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In 2010, Paolo Fresu decided to create the Tǔk Music label, which includes both his own recordings (Paolo Fresu 5tet, Paolo Fresu Devil 4tet) and collaborations (Omar Sosa, Uri Caine ...) but also various young artists from the young European jazz scene (Quartetto Alborada, Raffaele Casarano, Luca Aquino, Dino Rubino ...). With a great concern for elegance, ...See more
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Bardoscia, Performer - Alborada, Performer - Marcotulli, Performer - Nico Ciricugno, Composer
2016 Tǔk Music 2016 Tǔk Music
Jaques Morelenbaum, Cello - Paolo Fresu, Performer (Trumpet, Flugelhorn, Effects, Percussion) - Omar Sosa, Performer (Piano, Electric Piano, Sampler, Effects, Percussion, Vocals) - Quartetto Alborada - Written by Paolo Fresu
2016 Tǔk Music 2016 Tǔk Music
Bebo Ferra, Performer - Clint Eastwood - Kyle Eastwood - Michael Stevens, Composer
2012 Tuk Music 2012 Tuk Music
Luca Aquino, Performer - Sade Mangiaracina, Composer
2013 Tuk music 2013 Tuk music
Paolo Fresu, Performer - Attilio Zanchi, Composer
2010 Tǔk Music 2010 Tǔk Music
Daniele Di Bonaventura, Performer, Composer
2013 Tuk music 2013 Tuk music
Raffaele Casarano & Locomotive, Performer - Raffaele Casarano, Composer
2013 Tuk Music 2013 Tuk Music
Raffaele Casarano, Composer, MainArtist
2010 Tǔk Music 2010 Tǔk Music
Dino Rubino Trio, Performer - Rubino, Composer - Dalla Porta, Composer - Bagnoli, Composer
2012 Tuk music 2012 Tuk music
Francesco Ponticelli, Composer, Performer - Dan Kinzelman, Performer - Enrico Zanisi, Performer - Enrico Morello, Performer
2017 Tǔk Music 2017 Tǔk Music
In 2010, Paolo Fresu decided to create the Tǔk Music label, which includes both his own recordings (Paolo Fresu 5tet, Paolo Fresu Devil 4tet) and collaborations (Omar Sosa, Uri Caine ...) but also various young artists from the young European jazz scene (Quartetto Alborada, Raffaele Casarano, Luca Aquino, Dino Rubino ...). With a great concern for elegance, the 30 references that make up the catalogue of Tǔk Music obey the same graphic charter in which Paolo Fresu wished to associate, for each album, the pictorial work or the illustration also emanating from an up-and-coming artist. Let’s dive into this catalogue full of surprises ...
Paolo Fresu in 10 Albums
by Marc Zisman
Paolo Fresu is a stream. Of elegance. Of music. Of textures of sound. Of records. But above all, of meetings. His name appears on more than 300 albums, each more varied than the last. But the Sardinian trumpeter has always remained a craftsman of a lyrical jazz, refined and elegant. Shockingly elegant even! For his 60th birthday, which he will celebrate on February 10, we take a look back at a very subjective selection of ten of his albums...
