(Mainstream Jazz, Post-Bop, Piano Trio) [WEB] Enrico Pieranunzi, Marc Johnson, Joey Baron - Play Morricone 1 & 2: The Complete Recordings - 2014, FLAC (tracks), lossless

1. Ennio Morricone: Addio fratello crudele (07:27)
2. Ennio Morricone: Mio caro dottor grasler (06:39)
3. Ennio Morricone: La voglia matta (04:48)
4. Enrico Pieranunzi: Just Beyond the Horizon (06:35)
5. Ennio Morricone: Incontro (07:09)
6. Ennio Morricone: Jona che visse nella balena (04:43)
7. Ennio Morricone: Le mani sporche (05:46)
8. Ennio Morricone: Correva l’anno di grazia 1870 (06:01)
9. Ennio Morricone: Escalation (03:39)
10. Ennio Morricone: Stanno tutti bene (07:08)
11. Ennio Morricone: Quando le donne avevano la coda (04:54)
12. Ennio Morricone: Nuovo cinema paradiso (06:56)

1. Ennio Morricone: Il clan dei siciliani (04:54)
2. Ennio Morricone: Ninfa plebea (06:22)
3. Ennio Morricone: I malamondo (06:10)
4. Ennio Morricone: I malamondo (Reprise) (05:02)
5. Enrico Pieranunzi: The next night (05:29)
6. Ennio Morricone: La domenica specialmente / Sunday Waltz (07:37)
7. Ennio Morricone: Il vizietto (05:10)
8. Ennio Morricone: Ninfa plebea (Reprise) (07:57)
9. Ennio Morricone: Il prato / My Meadows (06:02)
10. Enrico Pieranunzi: Waltz for a future movie (07:27)
11. Ennio Morricone: I malamondo (Reprise 2) (05:28)
12. Ennio Morricone: Musashi (03:51)

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 Analyzed: Play Morricone 1 & 2 /  Artist: Various Artists
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DR Peak RMS Duration Title [codec]
----------------------------------------------------------------------------------------------
 DR12  -0.97 dB  -17.42 dB 7:26 01 - Addio Fratello Crudele   [flac]
 DR11  -0.88 dB  -15.79 dB 6:37 02 - Mio Caro Dottor Grasler   [flac]
 DR10  -0.78 dB  -14.57 dB 4:48 03 - La Voglia Matta   [flac]
 DR13  -0.84 dB  -19.21 dB 6:34 04 - Just Beyond The Horizon   [flac]
 DR11  -0.70 dB  -15.54 dB 7:08 05 - Incontro   [flac]
 DR14  -1.14 dB  -22.14 dB 4:42 06 - Jona Che Visse Nella Balena   [flac]
 DR11  -0.83 dB  -16.91 dB 5:46 07 - Le Mani Sporche   [flac]
 DR12  -0.89 dB  -16.54 dB 6:00 08 - Correva L’anno Di Grazia 1870   [flac]
 DR12  -0.63 dB  -15.38 dB 3:39 09 - Escalation   [flac]
 DR13  -0.89 dB  -19.42 dB 7:08 10 - Stanno Tutti Bene   [flac]
 DR12  -0.84 dB  -16.22 dB 4:54 11 - Quando Le Donne Avevano La Coda   [flac]
 DR10  -0.47 dB  -14.75 dB 6:56 12 - Nuovo Cinema Paradiso   [flac]
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 Number of files:    12
 Official DR value:  DR12
 Sampling rate:    44100 Hz
 Average bitrate:    694kbs
 Bits per sample:    16 bit
Dr14 T.meter 1.0.16
==============================================================================================

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 Analyzed: Play Morricone 1 & 2 /  Artist: Enrico Pieranunzi|Marc Johnson|Joey Baron
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DR Peak RMS Duration Title [codec]
----------------------------------------------------------------------------------------------
 DR11  -0.89 dB  -15.33 dB 4:54 01 - Il Clan Dei Siciliani   [flac]
 DR13  -0.97 dB  -19.20 dB 6:21 02 - Ninfa Plebea   [flac]
 DR11  -0.62 dB  -14.51 dB 6:09 03 - I Malamondo   [flac]
 DR11  -0.71 dB  -14.53 dB 5:01 04 - I Malamondo (Reprise)   [flac]
 DR11  -0.85 dB  -15.53 dB 5:29 05 - The Next Night   [flac]
 DR12  -0.73 dB  -17.99 dB 7:37 06 - La Domenica Specialmente/Sunday Waltz   [flac]
 DR12  -0.87 dB  -17.07 dB 5:09 07 - Il Vizietto   [flac]
 DR13  -1.02 dB  -19.42 dB 7:57 08 - Ninfa Plebea (Reprise)   [flac]
