AprilCadence2013

CLAUDIO SCOLARI
COLORS OF RED
ISLAND
PRINCIPAL RECORDS
MISV04
COLORS OF RED ISLAND /
MOVEMENT INSPIRATION /
VARIATION OF MOVEMENT /
DIALOGUES NIGHT / EARTH
DANCES ESPLOSIONS /
IMPROVISED SENTIMENTAL
SONG / ELECTRIC LIGHT
OVER WATER / EMOTION
APPEARANCE / WINDS OF
METAMORPHOSIS
/ INFINITE SILENCE / COLD
LANDSCAPE. 79:12.
Scolari, dr, perc, flt, p, synth;
Daniele Cavalca, dr, perc, vib,
b; Simone Scolari, tpt. 11/09,
Reggio
Emilia, Italy.
New Issues
153 | CadenCe Magazine | april May June 2013
Walking.” The fact that the bass line and hi-hatted
pattern surge ahead creates a tension with Yamamoto’s
minimalistic style, and even she exudes
extroversion as the track proceeds. “Up and Down”
releases drummer Takeuchi for a rumbling and rolling
introduction whose tempo deceptively decelerates
when Yamamoto plays melody. Rather than wordplay,
this composition involves tempoplay as the trio cuts the
first chorus’s speed in half for the second four bars.
Even during improvisation, the moderately fast majorchorded
scamper contrasts with a largo minorchorded
section. A song of contrasts, “Up and Down”
exemplifies the contrasts in Yamamoto’s music that
characterizes her own unique style—serene contrasts
much in evidence on the seventh album of her
growing discography.
Bill Donaldson
One may cynically suspect that percussionist Claudio
Scolari added his son and trumpeter, Simone
Scolari, to the mix for Colors of Red Island as a paternal
nudge into recording experience. However, surprisingly,
Simone holds his own amid the two more seasoned
musicians. In fact, the trumpeter has already developed
a voice of his own. His haunting and burnished long
tones, akin to Tomasz Stanko’s, contrast with Dad’s percussive
dappling and develop a comprehensive sonic
view of the Colors of Red Island (a name that I find
comparable to, say, “directions of the westbound road”
unless the CD title suggests fifty shades of red or something
like that). The title track itself involves Scolari Sr.
on piano as he sustains chords and a melodic motive,
to which Scolari Jr. responds in a familiar, familial
echoing call and response before the chorus-ending
unison peals. All the while, Daniele Cavalca continues
the percussive pattern that connects the components
of the piece. And so it goes too with “Variation of
Movement.” Simone declaratively with great confidence
and squarely placed round tones leads his father
and his older musical associate with melancholy that
transforms into, if not joyfulness, at least
rambunctiousness, embellished by synthesized bell-like