Lorenzo Feliciati – Frequent Flyer
Lorenzo Feliciati (website)
Frequent Flyer
RareNoiseRecords RNR023 (CD)
Italian bassist Lorenzo Feliciati is better known in European modern Jazz circles than in America and elsewhere. His previous solo albums include: Upon My Head from 2003 and Live at European Bass Day and More from 2006. More recently, he collaborated with English keyboardist Roy Powell, trumpeter Cuong Vu (who has worked with The Pat Metheny Group) and drummer Pat Mastelotto (King Crimson’s drummer in line-ups 5 through 7 and ProjeKcts) under the moniker of Naked Truth with a strong and intriguing album entitled Shizaru also on the RareNoiseRecords label.
Frequent Flyer – Lorenzo Feliciati
Shizaru was crafted around no single voice—more like a musical conversation built around varying moods. For Frequent Flyer, Feliciati has not strayed from that concept, adding an even more diverse set of collaborators (many of whom are from the Italian Progressive Rock and Jazz scene). This is an album that blurs genres of Rock, Fusion, Funk, Jazz and includes the edges of Latin and Afro-Cuban sounds. Comparisons of Feliciati’s work have been made to bassists such as Jaco Pastorius and Percy Jones, but technically and stylistically, my vote is for Jeff Berlin (with some influences of Miroslav Vitous).
The subtitle of Frequent Flyer also reveals, I think, something more about the background of the music: Diary of a Traveling Musician, not only documenting the quotidian aspects of diaries, but perhaps disclosing thoughts and desires related to the foundations the work. Musically, Frequent Flyer is as diverse as the moods one might find within a written diary. Feliciati has noted that, “I wanted to do an album with all the wonderful musicians during my traveling around for gigs, festivals and sessions.” Portions of this album had actually been recorded prior to the start of the Naked Truth project.
Samples from Soundcloud
There are many strong pieces in Frequent Flyer, some more favorable to my ears than others. Two tracks (as noted below) seem a bit underdeveloped in structure, and thus held my interest less. But as with all music, first impressions of an album are often not the lasting impressions after repeated auditions. This album has grown on me as I have listened to it in different environments (home, car or walking). What I appreciate the most is the range of explorations in addition to Feliciati’s musicianship.
The Fastswing Park Rules: At first I was fooled–by the mournful saxophone opening (being reminiscent of Bill Bruford’s Earthworks’ It Needn’t End In Tears), only to be lured into a dark and industrial atmosphere of expansive saxophone, bass and percussion improvisation.
Groove First: Is a very playful, funky and cheerful piece, with melodic and rhythmic shifts reminiscent of Percy Jones and Stanley Clarke and quite similar in many ways to the spirit of some of Brand X’s Moroccan Roll mixed with some Return to Forever and Weather Report. Fender Rhodes and congas provide vigorous and upbeat counterpoint throughout.
93: Is a really great and lyrical piece with dense textures and a deliberate syncopated rhythm that is reflective yet mysterious and is expansive in its arrangement (with a touch of melancholy, in instrumentation, akin to some of the work of the late Mark Linkous, AKA Sparklehorse).
Riding The Orient Express: Percussion and guitar are used to represent the presence of a train and there are breaks where the bass takes the melody. This has some of the feel of Steve Hackett’s recent work in his album Out of the Tunnel’s Mouth. The development of this piece, however, seemed a bit plodding and thin–one of the weaker pieces on the album, for me.
Footprints: Is a very inventive, and fun (yes, I said fun!) arrangement of Wayne Shorter’s piece from the album Adam’s Apple originally by the quartet of Shorter, Hancock, Workman and Chambers. It really shows Feliciati’s quick-hands, musicianship and interpretive skills quite well. In this version, Feliciati takes the Shorter sax melody on bass and is supported by spirited Brazilian-like ensemble percussion. I found a video version of this piece—a great illustration of the spirit of this track.
Footprints
Never Forget: Is mysterious, edgy and atmospheric. Bass and electronics punctuate as Cuong Vu’s trumpet floats between diaphanous spirit and sinister animal. This is another great track with expansive cinematic qualities.
Gabus & Ganabes: Is spunky and rhythmically driving with bass chordal and melodic drifts and violin work by Andrea Di Cesare reminiscent of Jean Luc Ponty’s mid-career works.
Perceptions: Is contemplative with a piano opening similar in spirit to some of Harold Budd’s work and forms a backbone for this meditation with fluid bass improvisation and sound samples by DJ Skizo.
The White Shadow story: Is funky, visual, electronic, buzzing and starts off brooding, then goes up-tempo with a ripping guitar solo.
Law & Order: This track is the other weaker piece on the album (and that’s my opinion only), it’s rather plodding and a bit too methodical despite the challenging bass and organ runs, which are supported by percussion and guitar. Some might see some similarities with works of Emerson Lake and Palmer.
Thela Hun Ginjeet (for those in-the-know, an anagram of Heat In The Jungle, the story of street encounters with authority): Is a driving cover from the 1981 King Crimson album Discipline. The story I’ve read is that this piece is often played by Feliciati and band mates during sound checks. I’ve always loved this KC album, and this is a great interpretation of the original with some incredible handwork by Feliciati, Gualdi and Block.
Frequent Flyer is an energetic, musical and diverse album to explore. It has great dynamics and a solid sound throughout. I always enjoy being pushed into new musical territories and Lorenzo Feliciati’s travels with a talented group of musicians is a great introduction to his work and influences.
Tracks and players
- The Fastswing Park Rules with Bob Mintzer (saxes) and Lucrezio de Seta (drums)
- Groove First with Roy Powell (Fender Rhodes and Moog) and Paulo La Rosa (percussion)
- 93 with Pat Mastelotto (drums) and Aidan Zammit (Wurlitzer and strings)
- Riding The Orient Express with Pat Mastelotto (drums) and Phil Brown (guitar)
- Footprints with Robert Gualdi, Stefano Bagnoli and Maxx Furian (drums)
- Never Forget with Cuong Vu (trumpet), DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
- Gabus & Ganabes with Patrick Djivas (bass solo) and Andrea Di Cesare (violin)
- Perceptions with DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
- The White Shadow story with Daniele Gottardo (guitar), DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
- Law & Order with Jose Florillo (Hammond organ) and Daniele Pomo (drums)
- Thela Hun Ginjeet with Roberto Gualdi (drums) and Guido Block (bass, lead and backing vocals
Primary Equipment
- Bel Canto CD2 with onboard DAC
- Transcriptors Hydraulic Reference TT w/ Grado Gold
- Bottlehead Seduction Phono Preamp w/ C4S Upgrade
- Sony XDRF1HD Tuner
- Manley Jumbo Shrimp Preamplifier
- Manley Mahi Mono Amps
- ADS L-910 Studio Monitors
Alternate Equipment
- Garrard 401 w/ custom aluminum block plinth with
- Thomas Schick Arm w/ Benz Ace S Cartridge
- Yamaha CT-7000 FM Tuner (Merrylander restored)
- K&K TVC Stevens Billington Transformer Linestage Preamp
- Blumenhofer FJ Om Speakers
