Jay D'Amico/Jay D'Amico Trio
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"Tuscan Prelude: Jazz Under Glass by Jerry D'Souza"

Tuscan Prelude: Jazz Under Glass
The Jay D'Amico Trio | CAP (2008)


By Jerry D'Souza Discuss

Italy was the source of inspiration that gave semblance to composer, arranger and pianist Jay D'Amico's 2001 recording of Ponte Novello (CAP). He went back to Italy and, as with the earlier visit, found that he was stimulated enough to write more music.
D'Amico became interested in playing the piano after listening to the music of Frederick Chopin and drawn to jazz after seeing an Oscar Peterson performance on television. While his compositions are redolent of his classical bent D'Amico knows just how to invest jazz harmony and swing to give them extra scope. This not only makes the music more absorbing, but also shows off his strengths as an arranger and, more strategically, as a pianist. He knows just how to let a tune gain momentum and swing, grabbing hold of a strong emotional cord along the way.

"Movement 2" is a solo piece and the rest are trio outings. His core band has Ronnie Zito on drums and Marc Johnson on bass, however in opting for a different approach D'Amico uses his brother Greg D'Amico (bass) and Vinnie Favata (drums) on "Aria in D."

The companionship of classical music and jazz is warmed by the alluring melodies. Classical music is the take-off point and, once the mood has been established, the composition is reshaped and jazz fills the air as the band takes off. There are no complex avenues to investigate as they keep their vision compact and clear for a beautiful distillation of both streams of music.

D'Amico is a facile pianist. His sensitivity for classical music and his heart for jazz are traits which are in evidence throughout the disc. "Tuscan Prelude" has him playing with a ripe sweetness that gets swinging when Zito and Johnson come in. The transformation is smooth, with D'Amico improvising on the melody and emphasizing the chords. The trio shows that it can turn a tune on a note and make it resonate.

"Aria in D" is a pirouetting ballad, D'Amico's playing lithe and graceful with an undercurrent of swing. While the jazz motifs are not as pronounced as some of the other tracks, it is still a pleasing tune and a fine closer to an album that should delight many.

The Jay D'Amico Trio at All About Jazz.
Visit The Jay D'Amico Trio on the web.


Track listing: Tuscan Prelude; Theme in B-Flat Minor; G-Minor Ballade; Riga; Improvviso; Nocturne; Sonata, Movement 1; Movement 2; Movement 3; Prelude in A-Minor; Aria in D.


Personnel: Jay D'Amico: piano; Marc Johnson: bass (1-10); Ronnie Zito: drums (1-10); Greg D'Amico: bass (11); Vinnie Favata: drums (11).


- All About Jazz


"Album: Tuscan Prelude / Jay D'Amico Trio with Marc Johnson & Ronnie Zito by Natalie Pinkis"

Album: Tuscan Prelude / Jay D'Amico Trio with Marc Johnson & Ronnie Zito / 11 tracks

Reviewed by Natalie Pinkis


After making a splash on the jazz scene with the 2001 release of his album Ponte Novello, composer and pianist Jay D’Amico is back with an ode to Italy, Tuscan Prelude. This collection of eleven original compositions, written while on an Italian holiday, exhibits a seamless blend of classical influence and jazz.



“I’ve studied both classical and jazz music, and I love them both,” D’Amico explains, “At this point in my career, it feels right to combine them in one recording, because I feel I’ve got a strong enough grounding in both to allow my own style to emerge.”



It is a challenging fusion, but Tuscan Prelude brought together a trio of musicians up to the task. D’Amico stars as pianist, arranger, and composer on all eleven tracks while bassist Marc Johnson and drummer Ronnie Zito join him on nine others. Both artists provide a tasteful and insightful accompaniment to D’Amico’s musical styling, while at the same time contributing their own, unique flavor. The last track, “Aria in D”, features contributions from Jay’s brother Greg D’Amico on the bass, and Vinnie Favata on drums.



You begin your initiation into this new genre with the first number and title song, “Tuscan Prelude.” The premiere track is a perfect ode to Tuscany, opened and finished in classical tones, while encasing a stirring jazz medley which appears in the middle. Johnson and Zito artistically compliment D’Amico’s playful piano tracks all the while enhancing whichever style is more dominant.



