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Enrico Rava - On the Dance Floor (2012)

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Enrico Rava - On the Dance Floor (2012)

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1.    "Speechless" - 6:37
2.    "They Don't Care About Us" - 7:54
3.    "Thriller" (Rod Temperton) - 6:17
4.    "Privacy" (Bernard Belle, LaShawn Daniels, Michael Jackson, Fred Jerkins III, Rodney Jerkins) - 5:43
5.    "Smile" (Charlie Chaplin) - 3:29
6.    "I Just Can't Stop Loving You/Smooth Criminal" - 9:13
7.    "Little Susie" - 3:53
8.    "Blood on the Dance Floor" (Michael Jackson, Teddy Riley) - 5:05
9.    "History" (James Harris III, Michael Jackson, Terry Lewis) - 8:08

    Enrico Rava - trumpet
    Andrea Tofanelli, Claudio Corvini - trumpet, flugelhorn
    Mauro Ottolini - trombone, tuba
    Daniele Tittarelli - alto saxophone, flute
    Dan Kinzelman - tenor saxophone, clarinet, bass clarinet
    Franz Bazzani - keyboard
    Giovanni Guidi - piano, Fender Rhodes, toy piano
    Dario Deidda - bass
    Marcello Giannini - electric guitar
    Zeno de Rossi - drums
    Ernesto Lopez Maturell - percussion

 

It's taken Enrico Rava, the Miles Davis-inspired trumpeter from Trieste, until his 70s to hit the dance floor. This live album is dedicated to Michael Jackson, who Rava said he didn't discover until the singer's death – and then became obsessed with. Thriller, Smooth Criminal, Blood on the Dance Floor and other classics make up a track list exuberantly performed last year by Rome's Parco della Musica Jazz Lab, a young workshop band led by trombonist Mauro Ottolini, whose arrangements these are. A wonderful ballad-player, Rava plays Speechless rather as Davis played Jackson's Human Nature, and boiling groovers like Thriller in flashes of shrill improv over tuba riffs and rumbling congas. Privacy is an electric guitar and soul-sax maelstrom, Smile is a New Orleans street march strut, and Little Susie (the best track) features Rava in Mediterranean heat-haze mode, before a lilting waltz partnership with Danielle Tittarelli's alto sax. It sounds like a laid-back jazz group having a party, not a Quincy Jones band nailing every hit, but it's a real tribute, not a lament for lost youth. ---John Fordham, theguardian.com

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