 DR12  -1.01 dB  -17.45 dB 6:01 09 - Il Prato/ My Meadows   [flac]
 DR11  -2.09 dB  -19.37 dB 7:26 10 - Waltz For A Future Movie   [flac]
 DR12  -1.28 dB  -16.25 dB 5:26 11 - I Malamondo (Reprise 2)   [flac]
 DR11  -1.50 dB  -16.58 dB 3:50 12 - Musashi   [flac]
----------------------------------------------------------------------------------------------
 Number of files:    12
 Official DR value:  DR12
 Sampling rate:    44100 Hz
 Average bitrate:    763kbs
 Bits per sample:    16 bit
Dr14 T.meter 1.0.16
==============================================================================================

https://www.allmusic.com/artist/enrico-pieranunzi-mn0000184086/biography
Artist Biography by Matt Collar
An acclaimed Italian jazz pianist, composer, and educator, Enrico Pieranunzi is known for his virtuosic, classical-influenced technique, nuanced sense of harmony, and elegantly restrained approach to modern post-bop jazz. Influenced heavily by Bill Evans, Pieranunzi emerged in the 1970s leading his own trio, and quickly established himself internationally as an in-demand sideman for such jazz giants as Chet Baker, Lee Konitz, Phil Woods, and others. Along with performing, he is a dedicated teacher, having worked for many years as a full professor at the Conservatorio di Musica in Frosinone. Recognized as one of the foremost Italian jazz artists, he has garnered a handful of awards, including taking home the 1997 Django d'Or as Best European Jazz Musician and winning the 2014 German Echo Jazz Award as Best International Keyboard Artist.
Born in Rome in 1949, Pieranunzi was introduced to classical music and jazz by his father, guitarist Alvaro Pieranunzi. (In addition, his brother is noted classical violinist Gabriele Pieranunzi.) Encouraged to study piano from a young age, he eventually graduated university with a music degree in 1973, and began working as a teacher. However, in 1975 he left his teaching position to focus on leading his jazz trio. He debuted that same year with the album Jazz a Confronto, and followed up with a handful of well-regarded efforts including 1976's New & Old Jazz Sounds with his father, 1976's The Day After the Silence, and 1978's A Long Way.
By the '80s, Pieranunzi had gained the attention of many touring American artists, including saxophonists Phil Woods and Lee Konitz, flügelhorn player Art Farmer, and bassist Charlie Haden. He also developed a close working relationship with trumpeter/vocalist Chet Baker, a partnership that resulted in several superb albums, including 1980's Soft Journey and 1987's Silence, which also showcased Haden. The pianist also released more of his own albums, including pairing with bassist Marc Johnson and drummer Joey Baron for several efforts such as 1984's New Lands. He went solo on 1985's What's What, and joined saxophonist Konitz on 1988's Solitudes. Pieranunzi capped the decade by appearing on Ennio Morricone's soundtrack to the acclaimed 1989 film Cinema Paradiso.
More work followed in the '90s, including dates with Baker, Haden, and Woods, as well as adventurous sessions with trumpeters Enrico Rava and Eric Vloeimans. As a leader, he recorded regularly for Enja, Timeless, and Soul Note, issuing such albums as 1995's Flux & Change, 1997's Seaward, and 1998's Ma l'Amore No. He also gained increasing praise for his work, including taking home the prestigious Django d'Or as the Best European Jazz Musician in 1997. Two years later, he paired with trumpeter Bert Joris for the quintet date Don't Forget the Poet. A duo session with pianist Bert van den Brink followed in 2000.
