"Delightfully melodic guitar trio music from a highly skilled band led by drummer Sandro Dominelli."
Sandro Dominelli is a drummer and composer based in Edmonton, Alberta, Canada. His three previous releases “CafVarze Jazz" (2003, “Meet Me In The Alley" (2005) and Passages (2006) were well received in Canada garnering various awards and winning Dominelli a loyal following. Well respected by his fellow musicians he has worked with the leading figures of the Canadian jazz scene and with visiting American luminaries such as Joe Lovano, Sheila Jordan and Ernie Watts.
His long awaited follow up is The Alvo Sessions", an album recorded at New York's LoFish Studios with the help of a grant from the Canadian Council for the Arts. His collaborators are New York based musicians Rez Abbasi (guitar) and Chris Tarry ( electric bass).
Tarry also hails from Canada and won three Juno awards before relocating to New York. Abbasi was born in India and his playing adds a subtle world music influence to the trio's sound. The material consists of three Dominelli originals, a piece from Tarry and outside material from such diverse sources as Keith Jarrett and Chris Isaak. There are also two compositions from the versatile bassist/guitarist Marc Beaudin, one of Dominelli's regular collaborators back home in Edmonton.
The trio begin with a version of Keith Jarrett's “Personal Mountains", an unusual choice for what is essentially a guitar trio. Abassi's guitar takes the melody line but the highlight of the track is wonderfully agile bass solo from Tarry. From the photography on the press release it looks as if he plays a five stringed bass guitar which helps to explain the warmth and flexibility of his tone and evokes comparisons with the great Steve Swallow.
Dominelli's attractive composition “Foggy Bridge" has been something of a hit in his native Canada. It's a gorgeous tune that builds through another liquid Tarry solo into a powerful,fluent solo from Abassi that exhibits a clear rock influence. Here, as on the Jarrett piece Dominelli's drumming is crisp, brightly detailed and subtly propulsive. On his own tune Dominelli allows himself a feature which demonstrates the more forceful side of his playing. The trio conclude with a restatement of the theme on a well written and beautifully constructed composition that should appeal to adventurous rock listeners as well as jazz fans.
The trio's atmospheric take on Chris Izaak's “ Wicked Game" should hold similar appeal. Abassi's guitar sketches the melody above Dominelli's rich brushed undertow and Tarry's low register bass growl.
Marc Beaudin's first contribution is “Number 11", a lively Metheny-ish piece with an attractive melody and a propulsive bass line. Abassi's imaginative playing again displays something of a rock influence and his two colleagues offer energetic but intelligent support. There's a lengthy feature for Dominelli again as the tune progresses and some lightning fast unison passages. This is a piece that's always unfolding, blending melody and abstraction in pleasingly lively fashion.
Dominelli's title “Hot Sauce" presumably refers to his parallel existence as a qualified chef. You can read about recipes as well as music on his website. The track itself bubbles along nicely with yet another arresting tune and a high level of interaction between the three protagonists.
The enigmatically titled “S.B." is another Dominelli original, a floating ballad with some delightfully delicate and detailed drumming from the leader, a wonderfully fluid bass solo from Tarry and Abassi's gently rambling melody lines. Once again the writing is of a high standard, Dominelli's tunes are all highly melodic and his love of a good tune is also reflected in his choice of outside material.
Beaudin's second offering “Number 17" is a charming piece with Abassi's guitar lines dancing above the rich patter of Dominelli's drums and percussion and Tarry's springy electric bass lines. Inevitably there's a feature for this most musical of bassists and Dominelli steps into the foreground during the tune's closing section.
The album ends with Tarry's “Kata" which floats gently on a cushion of brushed drums and purring electric bass. Abassi sketches long melody lines making subtle use of effects. Tarry's own solo is full of liquid resonance and this shimmering ballad is a delightful way to close what is a very good album.
“The Alvo Sessions" doesn't hold too many surprises but it's a work that has an easy going charm and the playing exhibits a high level of technical skill. All the tunes have a high melodic content but the music is never bland and the three musicians interact well throughout, always engaging the listener's attention. Although Dominelli leads from the drums this is essentially a guitar trio and the album exhibits many of the virtues of Pat Metheny's work, particularly with regard to the high melodic content, but without ever sounding like a copycat exercise. Nevertheless if you're a Metheny fan you'll probably find a lot to enjoy here. Dominelli and his colleagues are to be congratulated on a warm, enjoyable, unhurried, always tasteful album and one that contains some great playing. This is a record that should add to Dominelli's reputation both in Canada and further afield.
