Since his first recording, Antonio Zambrini resulted one of the most interesting composers and piano players on the new European jazz scene.

I believe it is of utmost importance to emphasise his role of author, often underrated by the critics, who prefer to describe his exquisite technical qualities and his good taste (noticeable from the very first moment). Regarding his own compositions, often described as "simple on purpose", Zambrini is not affected by any naive taste.

His pieces only look simple, but this does not prevent him to develop a most complex and sophisticated musical path.
The artistist natural tendency to refrain from exterior virtuosity hides his noticeable ability in the formal and melodic construction of his tunes. An extraordinary harmonic taste shines over all his qualities, enabling him to naturally create sophisticated chords progressions, totally unaffected. Often a melody of few notes leads through a deep forest of harmonic solutions (the best example can be found in the beautiful "Melampo") .

Zambrini's fondness for advanced harmonies ideally includes him in the realm of musicians very far from his style such as Ivan Lins, Antonio Carlos Jobim and Djavan, or also nineteenth century music giants as Maurice Ravel.

Compared to the former recordings, an increased rhythmic freedom is advisable mainly due to the presence of an extraordinary artist such as Roberto Dani. His percussion set is uniquely flexible, able to supply the leader with continuous proposals of dissymmetrical figures (as in the opening track) with no lack of the swing necessary to support the ensemble)
Freedom and solidity seem to be Dani's genetical features.

From his side, Zambrini has the intelligence to use them at his best, adding a different determination to his style of play, when compared to the softer style of the past.

Moreover, Tito Mangialajo Rantzer's bass incisively answers to Dani's drums keeping a constant rhythmic/melodic network around them, where groove and melody keep a beautiful balance with no overlapping.

Kyle Gregory's flugelhorn underlines the melodies with the beauty of its sound, while showing on the solos a perfect ability to build in empathy with Zambrini, generating a musical path where silences and breathes are as important as notes.
Luckily enough each of these musician has overcome time ago the need to show off their own instrumental skills, choosing instead to concentrate the attention on the intensity of the final result, kept along the duration of all the recording, with no give in. Even in the most quiet parts, the tension remains high, and this recording confirms very clearly, as if it were necessary, the exquisite stature of this artist and of his own travel companions.
Carlo Boccadoro
 

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