Aldo Romano – Origine – Dreyfus Jazz FDM 46050 369472, 56:51 ***:
(Aldo Romano – drums, guitar, vocals (track 13), producer; Lionel Belmondo – soprano and tenor saxophone, G flute, wood flute, arranger; Eric Legnini – piano; Thomas Barmerie – double bass; Stéphane Belmondo – trumpet, flugelhorn, shell; Philippe Gauthier – flute, G flute; Jérome Voisin – clarinet, bass clarinet; Bernard Burgun – English horn; François Christin – French horn; Cécile Hardouin – bassoon; Bastien Stil – tuba; Géraldine Laurent – alto saxophone; Xavier Desandre-Navarre – percussion)
Despite 13 tracks and 13 musicians there is nothing unlucky about Aldo Romano’s hour-long Origine, his 23rd solo release and his third on the Dreyfus Jazz label. Romano is a European modernist who combines American and Old World sensibilities and on Origine he returns to the lush romanticism of his initial Dreyfus project, Chante.
Romano has had experience in the avant-garde arena (he worked with Don Cherry) and straightforward jazz (he has backed visiting artists such as Jackie McLean, Bud Powell, J.J. Johnson and Woody Shaw). But on Origine Romano focuses on large band arrangements that showcase his composition skills – he wrote all of the material – and his Parisian-tinted amour.
Romano was born in Italy but has lived in France since early childhood, so it is no surprise he uses many French players for his genteel orchestrations. Romano rarely steps up to the forefront and most of the time leaves the soloing to others. The most notable musicians are pianist Eric Legnini, the Belmondo brothers (Lionel on flutes and saxes with Stéphane on trumpet and flugelhorn) and Géraldine Laurent, an up and coming saxophonist whom Romano has employed previously.
Romano’s poignancy is conveyed during the three “Il Camino” themes spread through the program as leitmotifs. The first part is a brief flute-driven interlude; the second fragment blends flute and Romano’s silvery acoustic guitar; and the third and lengthiest segment utilizes the whole ensemble to replicate the main theme as a fully realized conception. Romano has always had a soft touch on glossy ballads and two highlights are his picturesque “Touch of a Woman” and “Starless Night.” During the first piece Stéphane Belmondo shines on trumpet while Legnini is also noteworthy. Lionel Belmondo adds color to “Starless Night” with mellifluous flute and sax.
Romano helped bring pianist Michel Petrucciani to the attention of a wider jazz audience. His friend’s memory is lovingly remembered during tender and absorbing “For Michel,” a tribute that centers on Legnini’s keyboard – which at times echoes Petrucciani’s lyrical nature – as well some fine charts for the horns.
The longest cut, “Gamelan,” is also the record’s liveliest. While most material represents an unobtrusive demeanor, this track jumps a bit, especially on the percussion side, since Xavier Desandre-Navarre keeps the beat and rhythm percolating. Stéphane Belmondo also provides consummate trumpet soloing, abetted by Legnini as well as Thomas Barmerie’s deep-toned double bass.
The connections to Chante are completed on the French-language closing song, “Jazz Messengers,” wherein Romano applies his expressive singing to tastefully interpret Yves Simon’s poetic lyrics. It is a charming, low-key way to end an often unassuming outing.
The only critique is that Romano’s writing and Lionel Belmondo’s arrangements lack fervor and generally do not show much musical innovation or surprises. On the other hand, Origine is an exemplary example of Romano’s obvious intentions and his approach to pleasant and delightful exposition. That might be what gives this excursion an affability that should be well-liked by fans of George Shearing, Bobby Hackett and others who have crafted elegant mood music.
TrackList:
1. Silenzio
2. Pasolini
3. Il Camino Part 1
4. Il Camino Part 2
5. Gamelan
6. Touch of a Woman
7. Elis
8. Celestina
9. Dreams and Waters
10. Starless Night
11. For Michel
12. Il Camino Part 3
13. Jazz Messengers
— Doug Simpson
