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The pianist with the undoubted technical knowledge,
Sebastian Schunke returns with "Back in New York"
to the formula of a music which has faded harmonic complexities, of which comes
to brush up against multiple diverse languages (from Latin to free,
to contemporary), designing dense atmospheres of significance and effect,
sharing perfectly – as the artist wishes – with the excellent members of the actual
band.
Often upsets of sonorous waves impose solos of exquisite verves, glossed
with indefiniteness, to the perturbed in the same way that is used in its conception
and composition, playing on the refined recording of the clarinet of Paquito
D'rivera, to the instinctive, desired "wildness", of the intermediary tones
that are acute to the piano, to the roundness of the chromatics in the accompaniment
of the percussion of Pernell Saturnino and to that of the double bass of
John Benitez, to the structural accuracy of the drumming of Antonio
Sanchez, in the same way as the pyrotechnic multiform, blustering and reflexive,
at times acidic, qualities of the guitarist Anders Nilsson.
The composing curve of Schunke foresees an ample freedom of sonorous movement
that can possibly penetrate essential designs, piercing effects, winding rips of
emotion, in the intent to give life to a real "way" of intending the pentagram and
improvisation.
The afro Cuban can then become, expressionism, the caraibic can
then fade in nuances in which the sense of time and the logical interest
for evolution of the sound are testimony to the restless sincerity and to
a proposed sensibility in an innovative way in the interpretation that is more "felt"
by the pianist.
The formulation of his style cross-references all to the visceral passion for
Brahms and Debussy in as much as to its virtuosity, and to
its swing, of a pensive jazz, anti-academic and strongly impressionistic:
the European roots of Schunke are diffused in Latin American in a dynamic
fashion and refined in a touch that is all originally, as we have already seen in
the previous good piece of work that was done with the Cuban singer Olvido
("Vida pura"), that has revealed to us in a convincing way and to
the international public, the possibility to experiment without the obsessive research
of producing something which is full of originality, talking to the listener in
a setting that is fresh, free and happily unpredictable.
Fabrizio Ciccarelli for Jazzitalia
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Publishing Date: 16/11/2008
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