Paolo Fresu began talking with Omar Sosa in the mid-2000s. On stage and then on record, the Sardinian trumpeter found in the Cuban pianist the ideal accomplice to build a solid bridge between the Mediterranean and Cuba. But the two virtuosos quickly surpassed this jazz'n'world association, and propelled their exchanges and improvisations towards more complex horizons. On some tracks, the legendary Brazilian cellist, arranger and director Jaques Morelenbaum also enriches the conversation with refinement, without blurring or trying to hog the limelight... Alma means soul in Spanish. It's a spirit that inhabits this record. It is probably no coincidence that Sosa comes from Camagüey, which is nicknamed the "City of Churches", as his piano flirts with a kind of liturgy. There is nothing blissful or contemplative, however, in this fusion that does not stop at a meeting of trumpet and piano. Synth (Microkorg), electric piano (Fender Rhodes), percussion, sampler and effects of all kinds flesh out the palette of our two naturalistic sonic painters. Some tracks require real attention like Ninos, which spreads out into the distance - very far indeed - a kind of hypnotic, electronic veil, like the echo of a muffled dancefloor. Others surprise, like this subtly rhythmic cover of Paul Simon's Under African Skies. We come away from Alma without really knowing whether it is jazz or not, but what does it matter? The landscapes we observe here are each more beautiful than the last…
World, rock, electro, Desertico is a 360° pirouette. Here, Paolo Fresu's Devil Quartet, created in 2004 and made up of Bebo Ferra (guitar), Paolino Dalla Porta (double bass) and Stefano Bagnoli (drums), performs compositions written by its members with the exception of a swirling version of (I can't Get No) Satisfaction by The Rolling Stones that opens the record, and a poignant interpretation of the standard Blame It on my Youth. The complicity that binds the four men seeps out of Desertico from end to end, making it anything but dry and arid. As always with Fresu, elegance is the norm. It is surely Ferra's guitar that most often spices up this flavoursome parenthesis of refined European jazz. Unleashed on the Stones cover (what a solo!) and out of the ordinary on electronic passages Voci oltre, the Sardinian guitarist comes to stimulate Desertico, his own composition that gives the album its title, with some unsettling, awesome little phrases. As for Paolo Fresu, as always, we never get one note more than we need…
In Maggiore (2015)
This melée sees Paolo Fresu and his trumpet get mixed up with the bandoneon of Daniele Di Bonaventura. The two Italians used to support the Corsican polyphony group A Filetta (Mistico Mediterraneo). This time, Fresu and Bonaventura are alone, unfurling an amazing chamber creation that mixes the taste of Miles Davis' music, the melancholic warmth of the bandoneon and a repertoire that includes poignant lullabies like South American standards (Chico Buarque), liturgical music and even opera arias like the famous Quando me'n vò from La Bohème by Puccini. The strength of the transalpine duo lies in making this material totally homogeneous by applying to it a sound that he sculpts with taste and mind-blowing class: the end result resonates with intensity in the RSI auditorium in Lugano in Switzerland, where it was recorded in May 2014. Fresu's playing reaches a rare emotional intensity, amplified by his mastery of the soft pedal. As the whole business takes place at ECM, we are hardly surprised that this atypical mixture bears listening to on repeat.
Tempo Di Chet (2018)
Every jazz trumpeter has an intimate relationship with Chet Baker. You can't avoid such a singular legacy when you're playing the instrument. Paolo Fresu, naturally, does not deviate from this rule. Better yet, he is one of the most exciting heirs of James Dean, of a scarred kind of jazz. Each of the Sardinian musician's recordings always contains a wink or a nod towards the playing style of the American who passed away in 1988. Here, the tribute is even more obvious, as indicated by the title of the album: Tempo di Chet. But Fresu is such a consummate musician that he remains fully himself throughout this hour of music wreathed in a halo of melancholy. Two decades after Shades of Chet with Enrico Rava, he has become an even greater virtuoso, a more nuanced and fascinating trumpeter. And the way in which he revisits standards which the master often performed (most notably My Funny Valentine or Everything Happens to me) is sublime. In this exercise in purity, Paolo Fresu is surrounded by the pianist Dino Rubino and the double bassist Marco Bardoscia, two fellow musicians who are never too talkative, and who chime with his vision. A beautiful record.
Mare Nostrum III (2019)
The first time was in 2007, it was called Mare Nostrum and it was quite magical. It is hardly surprising that Paolo Fresu, Richard Galliano and Jan Lundgren have repeated the experience with Mare Nostrum II, an equally superb 2016 release on which the Sardinian trumpet player, the accordionist from Cannes and the Swedish pianist once again displayed the lyricism and poetry of a highly refined jazz, with an eye towards chamber music, where one comes across reinterpretations of pieces by Satie and Monteverdi... Never two without three: after having recorded volume I in Italy, volume II in France, logically comes Sweden's turn to complete the trilogy. In the middle of winter 2019, Fresu, Galliano and Lundgren once again mixed together their own individual compositions, and worked in two covers of themes from film soundtracks: Michel Legrand's for The Thomas Crown Affair by Norman Jewison (The Windmills of your Mind) and Quincy Jones for The Getaway by Sam Peckinpah (Love Theme from The Getaway) The co-operation and fluidity reach new heights. The space becomes even more comfortable. And the musicality of these tremendously lyrical improvisations is increased tenfold. A trio with a European soul, in its references and complementarity, which does not encumber itself with bass or drums, as if to underline the emotional strength of the melody that little bit more. Finally, this third episode becomes inseparable from the other two: the adventure of Mare Nostrum is to be understood as an unbroken, intimate saga.
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