Published by Crepuscule SIAE/SADAIC
Recorded on February 22-23 2004 at Studio 900 in NYC by Hiro Sanada
Mastered by Ryoji Hata. Produced by Fabio Morgera for Red Records.
Executive Producer: Sergio Veschi
Cover by Marco Pennisi
C – P MADE IN ITALY 2005
New York Connection
2. Y Todavia La Quiero (J. Henderson) 5:25
One for Evans 7:41
4. No More No Less 3:36
5. Plain Jane (S. Rollins) 5:40
6. Suns 6:21
7. NY Connection 7:47
8. Some Changes 5:20
9. Black Narcissus (Henderson) 5:27
10. Another Look 5:31
All compositions by Pablo Bobrowicky except where indicated
Ed Simon piano
Eric Revis bass
Bruce Cox drums
Itai Kriss flute
Jason Jackson tbn,
Pablo's delicate and subdued approach to music goes straight to the heart,
no wonder producer Sergio Veschi asked me to arrange a prime quality New York
recording session for him, 'cause he believes in those artists who impress for
their truthfulness and ability to remain in history as true communicators and
not just for their technical skills... I took the liberty to showcase a few more
young talents like flautist Itai Kriss and trombonist Jason Jackson, while the
rhythm section is made of some of the best "cats' on the scene today, providing
a top quality support to Pablo's sensitivity while adding that New York energy
to the argentinian guitarist's melodic inventions. A true meeting of cultures
although well steeped in the jazz idiom, I hope this album will be a pleasure
for u to listen to as well as it was a pleasure for me to make it happen.
Viva Pablo, enjoy!
NY Connection is Pablo Bobrowicky's fourth album for Red Records: a poker made of… different cards. The first one to be delivered (South of the World, recorded between 1994 and 1996) is a work belonging to a genre which hasn't got a name yet: when it was released it sounded different from anything recorded before and today, after ten years, it still does. Guitar and percussions, jazz in the background, two Monk's renditions that give the idea of the Argentine guitarist's powerful imagination:
South of the World is made of poetic substance, rhythms and sounds which bring the listener in front of a South America as fabulous as we have never heard it before.
The second card of the lucky hand is Baires Blues, a
Norberto Minichillo's recording to which Bobrowicky's guitar gives a fundamental contribution. It contains some other
'experimental' music if we consider it from the straight ahead jazz inclination of the Red catalogue: a music which depicts the musicians' land of origin, Argentina, vividly, poetically and with the utmost refinement, spanning from the most surrounding spleen to the most intense colouring, from the sense of the open spaces to the most intricate geometries.
Where We Are, recorded in 1999, is Bobrowicky's third of a (different) kind on Red Records: it's an Argentine production but it sounds very much made in the USA for how it penetrates the black-American soul of jazz: in the choice of standards (Parker, Monk, Ellington, Coltrane, Gillespie), in the sense of swinging rhythm, in the revelation of Bobrowicky as a great continuer of the Wes Montgomery-Grant Green's guitar school. But the music of
Where We Are hasn't lost its South American roots, which are evident in the tonal palette and in some rhythm choices, which are actually unthinkable from a North American musician's point of view.
Bobrowicky's first three albums are like different cards that stick together in a winning way. They offer the image of a musician of great sensibility, capable of penetrating in the deepest sense of musical things: few notes, an unmistakable phrasing which prefers single notes, a sense for instrumental colour that is fundamental in Bobrowicky's ability to speak to the listener's heart.
And now here is NY Connection. It's the first Bobrowicky's album entirely
'shot on location' in the USA: recorded in New York with local first class musicians headed by Fabio Morgera, whose arrangements offer a view from above the city's skyline on the most contemporary jazz scene. In
NY Connection Bobrowicky is dealing with some main forms of jazz, while the rhythms are walking, swinging and turning Latin.
Things don't happen by chance and not even in a fragmentary way. Bobrowicky's way from Buenos Aires to New York is not a jump but a travel in laps, from a music linked to its land of origin but which can express itself through the modes of jazz, to the Big Apple's jazz which keeps in itself the Argentine roots of the guitarist. Probably, it is Bobrowicky's fortune to have found musicians that like him translate into jazz their various geographical and cultural origins:
Morgera is a New Yorker, musically speaking, but for his ID he was born in Ischia (Italy);
Ed Simon is a Venezuelan New Yorker, while Itai Kriss comes from Israel.
The straightforwardness in the way Bobrowicky hands his music confirms his ability as a jazz narrator. And that will delight his new listeners as well as the many ones who have already enjoyed his previous musical offerings.