1. Eravamo un manipolo di eroi (Bollani) - 7:17
2. Elena e il suo violino (Bollani) - 10:14
3. Morph the Cat (Fagen) - 6:33
4. La puerta (Demetrio) - 5:36
5. Logorio della vita moderna (Bollani) - 8:42
6. All the Things You Are (Hammerstein-Kern) - 9:53
7. Moonlight Serenade (Miller-Parish) - 8:17
8. Puttin' on the Ritz (Berlin) - 5:26
9. Copacabana (Bollani) - 2:12

Stefano Bollani - piano
Ares Tavolazzi – bass
Walter Paoli – drums

Recorded live at Teatro Lauro Rossi, Macerata on April 24, 2006.

Recorded at the Teatro Lauro Rossi in Macerata and mixed at La Casa del Jazz in Rome, this disc by pianist Stefano Bollani is the ninth of a series of live recordings dedicated to the best of Italian jazz from the Italian magazine L'Espresso. Bollani, a musician, writer and semi-stand up comedian, is at his peak. Only last year, he was named Musician of the Year by Musica Magazine and his ECM CD Piano Solo was awarded Record of the Year.

The full Bollani experience, though, comes when he's on stage, mostly because of his Puck-like spirit whenever there is a piano and an audience. The CD features Bollani in trio with Ares Tavolazzi (bass) and Walter Paoli (drums). The opening piece is the bossa nova-like Bollani original "Eravamo un manipolo di eroi. Here the musicians brilliantly create an embroidery of notes, with the light colors being darkened by the instruments exchanging roles continuously. Also included are other original tunes: "Elena e il suo violino, a ballad he often plays solo, and "Logorio della vita moderna, a tenser piece with a smooth piano release. In "Morph the Cat, a composition by Steely Dan's Donald Fagen, Bollani is the blue cat that appears in different corners of Manhattan. "La puerta, "All The Things You Are, "Moonlight Serenade and "Puttin' on the Ritz are all transformed through Bollani's original touch. The CD closes with a typical Bollani signature: imitating the voices and the musical peculiarities of his colleagues. In "Copacabana he's a perfect Paolo Conte. As Bollani states, "Even Paolo Conte thought it was himself playing. The final joke—understandable only to the Italian speaking crowd—refers to the length of the piece: "This piece lasts 27 more minutes, if you applaud now, we can end it here. ---Laura Capparotti, allaboutjazz.com

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1. Sbucata da una nuvola
2. Galapagos
3. Certe giornate al mare
4. La nebbia a Napoli
5. Habarossa
6. Uomini e polli
7. Ho perduto il mio pappagallino
8. Criatura dourada
9. Michelangelo Antonioni
10. Accettare tutto
11. Ravaskia
12. Olha a brita
13. Il gabbiano ischitano
14. Aleijadinho lê o Codex Seraphinianus aquì
15. Nação
16. Que bom 

Stefano Bollani - piano
Jorge Helder - bass
Jurim Moreira - drums 
Armando Marçal - percussion
Thiago Da Serrinha - percussion

Italian piano genius Stefano Bollani's new Brazilian album QUE BOM building on the success of his successful album CARIOCA (2008), which sold over 70'000 copies.

QUE BOM primarily consists of Bollani's own original tunes and distinctive melodies strongly influenced and informed by Brazilian music culture, which Bollani has always cherished since the very beginning of his rich, multifaceted crackerjack music making and dexterous playing.

In QUE BOM - a genuine hymn to life marked by sparkling liveliness and (contagious) joy - Bollani is joined by the same outstanding rhythm section as in CARIOCA - Jorge Helder (db), Jurim Moreira (dr) and Armando Marçal (perc) - plus Thiago da Serrinha (perc), but here, in QUE BOM, also by the grand guest stars Caetano Veloso, João Bosco, Jaques Morelenbaum and Hamilton de Holanda.

The CD packaging, an elegant and exquisite 6-side DigiSleeve with an 8-page booklet (concept & supervision of the art work by Italian actress and artist Valentina Cenni) contains the lyrics of the songs with Caetano Veloso and João Bosco, photos of the merry Rio recording session by Vinícius Giffoni and extraordinary pictures from Codex Seraphinianus by Italian artist and designer Luigi Serafini.

QUE BOM, entirely produced by Bollani, is the first album to be released worldwide by his own newly created label ALOBAR. ---Editorial Reviews, waterfrontrecords.com

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01. Makin' Whoopee (W. Donaldson)
02. Cheek To Cheek (I. Berlin)
03. I'm In The Mood For Love (J: McHugh)
04. Puttin' On The Ritz (I. Berlin)
05. How Long Has This Been Going On? (G. Gershwin)
06. Margie (C. Conred/B. Davis/J.R. Robinson)
07. Moonlight Serenade (G. Miller)
08. It's Only A Paper Moon (H. Arlen)
09. A Kiss To Build A Dream On (O. Hammerstein II/B. Kalmar/H. Ruby)
10. Honeysuckle Rose (F. Walker)
11. But Not For Me (G. Gershwin)

Stefano Bollani - piano
Ares Tavolazzi - bass
Walter Paoli – drums

Eclectic, explosive, polyhedric, ingenious … it is not certainly easy to describe in a few words the creative talent of Stefano Bollani. His virtuosity, his inspiration and his dowries of interpreter and composer have yielded formations of fans to him in the whole world and the admiration from the Italian and international criticism. His eclecticism and his faceted talent have let of sweeping at the author song to the Brazilian music, at the classic music to the cabaret, at the experimental jazz to that more traditional. Particularly the Milanese pianist has demonstrated of controlling the least shadings of the tradition jazzistica managing to renew the language it so to say on the inside, through original and creative interpretations also more classic standards.

An example of this refined work of rereading of the tradition jazzistic is the disk, in format Lp 200 grammes, “Ì metre In The Mood For Love”, produced at the Japanese label Venus Recors. Accompanied by those that by now are his classic companions of journey, that is Ares Tavolazzi to the contrabass and Walter Paoli to the battery, Stefano Bollani presents with us seven musical pearls that they space at the standards most known to those less well-known. It goes away so passages as “Ì metre The Mood For Love”, “Cheek to Cheek”, “To Kiss To Build A Dream” or “Moonlight Serenade“, up to little sweets like “Makin’ Whoopee”, “Puttin' On The Ritz” o “It' s Only A Paper Moon”. Seven passages inwhom three musicians demonstrate them run interplay and their great agreement, an agreement that lets to Bollani be expressed at best in a catalogue that it demonstrates of having included and own fact in way really exceptionally.

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