He furthered his own work over the next decade, releasing albums like 2001's Improvised Forms of Trio, 2002's Play Morricone, and 2003's Fellini Jazz. He also paired with acclaimed drummer Paul Motian for a handful of albums, including 2004's Doorways with saxophonist Chris Potter and 2005's Special Encounter with Haden. Pieranunzi also continued his ongoing association with bassist Johnson and drummer Baron, releasing a steady flow of studio and live sessions, including 2008's Yellow & Blue Suites and 2009's Dream Dance. There were also similar efforts with bassist Scott Colley and drummer Antonio Sanchez, such as 2013's Permutations and 2014's Stories.
In 2014, he took home Germany's Echo Jazz Award as Best International Keyboard Artist. He returned the following year alongside trumpeter Ralph Alessi, saxophonist Donny McCaslin, and bassist Matt Penman for the forward-thinking quartet album Proximity. He then joined fellow pianist Bruno Canino for the 2016 duo session Americas, and followed in 2017 with another duo date, Duke's Dream with saxophonist Rosario Giuliani. The concert album Wine & Waltzes: Live at Bastianich Winery appeared in 2018.

http://www.camjazz.com/8052405141200-play-morricone-1-2-cd.html
The year 2014 marked the 30th anniversary of the Pieranunzi-Johnson-Baron Trio. THE COMPLETE RECORDINGS combines volumes 1 and 2 of the celebrated Play Morricone albums, where the legendary Trio had explored some of the maestro's most enchanting film themes, largely untapped until then. To complete this double-CD remastered special edition, two bonus tracks are included (Musashi and Nuovo Cinema Paradiso) from the live sessions recorded in Tokyo in 2004.
"A year of celebrations for Enrico Pieranunzi! A work entirely dedicated to Ennio Morricone’s repertoire following closely behind a striking re-release of “FelliniJazz” in double LP format. This time, his chance arose with the thirtieth anniversary of this outstanding trio including Marc Johnson on double bass and Joey Baron on drums. The two albums, recorded in 2001 and 2002, respectively, are available again in a re-mastered double CD and contain both famous and less known tunes, marvellously re-arranged and played by the trio. As an exclusive treat, this re-release offers two additional pieces (“Musashi” and “Nuovo Cinema Paradiso”) recorded live during a performance in Tokyo in 2004 and included in the album Live in Japan. His trio was established by mere chance in 1984. As Pieranunzi puts it, the two U.S. musicians were engaged to play at Music Inn with Kenny Drew, who had to leave the tour for family reasons. Having being summoned by the jazz club, the Roman pianist found himself thrust on the stage together with Johnson and Baron, starting a lucky artistic partnership that has continued to date. Here and there, among renowned Morricone themes, a few tunes by Pieranunzi pop up in the CD, inspired by and connected with the Maestro’s works. “Throughout the 70’s and 80’s,” – the pianist says, – “I had a very close bond with Ennio Morricone’s music, since I used to play as studio man for dozens of films whose soundtracks bore his signature. One can easily understand how unique it has been to find myself arranging that music, so as to render it an improvisation tool for the trio”. Listening to this terrific double album again will be a moving experience, too; for those who already know it and those who will discover it today; for those who are supporters of the Pieranunzi-Johnson-Baron trio and those who have not come across it before; for those who love Morricone and those who would like to discover a hidden side of his. No better words to close than with those of Joey Baron: “I think these performances have a magical ring. Whatever the reason, magic is here”. Enjoy the music."
