|La Nuages en France
Le Commissaire sur les nuages (8:15)
Le Second (5:46)
La Femme Policier (5:23)
La bien aimée du nuage d’à côté (4:58)
La Policier désarmé (6:02)
Oncle et neveu (6:53)
Le chat du Comissaire (8:33)
La morsue d'araignée (1:16)
Marco Cappelli, guitar
Guitarist Marc Ribot had this to say:
The Marco Cappelli Acoustic Trio, formed by three of most active improvisers in the New York avantgarde music scene, was born around the music that Marco Cappelli wrote — inspired by the characters of Fred Vargas’ mysteries — in a suite titled LES NUAGES EN FRANCE. Those familiar with the French writer Fred Vargas will find it easy to recognize the personalities of Adamsberg, Danglard, Retancourt, etc. in these tunes.
After completing many years of demanding music studies (Conservatorio di S. Cecilia in Rome and the Konzert-Klasse at the Musik Akademie in Basel with Oscar Ghiglia), Marco Cappelli has lead an extraordinary artistic path, becoming familiar both with rigorous written music as well with free improvisation languages. The diversity of Marco’s performances is due to a fascinating array of collaborations — Anthony Coleman, Butch Morris, Mauro Pagani (of the Italian progressive rock band PFM), Enrico Rava, Marc Ribot, Elliott Sharp, Markus Stockhausen, and more — and regularly as guest in important international classical and contemporary music series.
Les Nuages en France
Guitarist Marco Cappelli's relationship with Mode Records is multifaceted to say the least. Following two discs from longstanding Italian new music collective Ensemble Dissonanzen and Cappelli's own Extreme Guitar project, the debut release of Cappelli's own compositions for jazz trio brings a whole new element to the fruitful collaboration. Les Nuages En France also bears the fruit of the many years the trio has worked together: joined by bassist Ken Filiano and drummer Satoshi Takeishi, the guitarist has created a rich assemblage of works that breathe deeply, struggle with determination and revel in beauty, often all at once. Off-kilter grooves mesh with skittery clouds of clicking noises on "La Femme Policier" and "La Bien Aimée Du Nuage D'à Côté", Filiano's robust pizzicato darting in between Takeishi's nuanced brushwork. "Oncle Et Neveu" features a vast array of acoustic textures, the sympathetic strings of Cappelli's bizarre mutant guitar and the various bowed and plucked sounds of Filiano's bass floating in and out of each other atop a driving pulse from Takeishi. Live at Drom last month, Cappelli's trio produced a similarly varied sound, though incorporating effects pedals to create an even more diverse texture. Cappelli's mastery of the classical guitar and ability to express melodic beauty and fragmented abstraction in the same moment was unparalleled. The masterful integration of form, texture and groove formed the core of what made the trio so compelling. A melodic gesture would take a left turn into a driving repetitive rhythm just at the last second, setting up a whole new direction, as the ensemble dynamic shifted radically, but with a complete sense of organic trajectory.
I've caught acoustic guitar virtuoso Marco Cappelli on many occasions, playing solo or in assorted group improvs as well as with members of Area, and he consistently amazes me. This music was inspired by characters in thriller novels by Fred Vargas which are described in poems by Barbara Raggi and included in the liner booklet. The poems are written in French and in English so we know what is being described. Marco writes that this music recorded during a scorching New York summer so it appropriate that today is just June 1st (2011) and already it is 97 degrees. At this point Marco has been playing with these New York musicians for a number of years and you can hear the close bond in their playing. The trio is completely sympathetic to each others playing and the balance of their abilities is perfect. Mr. Filiano plays some exquisite, haunting bowed bass on the first track while Takeishi plays his distinctive hand percussion & cymbals delicately. Much of this music reminds of a soundtrack for a mysterious noir film. Each poem is like a scene from one of these films and the music evokes the images of the poems particularly well. I can almost hear the brooding, detective-like voice of John Lurie reading the words. Marco's consistently enchanting guitar often sounds like a character slinking his way through the various scenes. A marvelous disc in more ways than one.
Italian acoustic guitarist Marco Cappelli joins sensitive percussive colorist Satoshi Takeishi and bassist Ken Filiano on this collection of riveting originals like “La Femme Policier” and the sparse “La Bien Aimée du Nuage D’à Côté.” Filiano, who possesses one of the most resounding, woodiest upright tones this side of Miroslav Vitous, is also a master with the bow, as he demonstrates on the opener, “Le Commissaire sur les Nuages,” and on the bombastic, freewheeling “Oncle et Neveu.” There's a touch of Egberto Gismonti in Cappelli’s percussive playing on “Le Second,” and in his flowing improvisations on the grooving “Le Policier Désaremé." And he tosses in a coy reference to the French national anthem, “La Marseillaise,” at the end of the frantic closer, “La Morsure D’araignée.”- Bill Milkowski, JazzTimes, 3 September 2011
Marco Cappelli Acoustic Trio
Les Nuages en France
Di grande interesse e riuscita è anche il trio del chitarrista e compositore di Marco Cappelli, che suona con un bassista e un percussionista dall’area più radicale della scena newyorkese. Strumentista e compositore di estrazione classica, muove i suoi precisis e stimolanti spunti tematici all’interno di un finissimo e originale percorso improvvisativo, che ricorda in parte le atmosfere di Ralph Towner, proietta però in una dimensione più vicina al mondo classico contemporaneo.
Luigi DALLAPICCOLA and Goffredo PETRASSI: Musica da camera - Ensemble Dissonanzen (mode 166)
Hans Werner HENZE: Musica da Camera (mode 202)
Marco CAPPELLI: EGP: Extreme Guitar Project (mode 157)
© Mode Records