Reviews that mention Roberto Ottaviano

April 8, 2021

Roberto Ottaviano Extended Love & Eternal Love

Resonance & Rhapsodies
Dodicilune Dischi ED 376

Celebrating by design a single and by inference a few others, of his influences, Bari-based soprano saxophonist Roberto Ottaviano augments his compositional ideas on this two-CD set with two allied ensembles. The saxophonist, who has associated with the likes of Andrea Centazzo and Gianluigi Trovesi expressed his visions with two ensembles. The cadences and sonic colors Ottaviano needed for these expressions of love are augmented by an octet on Resonance - Extended Love, while the intermingling of tones from the members of a quintet setting enliven Rhapsodies - Eternal Love. MORE

March 23, 2019

Roberto Ottaviano

Eternal Love
Dodicilune Dischi Ed 411

A fine instance of how to construct a Jazz Repertory session without resorting to deification or imitation is this slick, foot-tapping, nine-track session by veteran Italian soprano saxophonist Roberto Ottaviano. The saxophonist, who has wo4ekd with multiple Jazzers, including Mal Waldron and Aldo Romano, leads a quintet in homage not only to his main influence, John Coltrane – on “Your Lady” – but also with particular takes on other Jazz heroes. Curiously, like a select group of Northern-Italian players, including Daniele Cavallanti, Carlo Actis and Tiziano Tononi, Ottaviano also has an affinity for African-oriented sounds, and most of tracks, beginning with “Uhuru”, the first, represent this sound imagery through compositions by Charlie Haden Abdullah Ibrahim, Dewey Redman, Elton Dean and Don Cherry MORE

December 6, 2017

Roberto Ottaviano Quarktet

Dodicilune Dischi Ed 354

Eric Revis

Sing Me Some Cry

Clean Feed CF 428 CD

Marcelo dos Reis/Eve Risser


JACC Records 034

Tim Daisy’s Celebration Sextet

The Halfway There Suite

Relay Recordings 016

Amok Amor

We Know Not What We Do

Intakt CD 279

Something In The Air: Seven Musical Voices for the Future

By Ken Waxman

The year just ending marked one important milestone in musical history. The first so-called jazz record was issued in 1917 by the Original Dixieland Jass Band (ODJB). Obviously that musical designation, which in its century of existence has gone through as many permutations and retrenchments as so-called classical music has in many centuries, is far different then the ODJB’s primitive efforts. But jazz/improvised music continues to evolve, buttressed by new voices. Here is a group of youngish improvisers who will likely still be contributing to the shape of jazz during its 125tn anniversary – and probably for years afterwards. MORE

August 30, 2004


Itineraire Imaginaire
Sketch SKE 333042

L’Anima Di Un Uomo
Splasc (H) CDH 858.2

Program music that could be the soundtracks for journeys, real and fanciful, characterize the music on these CDs composed by vastly different European pianists.

Leading a sextet, Paris-based Stéphan Oliva’s ITINERAIRE IMAGINAIRE vaults between the sounds of his two greatest influences, Bill Evans and Lennie Tristano. With 13 tracks that offer up his version of escapist romanticism, this imaginary itinerary takes in the filmic territory inhabited by movies like Claude LeLouche’s “A Man and a Woman” and Jacques Demy’s “The Umbrellas of Cherbourg”. Imagine a post-modern Gallic twist on Cool Jazz. MORE

July 19, 2004


Pow Wow
Splasc(H) CDH 853.2

Not fully committed to the mainstream but certainly no avant gardist, Italian soprano saxophonist Roberto Ottaviano finds himself in a prototypical situation for a 40-something reedist.

Luckily the native of Bari can turn his interest in various musical streams to his advantage. On a fine CD like this one, made up mostly of his own compositions, he can be like a diner at a fine buffet, putting different condiments on his plate for a more balanced meal. Thus, the repast includes a homage to the American ballad, folkloric suggestions through percussion sounds and his lyrical reed solos, pre-modern trombone work, straightahead jazz from a walking bassist and on-the-beat drummer, and modernistic decorations from the synthesizer and electric piano. MORE

September 29, 2003


Seize the time!
Splasc(h) CDH 841/842

During the years since its founding in December of 1980, the Milanese band Nexus has always stood at a little distance from many of the other Italian aggregations.

Although its leaders, saxophonist Daniele Cavallanti and percussionist Tiziano Tononi, were so a much part of the flowering of original local improv scene that both have been part of the Italian Instabile Orchestra from its beginnings, they never had the overriding commitment to Mediterranean folklore that galvanized many other musicians. At the same time they didn’t fit in with the old bebopers or Young Lions who took their cues from American jazz. MORE

August 4, 2003


Cryptogramophone CG 118

Il Peso Delle Nuvole
Splasc (h) CDH 852.2

Building an improv band around a cello is no longer the novelty it would have been 10 years ago.

To give some examples: American expatriate Tristan Honsinger is all over European CDs whether they’re by big bands or small combos; Fred Lonberg-Holm seems to turn up on every second session recorded in Chicago; and Vancouver-based Peggy Lee has been a member of different-sized bands throughout North America and Europe. MORE

April 21, 2003


Felmay/NewTone Records RDC 5047 2

DURIAN 019-2

Known in his native Italy and most of Europe as a composer who has written symphonies and lyric operas as well as scores for feature films, theatre productions, and multi-media efforts, Andrea Centazzo also has a history playing with international improvisers.

For about 15 years from the mid-1970s, as a percussionist, Centazzo recorded in different settings with such experimenters as saxophonists Steve Lacy and Evan Parker, guitarists Eugene Chadbourne and Derek Bailey and cellist Tom Cora. A series of discs was released on his own Ictus imprint, including most of the tracks found here with this large band. Organized as sort of a last hurrah by the composer to bring together acknowledged master improvisers and emerging talents, The Mitteleuropa Orchestra lasted from 1980 to 1990, after which writing became Centazzo’s primary focus. MORE