DESCRIPTION:
album:
"Azimuth" di Alberto N. A. Turra / Turbogolfer Duo(s) (Felmay/Egea 2015)
film:
"Let me stand next to your fire" di Valeria Allievi

The third record from the italian jazz guitarist Alberto Turra ( Roy Paci-Corleone, Mamud Band, Giovanni Venosta, Kabikoff, Piepaolo Capovilla) Turbogolfer, is a further step towards a crossover of improvised music, jazz, post-rock, avantgarde, free form.
As it happened in his two previous records , "Secret of a perfect golf swing" and "Lamentazioni per la Piave", the firm intention is to create a concept, which in the case of "Azimuth", revolves around the investigation of the "duo" guitar / drums and rituals linked to the cardinal points, a central theme in all cultures close to the paths of initiation and spirituality (Druidic, yogic, shamanic, etc).
The sound of the album is characterized by very different inspirations: from the most intimate folk atmosphere in the style of Bill Frisell to the violent sounds of Ruins or Mogwai; from the brighter Ben Allison to the more funk and polymetric Steve Coleman upto Coltrane's of A Love Supreme. And also a Berber lullaby close to the ethno-prog writing songs. All this has been written and arranged according to the rules of "playing in duo" perfectly described in projects such as Melhiana (Brad Meldau, Mark Guiliana), the duo Blade / Muthspiel, or Cheval de Frise, just to mention a few.
The drummers involved are six;
Six original songs titled with the name of each drummer (and to whom each of them is dedicated) plus six songs revisited: Resolution by J. Coltrane , Fire by Jimi hendrix, Platypus by Ben Allison, the more famous Ederlezi until Wights Waits for Weights from Steve Coleman;
Each drummer is identified with a cardinal point in the strength of the need to orientate / centering in the sense mentioned above but also, more prosaically, from the point of view of the imagination of the listener.

East: "Alberto Pederneschi" (A. Turra) + “Ederlezi” (balkan trad.)

South: "Marco Cavani" (A. Turra) + “Platypus” (Ben Allison)

West: "Toni Boselli" (A. Turra) + “Resolution” (Coltrane)

North: "Sergio Quagliarella"(A. Turra) + “Atas atas amimmi” (Berber lullaby)

Zenith: "Tato Vastola" (A. Turra) + “Fire” (Hendrix)

Nadir: "Andrea Rainoldi" (A. Turra) + "Wights Waits For Weights" (Steve Coleman)


Some details from Alberto Turra:

WEST: TONI BOSELLI
"Playing with Toni is like coming to blows with the orthodoxy.
He always puts me in a position of neither coming to a compromise,
nor indulging in what concerns Intuition and Aesthetics, whether it would be jazz, funk, afrobeat, rock or free form.
The Orthodox reluctant, for me a teacher. "




NORTH: SERGIO QUAGLIARELLA
"From the North came the Barbarians, the fathers of this Norman / African
bearer of an impetuous drumming aesthetic in a costant balance between John Bonham, Terry Bozzio and the most refined Manu Katche.
The drummer you always wish on stage;
the brother you always wanted by your side. "


SOUTH: MARCO CAVANI
"Crystalline.
Marco is the person who makes me laugh the most in the world.
The drumming of Mark is infallible and conceited,
which apparently should not be in line with his affability , but it gives instead a taste of pure joy and light-heartedness common to certain mystics or shaolin monks. You reach the highest peaks smiling. "


ZENITH: TATO VASTOLA
"Behind his drum-set Tato has the look of astonishment typical of
of children playing as serial killers, like to say
'there is nothing in the world that satisfies me more'.
Among all those I know, he is closest to the concept of "elemental".
A prodigy of power.
An avalanche. "



EAST: ALBERTO PEDERNESCHI
"A musician with a very high degree of attention and listening.
His readiness of orchestrating tones and dynamics
in relation to what is happening around him excites me a lot.
If he is returned to the attention and care he puts in listening
you can reach impressive levels of interplay and sound pressure.
A perfect mirror. A brave person. "


NADIR: ANDREA RAINOLDI
"Andrea is the drummer with whom I started the experience Turbogolfer, nearly 15 years ago. I thank him for sharing with me the first impatience for the time and manner of some improvised music played in Italy and Milano. It is no coincidence that he is both the producer and engineer of this record. Musically, I always had the impression that it was the meeting point between Peter Erskine and Marvin 'Smitty' Smith. "