This skillful tug-of-war between classical music and jazz is prevalent throughout the entire album. “Theme in Bb minor” and “G minor Ballade” show similar themes – starting with a classical motif, and then spicing it up with jazz rhythms and cadences. In “Fuga”, we hear numerous instrumental voices on the album. D’Amico says, “My music is somewhat comparable to opera, in that it’s singable, even though my compositions are obviously all instrumental.” The flawless bowing combines with intricate piano melodies that play off one another nicely in this, the fourth track.



D’Amico steps it up a notch in “Improvviso”, a stunning number that showcases his impressive classical training, and the composition is seasoned with galloping drumbeats, in a seamless transition from one genre to the next.



By far my favorite piece is the sixth track, “Nocturne.” I have been a student of many of Chopin’s excruciatingly difficult nocturnes, and it is therefore easy for me to appreciate the skill and talent it takes to pull off this number. Most of the song is played as almost a waltz, taking the listener on a ride while you hear variation after variation, of the original theme – each with its own design and colorful attributes.



Tracks seven, eight, and nine are different movements in the same sonata; a perfect example of D’Amico’s talent for applying classical techniques and rules in jazz music. “Mvt. 2,” is the only song on the album which features only the piano and purely classical techniques. It is balanced nicely on both sides, with jazzed up versions of the original motif.

The album closes nicely with “Aria in D,” the only track to feature music by Greg D’Amico and Vinnie Favata. The aria perfectly summarizes the theme of Tuscan Prelude – a beautiful mix of both worlds, in an ode to Italy, classical piano and jazz.

D’Amico began studying all forms of music at a young age. Inspired by everyone from Chopin to Oscar Peterson, D’Amico, “..wanted to be able to do the same thing, to play it all!” In the beautifully melded genres of Tuscan Prelude, he certainly succeeded!!
- Riveting Riffs


"Tuscan Prelude: Jazz Under Glass by Jack Bowers"

Tuscan Prelude: Jazz Under Glass
The Jay D'Amico Trio | CAP (2007)


By Jack Bowers Discuss

Some years ago I reviewed Ponte Novello (CAP, 2001) by pianist Jay D'Amico's trio (augmented on four tracks by a string section), and was impressed by the way in which he transposed operatic arias by Puccini, Bellini and Verdi, among others, to the jazz idiom, leaving their inherent beauty intact while proving that those masters have much to say to a contemporary audience if their music is prudently amended under the proper circumstances.
Tuscan Prelude is a collection of original compositions that once again draws on his background and heritage to present modern jazz with savory classical/Italian seasoning. If one were asked to describe his recipe in a word, the word "tasteful" might leap to mind, or perhaps "elegant." D'Amico's themes are invariably handsome, and the trio approaches them with respect and decorum, rather like the Modern Jazz Quartet without Milt Jackson's vibraphone.

So is this chamber jazz? For the most part, yes, depending upon one's definition of the genre. The performance certainly validates its subtitle, Jazz Under Glass. On the other hand, there are passages on almost every number that swing freely, usually following the thematic development, as D'Amico never turns his back (or keyboard) completely to jazz's inherent bedrock. Even so, D'Amico won't ever be mistaken for McCoy Tyner, Oscar Peterson or even John Lewis (although he comes closest there). His colleagues, bassist Marc Johnson and drummer Ronnie Zito, are wholly supportive, allowing D'Amico to bask in the limelight while they render decent and unobtrusive impressions of Percy Heath and Connie Kay. Johnson is adept with a bow, Zito likewise with brushes, and they use them quite often.

Even though Tuscan Prelude's 39:49 playing time is less than half a CD's maximum length, what's there is lovely music, performed with unerring style and grace by three remarkably talented musicians. If you're a fan of the MJQ, it is all but guaranteed to please.

The Jay D'Amico Trio at All About Jazz.
Visit The Jay D'Amico Trio on the web.


Track listing: Tuscan Prelude; Theme in B-Flat Minor; G-Minor Ballade; Riga; Improvviso; Nocturne; Sonata, Movement 1; Movement 2; Movement 3; Prelude in A-Minor; Aria in D.


Personnel: Jay D'Amico: piano; Marc Johnson: bass (1-10); Ronnie Zito: drums (1-10); Greg D'Amico: bass (11); Vinnie Favata: drums (11).


Style: Classical
Published: August 30, 2008


Read more reviews of Tuscan Prelude: Jazz Under Glass.