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Enrico Pieranunzi has long been one of the top European jazz pianists, blending classical education with richly textured jazz improvisation. A professional since his late teens, the Italian has recorded prolifically for four decades as a leader, primarily in trio settings. Pieranunzi has also worked and recorded with many visiting all-stars (a few include Phil Woods, Art Farmer, Lee Konitz and Chet Baker) and started performing on a regular basis with bassist Marc Johnson and drummer Joey Baron in 1984, after being invited to sub for Kenny Drew. Recently he has been playing with bassist Scott Colley (who has worked with Jim Hall, Andrew Hill, Gary Burton and Kenny Werner, along with dates as a leader) and the rising young drummer Antonio Sanchez (who has recorded with Burton, Werner, Pat Metheny and Colley, among others). Ennio Morricone was the son of a jazz trumpeter and played jazz early in his career, shifting to composing movie soundtracks by the early ‘60s. He has written music for hundreds of films, ranging from Clint Eastwood’s hit “spaghetti” westerns to The Untouchables and many others, though he primarily scores Italian films made for European audiences. Pieranunzi has played piano on a number of Morricone’s soundtracks, so it is only logical that he would take some of the composer’s favorite themes to interpret in a jazz setting. With Johnson and Baron, the pianist recorded two separate releases focusing mainly on Morricone’s movie music between 2001-2002, this two-CD reissue adding two previously unissued live performances from 2004. Whether or not one is familiar with the films or the music, the trio is playing at a high level throughout the sessions because it is an interactive group. The lush opener “Addio Fratello Crudele” is marked by singing basslines interwoven with moving piano, accompanied by subtle yet varied brushwork. “La Voglia Matta” is an upbeat postbop vehicle that could easily be mistaken for an American jazz composition. On Disc 2 Pieranunzi offers contrasting versions of “I Malamondo” back to back, both of which swing like mad. “Il Vizietto” is a complex samba that constantly shifts direction while “Ninfa Plebea” is a touching ballad with a childlike air, buoyed by a soft bossa nova rhythm. Pieranunzi’s “Waltz For a Future Movie” is a memorable ballad that itself could easily fit into a movie soundtrack. The compilation wraps with a stunning live interpretation of Morricone’s “Musashi” in which the pianist’s wavelike approach, Johnson’s prominent, potent bass and Baron’s offbeat percussion come together in a magical mix.
1/4/2015
The New York City Jazz Record
Ken Dryden
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In the early 2000s, the trio of pianist Enrico Pieranunzi, bassist Marc Johnson and drummer Joey Baron made some remarkable recordings of music by legendary film composer Ennio Morricone. They’re certainly not the first to cover portions of the maestro’s vast body of work. But these albums – like much of their work together – warrant special attention. So, in celebration of the 30th anniversary together, CAM JAZZ has reissued their two Play Morricone albums, along with two other superb Morricone covers (“Nuovo Cinema Paradiso” and “Musashi”) that were part of their Live in Japan album.
The trio mine the material for a number of romantic, laid-back ballads, but they also display a range of influences that adds new vitality. For example, they render “I Malamondo” as an easy-swinging barnburner. Here, Pieranunzi unleashes a solo that begins bluesy and gains momentum, spurred by exchanges between Johnson and Baron. Finally, after another take of the head, the pianist teeters on the edge of dissonance before reprising the melody’s upbeat swing – a sharp contrast to Morricone’s own faintly melancholy version. Similarly, on “Il Clan Dei Siciliani”, Pieranunzi only teases the original tune with repeated phrases that build in frenetic energy. When he finally plays the melody, in unison with Johnson, the tension breaks. But the piece remains taut and discordant, thanks in no small part to the way Baron frames it.
Morricone’s music is as superb as ever. More striking is the ease with which these three masterful musicians translate the cinematic source material into a distinctly personal jazz idiom. These aren’t Morricone’s best-known compositions, but the artists chose them with care and transformed them into a showcase for their tremendous skills.
31/10/2014
Jazziz
Warren Allen
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The Enrico Pieranunzi-Marc Johnson-Joey Baron piano trio’s jazz explorations of the film scores of Ennio Morricone were so well received when they were first released in 2003, it’s little wonder that CAM JAZZ has now seen fit to unify the set and reissue it in slightly augmented form (two tracks recorded in Tokyo in 2004 have been added). Morricone – whose output for the silver screen stretches well beyond ‘The Ecstasy of Gold’ for The Good, the Bad and the Ugly and is hardly less significant in cinematic terms than that of fellow Italian Nino Rota, who worked with Fellini – has written countless themes worthy of improve-led reinterpretation, and jazz performers are always hungry for new standards to embroider and recast. The result is a satisfying examination of the composer’s back catalogue, with the lyrically inclined Pieranunzi and his collaborators offering a keenly nuanced tour of the Italian master voluminous canon.
