Daniele Cavallanti -tenor and baritone saxophone | Nels Cline – electric guitar | Ivano Borgazzi – fender rhodes, electric keyboards | Giovanni Maier – double bass, electric bass | Simone Massaron – baritone electric guitar, fretless electric guitar, electric guitar | Pacho – percussions | Tiziano Tononi – drums
Recorded april 30th/may1st 2006. Mixed july 15th/16th/31st 2006 at New Art Studio – Uboldo, Milano. Mastered at Bips Studio by Maurizio Giannotti, october 3rd 2006. Sound engineer Paolo Censi. Produced by Fabrizio Perissinotto. Photos by Alessandro Pecci. Graphic and booklet by Federico Cavina.
Tracklist: 1. Cline’s line (9:44) 2. Ahimsa – Intro: gongs, sound & stuff – Wayne out – Nels – The Long Song Blues (19:27) 3. Moods for Dewey (11:32) 4. Lonesome drive (10:12) 5. Fabrizio’s mood (10:52) 6. Go on Moses (7:34)
This record celebrates
the meeting of the best pre-fusion electric jazz with the vibe of the best instrumental rock. Daniel Cavallanti, a veteran sax player from the critically acclaimed groups Nexus and Italian Instabile Orchestra,” joins forces with his old friend Nels Cline and some great Italian jazzmen to crate daring music, classical and modern and fresh at the same time. You get long original compositions dominated by a strong and pulsating rhythmic feel, no-nonsense melodies and extended, soaring solos. “A large group of Italians and I recorded this, a set of “electric jazz”, in Milan for Long Song Records. It’s very early 70s style, and almost everyone involved with this fun record are old enough to really know how to play this stuff in the pre-FUSION way, which is to say, pre-“popping”, pre-“symphonic”, pre-CRAPPY… Daniele, who I met and played with about 13 years ago, has a sound that reminds me of the great (and, sadly, recently departed) Dewey Redman.” -Nels Cline
If you are among those who rise their eyebrows hearing the expression “jazz-rock” thinking about dull riffs and silly elevator music, this record can lead you to the right track. Daniele Cavallanti and his old friend Nels Cline, important and very active character in the independent rock scene, give birth to a sincere and rigorous work of art, without slipping towards easy solutions and commercial downhill. Electrical Jazz (“pre-fusion”, as Cline proudly claims), but also long and visionary free introductions that draw together in essential themes and energetic rock drum-base progressions. Noise progressive hallucinations, and even the vibrating gospel Go On Moses, in which the dry and perfect guitars of Cline and Massaron move at ease, magisterially supported by Tononi’s drums, whose concreteness does not impair the final taste and interplay. Without ever dropping, the leader’s creativity explores freely the territories of tonality canons as in Mood for Dewey, tribute for Redman, that Cavallanti recorded in 1994 with the great sax player, here in a swaying funk-electrical version. — jazzit
Featuring Daniele Cavallanti
on tenor & bari saxes, Nels Cline on electric guitar, Simone Massaron on electric guitars (3 tracks), Ivano Borgazzi on Fender Rhodes & electric keyboards, Giovanni Maier on basses, Pacho on percussion and Tiziano Tononi on drums. Danile Cavallanti’s tenor sax should be familiar to anyone who’s ever listened to Italian Instabile or Nexus orchestras. Besides guitar god, Nels Cline, the only other fellow here that recognize is their drummer, Tiziano Tononi, who has done three great tribute discs for Coltrane, Don Cherry and Ornette Coleman and whose bands have included Cavallanti and Maier from this project. Daniele composed or co-composed five of the six songs here, with one by bandmember Massaron. “Cline’s Line” opens with an intense, jazz/rock power trio featuring Nels, but soon gets into a great, somewhat funky groove with Giovnni’s acoustic bass buzzing quickly as Simone plays some fine wah-wah electric piano. A bit Weather Report-like, from their early days. “Ahimsa/The Long Song Blues” has a superb, freer electric Miles-like vibe, with a fine laid-back tenor solo from Daniele and great electric piano sizzling underneath. “Moods for Dewey” was written for the late Dewey Redman many years back, long before his recent passing. That sly melody is infectious and both guitarists swirl layers of lines underneath the sax solo and Nels taking an amazing jazz guitar solo. In many ways this disc is reminiscent of the better electric jazz or fusion records of the seventies without many of the cliches and the sax as the central soloist on much of this. Both guitars and electric piano do a great deal of weaving their note around one another and creating sumptuous moods. The player that often stands out here besides Nels is contabassist, Giovanni Maier, who consistently spins a web of dynamic acoustic bass creativity. Nels takes one those “Holy shit!” guitar solos on “Fabrizio’s Mood” as Tiziano’s powerful drums and Daniele’s smokin’ sax answer the call. We never know where our next gem will come from, but this week it is from somewhere in Italy. — BLG
As a sideman, Cline is no less adventurous.
His guitar snakes through the opening silence of Daniele Cavallanti’s Smoke Inside, before the leader’s smoky tenor gives chase. “Cline’s Line” is a fusion anthem, complete with spacey Rhodes, electric bass and pulsing rock beat. After the band enters, Cline cuts a jagged course, sparring briefly with Cavallanti before taking the lead all the way to the finish. Smoke Inside “is electric jazz: pre-fusion… pre-crappy,” says Cline of Cavallanti’s “Electric Unit”. The vibe is old school, but the playing is distinctly modern. Cavallanti positively burns on “Moods for Dewey”, driven by Cline and the relentless groove of drummer Pacho. The intensity rarely wanes through the album’s six tracks and Cavallanti’s “Electric Unit” shows the potential of jazz-rock in capable hands. — All About Jazz
CD version (incl. shipment cost world-wide)