- All About Jazz


Discography

"Tuscan Prelude" (streaming and radio airplay)
"Ponte Novello" ((streaming, some radio airplay)
"From the Top" (streaming, some airplay
"Envisage" (re-released on cd as a classic)
"The Judge's Decision" (Milt Hinton)
Guest appearances on various recordings

Photos

Feeling a bit camera shy

Bio

Composer, arranger and pianist Jay D’Amico, who had again made a strong impact on the jazz scene with his release of Ponte Novello in 2001, has returned to the inspirations of Italy on his new release, Tuscan Prelude. The recording is a further exploration of D’Amico’s unique fusion of jazz and classical influences and features eleven original compositions that D’Amico penned during one of his frequent visits to Italy.

“Tuscany holds a special place in my heart because of the Renaissance and the timeless art and music that that era has given us,” says D’Amico. “I’ve studied both classical and jazz music, and I love them both,” he continues, as he explains his approach. “At this point in my career, it feels right to combine them in one recording because I feel I’ve got a strong enough grounding in both to allow my own style to emerge.”
Joining D'Amico on Tuscan Prelude are bassist Marc Johnson and drummer Ronnie Zito. D'Amico says that the music on Tuscan Prelude called for a bassist who could execute difficult passages with a bow, and "Marc was just amazing with that." Zito, who D'Amico first met when he was pianist in residence at New York's Windows on the World, also collaborated with D'Amico on Ponte Novello. “Ronnie is a drummer of great interpretive depth, insight and versatility,” adds D’Amico.

Bassist Greg D'Amico (the pianist's brother) and drummer Vinnie Favata appear on the CD’s final track, “Aria in D.” “Greg just swings, and Vinnie – who comes out of the Rat Pack era and who played with Sammy Davis, Jr. – has an incredibly sensitive feel on the drums,” enthuses D’Amico. “I couldn’t have made a recording without including them somehow.”

Given the seamless performance that the trio offers on Tuscan Prelude, it’s remarkable to learn that they barely rehearsed before joining forces in the studio. “I like having that edge, that freshness,” says D’Amico. “What you’re hearing is basically a live recording.”

D’Amico’s sound has evolved over the years, honed in performances with his own trio and a variety of other musicians, most notably bassist and lifelong friend Milt “the Judge” Hinton, whom the pianist credits as one of the primary influences on his career. “Several years back, I played a few of the tracks on my earlier release, Ponte Novello, for Milt – he’d only performed on one track on the CD – and he just smiled at me and said, ‘Man, you found your niche.”

That niche can be described as the melodious intersection of two very distinct musical roads, which D’Amico says are actually not that diverse to his thinking. “My music is somewhat comparable to opera, in that it’s sing-able, even though my compositions are obviously all instrumental. Jazz starts from that same European harmonic tradition and incorporates African rhythms. I’m just finding my own way around that,” he explains.

Born into a family where music was omnipresent, the young D’Amico began to play piano when he was eight years old. Coming of age in the 1960’s, D’Amico says his earliest exposure was to American popular music, from the Cole Porter tunes his mother would sing around the house, to his first experience as a performer in a rock group. Under the auspices of Art Podell of the New Christie Minstrels, D’Amico, his brother and three cousins, recorded a single which enjoyed near hit status before the vagaries of the music industry derailed them.

The drive to become a pianist took a firm hold when young D’Amico heard the music of Polish-born composer and pianist, Frederic Chopin. “Actually I saw the actor Cornell Wilde portray him in a movie,” he remembers. Later in college, his piano teacher told D’Amico that the melodies of the Italian opera were the greatest influence on Chopin’s music. “I remember being surprised at that, but then I saw that the lyricism of opera, combined with the Polish mazurka and polonaise, came to create his style. I thought, ‘I want to be able to do the same thing, to play it all!’” An early Oscar Peterson performance on television, during which his mother told him “This is jazz and they’re making it up as they go along,” also resonated strongly with the burgeoning young performer and composer.

D’Amico first met Milt Hinton in 1974 in a jazz workshop, and the two immediately took to each other so strongly that within a short time D’Amico started teaching the workshop with Hinton. Their collaboration as educators would last for some 18 years, until 1992. Hinton joined his protégé on D’Amico’s recording debut in 1982, Envisage, which also featured drummer Bob Rosengarden (it was re-released on CD in 2003 as a classic.)

From 1984 through September 10, 2001, D’Amico performed as the Pianist in Residence at New York’s Windows on the World. In 1990, he released the solo recording, From the Top. Recording with a trio comprised of bassist Ben Brown and drummer Ronnie Zito, he released Ponte Novello in 2001. The CD featured D’Amico’s original compositions along side the pianist’s