It’s been good to receive a batch of albums from the strongly individualistic Italian label Silta Records run by bassist Giorgio Dini. I reviewed a number of Silta’s releases during The Jazzmann’s early days, some were exceptionally good and nothing was less than interesting.

This first release of the current crop is characteristically intriguing with alto saxophonist Marco Tardito leading his Amarilli Quartet through his jazz arrangements of pieces by the 17thC classical composer Claudio Monteverdi. There is something of a precedent for this in the Silta catalogue, pianist Enzo Orefice’s successful updating of works by Bach, Mozart, Beethoven, Schubert and Chopin on his “The Old Standards” album of 2007.

Tardito employs an unusual instrumental line up for his interpretations. In a piano less quartet he is joined in the front line by trombonist Giorgio Giovannini with Stefano Risso (double bass) and Donato Stolfi (drums & percussion) forming an impressive and flexible rhythm section. The group’s live performances also feature visual projections by Roberto Tibaldi, credited here with “multivisione” who is, in effect, a kind of auxiliary fifth member.

Tardito’s arrangements are fascinating, combining the courtliness and elegance of Monteverdi’s compositions with jazz swing in a variety of different meters. The interplay between the two horns is consistently engrossing and the rhythm team intelligent and responsive. The quartet probe Monteverdi’s music thoroughly, stretching it into thoroughly convincing contemporary shapes.

The opening “La Pastorella Mia Spietata” begins as more a less a straight transposition but the quartet stretches out on solos by the pure toned Tardito and the extraordinarily agile Giovannini.

The following “Quando L’Alba In Oriente” finds the quartet casting their improvisational net wider to encompass a thoroughly convincing post bop sound within the loose framework of Monteverdi’s composition. There is areal spirit of group interaction here plus some fine individual moments from   Tardito, Giovannini and Risso on brooding but articulate arco bass. Stolfi’s nimble, colourful percussion combines with the two horns to give an almost “world music” element at times.

Tardito’s arranging skills come to the fore again on the delightful “Tu Ridi Sempre Mai” with Risso’s bowed bass combining richly with Giovannini’s trombone on the opening of the piece. Elsewhere the trombone is the counterpoint to Tardito’s lissom alto but Giovannini later finds plenty of interest to say on his own account, skilfully shadowed by Risso and Stolfi. There is even a playful moment when the percussionist is heard playing what sounds like a squeaky plastic duck!

“Gia Mi Credea” starts with the sound of Giovannini pushing his instrument to it’s limits by the use of overblowing etc. Arco bass and drums shadow him and there is an absorbing drum interlude from the excellent Stolfi. Later the emphasis is more on group playing with each member of the quintet acquitting himself well, particularly Giovannini who continues to be prominent.

“Godi Pur Del Bel Sen” embodies all the virtues heard thus far. Crisp, intelligent playing with articulate horn interplay and soloing and intelligent, beautifully detailed bass and drum accompaniment. Moods and styles change during the course of the piece as the quartet stretch Monteverdi’s template into almost unrecognisable shapes.

“I Bei Legami” features more playful but sophisticated horn counterpoint and interplay above Stolfi’s infectious pattering rhythms. “Amarilli Onde M’Assale” comes storming out of the blocks propelled by Giovannini’s uproarious trombone and Tardito’s mercurial alto. Like it’s immediate predecessor it’s great fun and Stolfi adds rock rhythms to the album’s list of influences. Risso contributes a stunning pizzicato bass solo and Stolfi’s engaging percussion feature includes something that sounds uncannily like one of the Portico Quartet’s hang drums, although it could conceivably be a steel pan. Whatever it all adds to the rich panoply of sounds to be heard on what is, in effect the album’s title track.

The closing “De La Bellezza Le Dovute Lodi” features the pleasingly fuzzy sounds of interlocking alto and trombone, another dexterous solo from the excellent Risso and a spirited exploration of Monteverdi’s theme that sometimes diverts into almost free playing before finishing with a fanfaring finale featuring Stolfi’s drums.

I wasn’t at all sure what I’d make of this album when it first arrived, fearing that it could be some sort of tepid jazz/classical crossover. It is of course anything but, despite using Monteverdi’s compositions as a jumping off point. In fact Tardito and his colleagues have produced an album of top quality, sometimes playful and often fiery, contemporary jazz. Much of this is down to the subtlety of Tardito’s imaginative, open ended arrangements, but this is a true group effort with a high degree of interaction and some superb playing all round. Quite what Monteverdi would have made of it all I wouldn’t like to say but for myself I was most pleasantly surprised. This is a most enjoyable contemporary jazz record, full stop.

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