This album by Italian jazz guitarist Lucio Ferrara features performances with American saxophonist Lee Konitz and other musicians. The album showcases Ferrara's dry, melodic soloing style and his ability to blend in and lead a ensemble. Highlights include the live recording of "Body and Soul" which captures the interplay between Ferrara and Konitz. Overall, the album demonstrates Ferrara's maturity and versatility as he balances original compositions with standards, offering variety in mood and instrumentation across 12 tracks.

1. TRANSLATION
Here is a news 'surely expected by most scholars' attention to the events, including record companies, the Italian
jazz.
Lucio Ferrara and 'a very special musician sensitivity', an acute knowledge of the more traditional 'strictly jazz of
his instrument. That guitar in his hands - often these are glorious Semi collectible Gibson, sounding deliciously
black and white - just the opposite of the instrument becomes more likely to 'overflowing and that' today.
A phrasing dry, smooth, solo, where each note has its own raison d'etre. And even before that, and always stay
relentlessly on time, and 'able to sing and sew. This' prerogative of the Apulian style of guitar. Style also refined
in the field, from an activity 'concert - and teacher - intense and broad, international scope and often alongside
the great masters of that style pure bop - a choice of sides lived with calm as absolute as natural - that and 'the
heart of the inspiration of Ferrara.
As evidence, moreover, Body and Soul, live jewel nestled in the middle of the album and captures the match
with a stellar lineup, Lee Konitz naturally head master narrative of American metaphysical solo; skillful
lightness of the floor Antonio Ciacca, but as intense as that of other leaders, capable of blending fact and
summarize the mood of both. Supported by the battery of Ulysses Owens, the solos are complemented by the
almost 'perfect Kengo Nakamura, who was also present only Konitz as in this passage.
Is therefore 'explained the reasons for the action enjoyed by Ferrara, who in turn justify the wait we were talking
about at first. Even more so if you think that what happened with the debut of Florian Splasch Records, some ten
years ago, the charming ("a mild and breezy jazz as a ferry boat" so 'David Ielmini in the liner notes) As now in
need of 'updates', so the music of life.
And that's alright with me It offers them in abundance: in terms of variety 'of the proposed musical situations,
the overall balance of its parts, humours sparkling, almost light and you can breathe easy. And that 'have been
the result of maturity' attained a consciousness that knows how to be therefore 'from time to time, smiling and
humorous, or sentimental and melancholy, or thoughtful, exploratory. When it comes to balance between the
parties, the reference and 'alternating between original and successful standards, the first seconds of no less
overflowing with blues: the initial Twelve Bars For MB, Lagos Blues, the choice to assemble convincing first
five songs with a guitar quartet, piano-bass-drums, the result of a session in New York, a striking diptych in a
trio with hammond (Luke Mannutza) and drums (Nicola Angelucci). All seasoned with that Body and Soul
described above.
musicians: tracks:
Lucio Ferrara, guitar Twelve Bars For M.B. (L. Ferrara)
Lee Konitz, alto sax Who Can I Turn To (L. Bricusse)
Antonio Ciacca, piano Perhaps (L. Ferrara / D. Bright)
Ulysses Owens, drum Beatrice (S. Rivers)
Kengo Nakamura, bass Lagos Blues (A. Ciacca)
Yasushi Nakamura, bass Body and Soul (J. Green)
Luke Mannutza, hammond Silver (L. Ferrara)
Nicola Angelucci, drum Oh, Lady Be Good (G. Gershwin)