soprano saxophones; Bruno Cerboni Bajardi on percussion and Mirco Ballabene doing double bass, and as you listen to tunes like “Punay (Atahualpa Yupanqui)“, you’ll understand why I’m digging this little group so much; certainly more than just “traces” of our ancestral roots here, you’ll actually hear these cats sit down & build the ceremonial fire. All eight tracks were well-executed, with high energy and high talent, but it was the spirited sax playing on “Amor Mi Fa Cantar (Ancient song)” that received my vote for personal favorite (and, as on all the compositions, the bass and percussion play seamlessly throughout). I’ve no doubt you’ll be hearing more from these folks… they get a MOST HIGHLY RECOMMENDED from me, with an “EQ” (energy quotient) rating of 4.98. Get more information at the Slam Production page for this excellent release. Rotcod Zzaj 12/01/2016 http://rotcodzzaj.com/42-2/improvijazzation-nation-159/issue-159-reviews/


16/07/2015 Bruce Lee Gallanter

Triologos features Paolo
Cerboni Bajardi on saxes, Mirco Ballabene on double bass and Bruno Cerboni
Bajardi on percussion plus Massimo Bonomo on piano. The "Trace of Chants" projects features the exploration of folk melodies from around the world: Pakistan, Italy, Argentina, Syria, Kenya, Hungary and Japan. The Slam label has a way of introducing to new musicians from both Italy and South America who were previously unknown to most of us. Often with great results. This is again the case here since I hadn't heard of any of the members of this trio/quartet from Italy. Although each song was inspired by a melody from a different country, the trio have their own sound. "Sanson Ki Mala" comes from Pakistan, the trio sound rich and warm with austere tenor sax, quick, spirited bass in the center and nimble hand drums backing. Mr. Ballabene's delicate, magic bass is again the heart of "Amor me fa Cantar" with some lovely soprano sax from Paolo Bajardi. Each song has a haunting quality with a melody that sounds ancient. This is a lovely, heartfelt effort that sounds better or more enchanting each time I hear it. It is as if this trio has tapped into ancient spirits that need to be cut loose from the chains of history or geography. - Bruce Lee Gallanter, DMG CD 562


04/05/2015 Ken Cheetham

Seven different countries, seven different cultures are brought together in this album from a trio conventional in form, but with a distinctly alternative methodology in expressing their interpretations of the legends behind their themes. The translation of Tracce di Canti might lead in a number of directions with a shared root: traces or tracks of chants, singing or songs, but nothing quite complete: fragmented memories, hints maybe and clues, ah yes, signs or logos. Symbols. Suggestions of what might be or might have been, a history perhaps, though hesitant.

I am reminded of a lesson in reading from which I learnt to appraise in different possible directions simultaneously – the secret agent in Joseph Conrad’s The Secret Agent is not the shadowy, skulking figure in black cape that you might have imagined, but is indeed Time.

There are no complementary roles in this trio; each musician is central to the compositions so that one is moved between diverse levels of mindfulness and curiosity as themes develop, but are tattered, perverted and lost. The music is truly ethereal.
Reviewed by Ken Cheetham http://www.jazzviews.net/triologos---trace-di-canti.html


