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Post Jazz Mistress - Global Warming
(Published: November 30, 2011)

Post Jazz Mistress - Global Warming
TRP Music 0057
Street Date March 6, 2012

"Melting together jazz, progressive rock and world music while keeping their minds open towards the vanguard, the innovative trio Post Jazz Mistress is making music for the new millennium. The Italian threesome comprised of acoustic and electric guitarist Osvaldo Di Dio, double bassist Vincenzo Virgillito and drummer Antonio Fusco have spent the last 10 years playing together, searching for a sound that reflects the ideal synthesis of their myriad music influences, mixing them all together into an amazing amalgam that is much more than the sum of its component elements. Neither jazz, rock, or jazz-rock, it is a completely new musical genre that they call Post Jazz because it maintains the creative spontaneity of jazz improvisation, while ushering it into a completely new musical dimension.

Global Warming the debut effort by this remarkable group brings to the public ear for the first time an accessible new music that is ingenious in its conception, yet refreshing in coolness and compelling in its restrained fire. These sonic explorations, inspired by various landscapes, from the frozen north of Alaska to the torrid south of Cuba and the many human rhythms of life from east to west, bring together a world of music that is simultaneously soothing and stimulating, cerebral and visceral, ethereal and earthy. It is music that is hot and cold; sometimes neither/nor and at others both. This ironic confluence of moods and modes is the guiding force of Post Jazz Mistress on its mission to lead the music of the future.
The dates opener, bassist Virgillito's listen to me, my J. is an overture of sorts, leading the listener into the Post Jazz Mistress dimension of music. It is the commencement of the group's journey through different methods of feeling and playing jazz today, with guitar voicings and sophisticated sonances reminiscent of Jeff Beck, combined with noisy central section that sounds like it is coming from Radiohead's Amnesiac album, all done while maintaining a subtle groove that is decidedly jazz inspired.
Di Dio's waltz for her is an enchanting serenade that moves along a captivating 3/4 feeling, a classic jazz waltz, built around a hypnotic chord progression, buoyed by the warmth of Virgillito's lyrical bass line. The solo section exemplifies the trio's dynamic interaction and its seamless synchronicity, as it develops the theme from few whispered notes to a thunderous climax.

The collaborative composition greeting from Fairbanks, cowritten by Fusco and Di Dio, was inspired by the awe inducing landscapes beautifully cinemographed in the Sean Penn film directed Into the Wild. The theme, boldly executed first by Virgillito's bass, followed by Di Dio on guitar reflects the powerful influence of Sweden's Esbjorn Svensson Trio (e.s.t.) on PJM. The guitar's orchestration is redolent of early ECM Pat Metheny albums, but its tone more closely resembles that of Pink Floyd's David Gilmour. This convergence of diverse sources of inspirations is what defines the "Post Jazz" sound of the trio.
Dark and tranquil, Virgillito's Silent Moving might be described as "very European" in mood, somewhat classical in tone, yet the lyricism of its simple theme also points to the uncomplicatedly melodious lines of early American popular songs like Hooray For Hollywood and Strike Up The Band. The groove here is hypnotic and the harmony - executed with ambient guitar effects -- minimal, a la Radiohead.

Di Dio's the seven secret pools, was inspired by the composer's visit to Hawaii. One can hear the influence of the island's slack guitar tradition in his exhilarating solo, which also includes the sounds of slide guitar, mixed with jazz lines and country music chord voicings in the Americana tradition exemplified in the music of Bill Frisell and Charlie Haden.

The track dancing on a lonely wave, another Di Dio original, is evocative of a South American mood with a tango feel implied in melodic line of Virgillito's bass and the rhythms of Fusco's drums. The emotive guitar solo, sated with restrained intensity, reveals the powerful influence of Jim Hall's guitar stylings on the composer.

A seemingly unlikely choice for a jazz album, Lucy In The Sky With Diamonds, is heard in a Post Jazz Mistress arrangement that fits the John Lennon-Paul McCartney psychedelic rock era's signature song nicely into the context of the album. Slowing the songs already lethargic tempo to a melancholic crawl the band is at its most emotional and touching here. Di Dio's guitar solo is full of volume swells and harmonics, sounding much like a Jeff Beck version of the Beatles classic.

As its title makes clear, molokai is another Hawaiian inspired song. Lyrical jazz lines and a soulful rhythmic groove that at times also give the song a dancing feel that hints at the energy and moods of Cuban rumba and Brazilian bossa nova and samba. Di Dio digs deep into this one with an intensely earthy blues sensibility.

The closing diary of the world is a sweet lullaby that puts this otherwise forceful album to bed, with a memorable melody and an elaborate harmonic structure that are the perfect synthesis of the musical hallmarks of Post Jazz Mistress. Di Dio and Virgillito share melodic duties here, delicately guided by Fusco's subtle brushwork; three artists working together as one unified mind to create a unique work of beauty.

The result of a decade of developing a distinctive group sound where the individual and collective operate on the same creative level, Global Warming by Osvaldo Di Dio, Vincenzo Virgillito and Antonio Fusco aka Post Jazz Mistress signals the commencement of a new musical era defined by a distinctive approach to composition and improvisation that is inclusive of all the beautiful possibilities of tomorrow. It is decidedly the sound of a better future.

Artist Website: http://postjazzmistress.com/
Available on iTunes or CD Baby

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Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jazzpromo@earthlink.net

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