Gianni Gebbia, Lukas Ligeti, Massimo Pupillo

2000 to 2002
Italy / Usa

The trio of Gianni Gebbia, Lukas Ligeti, and Massimo Pupillo has undertaken several tours in the United States, including a 2001 venture from which these recordings of The Williamsburg Sonatas originate, as well as a return jaunt in 2005.

The combination of three differing European sensibilities and stylistic approaches works extremely well, involving different degrees of so-called “jazz content” from gig to gig, depending on situational stimuli.
In the case of The Williamsburg Sonatas, an important inspiration was obviously the ambience of Brooklyn, New York. The music of this trio seems full of light and the ambience of travel and fresh discovery.

In this particular collection, the music is also extremely jazzy in a modernistic way

by Mr. Eugene Chadbourne

The Williamsburg Sonatas

wal055
January, 2005
CD
8 tracks
41 minutes

Lukas Ligeti’s background encompasses jazz, avant-rock, and contemporary composition, and he eases that experience into his playing. Massimo Pupillo is an electric bassist with the Italian noise rock band Zu who has collaborated with everyone from avant folkie Eugene Chadbourne to former Can singer Damo Suzuki, not to mention Chicago reedist Ken Vandermark. Luckily his baggage here includes the rhythm, but not the stultifying beat of pop music. Meanwhile, Sicilian alto saxophonist Gianni Gebbia is a free jazz player who adapts the musical sounds of the Mediterranean to his work with his own bands and alliances advanced with fellow improvisers in locales such as California’s San Francisco Bay area. Working in a style that draws from Ornette Coleman as well as seaside balladeers, the alto saxophonist invests these tunes with techniques that range from tongue stops and altissimo smears to pitch-vibrated growls and smeared flutter tonguing. Ligeti’s accompaniment encompasses ruffs, bounces, strokes and drags. He can sound a backbeat as well as any rocker; introduce unique timbres from drum tops, claves and wood blocks that relate to the beats advanced from so-called primordial players; or alter stick-on-stick pulses and rim shots to resemble the inventions of musique concrète. And ranging from R&B-style thumb pops, claw-hammer frailing, rhythmic strums and jazzy fills, Pupillo’s electric bass style provides whatever pulse is necessary for each tune. Somehow he’s capable of producing arco-like wave forms, but as a rule he mostly confides himself to timekeeping, allowing the other two foreground freedom. Making the most of this, the saxophonist undulates straight lines, squeals with glottal punctuation, pushes almost-inaudible air through his bell, and negotiates unvarying tongue stops. Climax comes with the almost ten-minute “Some Disordered Interior Geometrics.” With the bassist holding straight to the center with ringing tones, the piece unrolls in a welter of surging sax lines and cross-patterning from the percussion. Briefly straying into ethnic music, Pupillo sounds timbres that could come from a lotar or Berber lute, and Gebbia completes the incursion in similar non-Western fashion. Expelling snaky obbligatos and tongue slaps at the same time, he manages to express the exposition and its development simultaneously. With more use of the location than the sonata’s classic form, the three have managed to produce a memorable recording.
Ken Waxman, All About Jazz