Aldevis Tibaldi and London Jazz Ensemble ‘Twentysix Three’ (Galetone) 4/5

aldevis-tibaldiItalian saxophonist Aldevis Tibaldi makes his debut here on a recording that embraces both modern and mainstream jazz, and was recorded live in analogue. He was trained classically in his native north-eastern city of Trieste and dabbled in rock, fusion and world roots genres before focusing firmly on the jazz idiom during the 1980s.
Stylistic influences include Sonny Rollins and John Coltrane and it is the latter who comes to mind on the opener, ‘Hunting goose’, which, in addition, has a distinctive Jazz Messengers feel in the collective phrasing, while John Eacott takes a muted trumpeter solo and this is taken at a more sedate rhythm. The 1960s have clearly exerted an influence upon the leader and the soprano-led number, ‘La lunga notte’, has all the hallmarks of the ‘Song for my father’ riff that Horace Silver composed, though taken here at a significantly slower pace. For fans of 1950s big band, the Basie-flavoured ‘Dinner Jacket’ will appeal and with phrasings on piano by Liam Donoghue that recall Ellington from that era.
Tibaldi has made London his adopted home and has performed with Paloma Faith, the Guillemots as well as with London-based trumpeter, John Eacott, who is an integral member of Tibaldi’s band. Interestingly, Tibaldi attempts no less than three covers, with a take on Mingus’,’World Nightmare,’ an intimate duet between double bassist Richard Sadler while Ellington’s, ‘Black and Tan Fantasy’, is unquestionably a vehicle for Tibaldi’s tenor playing to shine and this has a 1930s Cotton Club atmosphere with the interesting use of staccato piano. A reworking of Monk’s ‘We see’ features the leader on soprano in a largely trio format devoid of any piano intro, and this piece sounds as though Tibaldi has been listening intently to Steve Lacy. Once again on the repeated piano and tenor riff to ‘A Gardenia in Dean St.’, the collective horns take a leaf out of the Jazz Messengers repertoire. A well-balanced set that risks alienating no-one and attracting a diverse public within the field of jazz.

Tim Stenhouse