01/05/2015 Vittorio Lo Conte

La Slam Productions inglese ha da qualche tempo gettato un occhio su quell´area jazzistica italiana che si rifà al lato più moderno di questa musica producendo delle incisioni piuttosto interessanti e che meritano la visibiltà internazionale. Prendiamo ad esempio il trio messo insieme da Paolo Carboni Bajardi al sax tenore e soprano, Mirco Ballabene al contrabbasso e Bruno Carboni Bajani alle percussioni che rappresenta la nuova generazione di musicisti italiana. Il sassofonista ha studiato con Claudio Fasoli ed il percussionista con Andrea Centazzo, due dei musicisti che hanno smosso l´ambiente del jazz italiano al di là del mainstream “ufficiale”. I tre si rivelano degli ottimi allievi che hanno appreso ma che ora ci propongono la loro visione sulla musica e sul jazz in particolare. Il trio ha deciso di lasciare da parte gli standards e di prendere come temi dei motivi che si ispirano al folklore, non soltanto italiano. Il brano che apre il disco ad esempio proviene dalla tradizione musicale del Pakistan, ma senza che si vada verso il terreno di una world music. Qui le percussioni vogliono ricordare le tabla, ma il sassofono tenore si staglia pensoso a scavare all´interno della melodia creando delle atmosfere suggestive. Il contrabbassista ha un ruolo paritario all´interno del trio e per tutto il disco avvolge con le sue corde la musica creando un suo polo da cui influenza l´improvvisazione collettiva. Il trio si presenta così piuttosto esperto nel valutare il potenziale dei temi che da loro vengono proiettati in un altra dimensione rispetto a quella del foklore da cui provengono: un ottimo esempio può essere Amor mi fa cantaredalla tradizione italiana. Punay dall´Argentina è eseguito con il contrabbasso che passa all´archetto, un tema ed un´esecuzione piuttosto suggestivi. Molto bello Ley ley, un brano che proviene dala Siria, qui il contrabbasso ha un ruolo importante al pizzicato mentre introduce il brano. Quando arrivano le spazzole del batterista ed il sassofono soprano l´atmosfera diventa molto coninvolgente, tuttavia distante da quelle che sono le sonorità della musica araba. È uno dei momenti più interessanti dell´album. Su Kothbiro e Kojo no tzuki c´è il pianista Massimo Bonomo. Il primo si sviluppa lentamente fino a che arriva il sax tenore prima ed il pianoforte dopo, è un brano di origina africana, dal Kenia, e la musica sembra andare verso alcune pagine del pianista sudafricano Abdullah Ibrahim. Kojo no tzuki va verso atmosfere modali, alla McCoy Tyner. Tra i due momenti in quartetto ci sono le spigolosità di Canzone in stile popolare, a testimoniare di come il gruppo non si lasci mai andare a melodie che vanno verso il gusto del grosso pubblico. Nel complesso si tratta di un´incisione piuttosto riuscita, sincera, che trae ispirazione dal genere folk ma senza ammiccamenti a paesaggi da cartolina. Vittorio lo Conte http://www.musiczoom.it/?p=22780

Google Translate
The Slam Productions English has for some time cast an eye over that Italian jazz that goes back to the more modern side of this music producing incisions rather interesting and deserve the international visibility. Take for example the trio put together by Paolo Carboni Bajardi on tenor and soprano, Mirco Ballabene on bass and Bruno Carboni Bajani percussion that represents the new generation of Italian musicians. He studied with saxophonist Claudio Fasoli and percussionist Andrea Centazzo, two of the musicians who have moved the environment of the Italian jazz beyond the mainstream "official". The three turn out excellent students who have learned but now propose to us their vision on music and jazz in particular. The trio decided to put aside the standards and to take as themes of the reasons that are inspired by folklore, not only Italian. The song that opens the record, for example, comes from the musical tradition of Pakistan, but not for a move towards the land of a world music. Here they want to remember the tabla percussion, but the tenor saxophone stands thoughtfully digging within the melody creating atmospheres. The bass player has an equal role in the trio and throughout the disc wraps with its strings the music, creating a pole from which his influence collective improvisation. The trio presents itself quite adept at assessing the potential of the themes that are projected from them in another dimension than the foklore they come from: a good example can be Amor makes me cantaredalla Italian tradition. Punay Argentina is carried out with the bass that goes to the bow, a theme and execution rather suggestive. Very nice Ley ley, a song that comes dala Syria, here the bass has an important role pinched while introducing the song. When they get the brushes of drummer and saxophone soprano atmosphere becomes very coninvolgente, however far from those that are the sounds of Arabic music. It is one of the most interesting moments of the album. On Kothbiro and Kojo no tzuki there pianist Massimo Bonomo. The first develops slowly until it reaches the first tenor sax and the piano after, is a piece of African originates from Kenya, and the music seems to go to some pages of the South African pianist Abdullah Ibrahim. Kojo no tzuki goes towards modal atmosphere, the McCoy Tyner. Between the two moments in the quartet are the angularity of song in the folk style, to testify how the group will not ever let go and melodies that go to the taste of the general public. Overall this is an incision rather successful, sincere, inspired by the folk genre but without winking in postcard landscapes.


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