4/6/2014
Jazzwise
Robert Shore
*** ссылка стерта модератором (MG)
*** ссылка стерта модератором (MG)
В память о покинувшем наш бренный мир 6 июля композиторе Эннио Морриконе послушаем джазовые версии его сочинений в исполнении друга и соотечественника — пианиста Энрико Пьеранунци. С начала 1970-х до середины 80-х в качестве студийного музыканта Пьеранунци принимал непосредственное участие в записи по меньшей мере полусотни саундтреков под руководством Маэстро, включая "Однажды в Америке" Серджо Леоне, "Новый кинотеатр Парадизо" Джузеппе Торнаторе и "Двадцатый век" Бернардо Бертолуччи. Спустя полтора десятка лет, оставив такую сессионную работу и сконцентрировавшись на своей джазовой карьере, пианист получил от своего рекорд-лейбла предложение, от которого невозможно отказаться: студия приобрела права на музыку Морриконе из 60 фильмов и прислала ему на выбор для подготовки аранжировок партитуры вместе с компакт-дисками. Спагетти-вестернов в списке не было, и все равно Пьеранунци набрал материала на целых два альбома для своего рабочего трио с американской ритм-секцией: контрабасист Марк Джонсон (участник последнего трио пианиста Билла Эванса) и барабанщик Джои Бэрон (помимо прочего, верный соратник Джона Зорна по проекту Masada и не только).
По рассказам пианиста, Эннио Морриконе был не очень высокого мнения об импровизации (неудивительно, с его-то тягой к масштабу и структурированным оркестровым полотнам), хотя сам до получения композиторского образования учился играть джаз на трубе. В этом жанре он ценил разве что трубача Чета Бейкера, они даже записали совместно несколько треков, попавших в качестве бонусов на CD-переиздание альбома Chet Is Back! А вот альбомом-трибьютом Зорна The Big Gundown (при участии того же Бэрона) Маэстро был недоволен: Кто он вообще такой, этот Джон Зорн? Он использовал мое имя, но я не узнаю собственных мелодий.
Пьеранунци же подошел к материалу своего друга с бережным пиететом, и Морриконе был благосклоннее в своем отзыве, размещенном на обложке диска: в этой умелой и уважительной джазовой интерпретации композиции не разрушаются, а приобретают новое лицо и новую ценность. И действительно, в аранжировках чувствуется как узнаваемый индивидуальный почерк Энрико Пьеранунци, с заметным влиянием классики и легким туше, так и кинематографичность оригиналов: атмосферные баллады, неспешные вальсы, а местами и саспенс. Например, Le Mani Sporche ("Грязные руки" режиссера Элио Петри) — это протяжные отдельные ноты и аккорды, подозрительно озирающиеся паузы, тарелочки Бэрона будто неспокойные шаги в темном переулке с трудом сдерживаются, но потом все-таки срываются на бег, провоцируя погоню.
В треклисте на развороте приведены фильмы-источники и имена режиссеров, среди которых самый известный, пожалуй, все тот же Торнаторе с италоязычной картиной "У всех всё в порядке" (Мастроянни в роли престарелого отца расползшегося по стране семейства, в американском римейке 2009 года ту же роль сыграл Де Ниро). Иными словами, голливудских блокбастеров и широко известных шлягеров тут нет, мелодии эти практически нигде кроме самих кинолент и не исполнялись, но тем не менее звучат более чем достойно в отрыве от визуального ряда. По мнению обозревателя Allmusic, некоторые аранжировки Пьеранунци даже заслуживают внимания других джазменов, которым интересен свежий материал.

Enrico Pieranunzi - piano
Marc Johnson - bass
Joey Baron - drums