Sandro Dominelli is a drummer and composer based in Edmonton, Alberta, Canada. His three previous releases “CafVarze Jazz" (2003, “Meet Me In The Alley" (2005) and Passages (2006) were well received in Canada garnering various awards and winning Dominelli a loyal following. Well respected by his fellow musicians he has worked with the leading figures of the Canadian jazz scene and with visiting American luminaries such as Joe Lovano, Sheila Jordan and Ernie Watts.
His long awaited follow up is The Alvo Sessions", an album recorded at New York's LoFish Studios with the help of a grant from the Canadian Council for the Arts. His collaborators are New York based musicians Rez Abbasi (guitar) and Chris Tarry ( electric bass).
Tarry also hails from Canada and won three Juno awards before relocating to New York. Abbasi was born in India and his playing adds a subtle world music influence to the trio's sound. The material consists of three Dominelli originals, a piece from Tarry and outside material from such diverse sources as Keith Jarrett and Chris Isaak. There are also two compositions from the versatile bassist/guitarist Marc Beaudin, one of Dominelli's regular collaborators back home in Edmonton.
The trio begin with a version of Keith Jarrett's “Personal Mountains", an unusual choice for what is essentially a guitar trio. Abassi's guitar takes the melody line but the highlight of the track is wonderfully agile bass solo from Tarry. From the photography on the press release it looks as if he plays a five stringed bass guitar which helps to explain the warmth and flexibility of his tone and evokes comparisons with the great Steve Swallow.
Dominelli's attractive composition “Foggy Bridge" has been something of a hit in his native Canada. It's a gorgeous tune that builds through another liquid Tarry solo into a powerful,fluent solo from Abassi that exhibits a clear rock influence. Here, as on the Jarrett piece Dominelli's drumming is crisp, brightly detailed and subtly propulsive. On his own tune Dominelli allows himself a feature which demonstrates the more forceful side of his playing. The trio conclude with a restatement of the theme on a well written and beautifully constructed composition that should appeal to adventurous rock listeners as well as jazz fans.
The trio's atmospheric take on Chris Izaak's “ Wicked Game" should hold similar appeal. Abassi's guitar sketches the melody above Dominelli's rich brushed undertow and Tarry's low register bass growl.
Marc Beaudin's first contribution is “Number 11", a lively Metheny-ish piece with an attractive melody and a propulsive bass line. Abassi's imaginative playing again displays something of a rock influence and his two colleagues offer energetic but intelligent support. There's a lengthy feature for Dominelli again as the tune progresses and some lightning fast unison passages. This is a piece that's always unfolding, blending melody and abstraction in pleasingly lively fashion.
Dominelli's title “Hot Sauce" presumably refers to his parallel existence as a qualified chef. You can read about recipes as well as music on his website. The track itself bubbles along nicely with yet another arresting tune and a high level of interaction between the three protagonists.
The enigmatically titled “S.B." is another Dominelli original, a floating ballad with some delightfully delicate and detailed drumming from the leader, a wonderfully fluid bass solo from Tarry and Abassi's gently rambling melody lines. Once again the writing is of a high standard, Dominelli's tunes are all highly melodic and his love of a good tune is also reflected in his choice of outside material.
Beaudin's second offering “Number 17" is a charming piece with Abassi's guitar lines dancing above the rich patter of Dominelli's drums and percussion and Tarry's springy electric bass lines. Inevitably there's a feature for this most musical of bassists and Dominelli steps into the foreground during the tune's closing section.
The album ends with Tarry's “Kata" which floats gently on a cushion of brushed drums and purring electric bass. Abassi sketches long melody lines making subtle use of effects. Tarry's own solo is full of liquid resonance and this shimmering ballad is a delightful way to close what is a very good album.
“The Alvo Sessions" doesn't hold too many surprises but it's a work that has an easy going charm and the playing exhibits a high level of technical skill. All the tunes have a high melodic content but the music is never bland and the three musicians interact well throughout, always engaging the listener's attention. Although Dominelli leads from the drums this is essentially a guitar trio and the album exhibits many of the virtues of Pat Metheny's work, particularly with regard to the high melodic content, but without ever sounding like a copycat exercise. Nevertheless if you're a Metheny fan you'll probably find a lot to enjoy here. Dominelli and his colleagues are to be congratulated on a warm, enjoyable, unhurried, always tasteful album and one that contains some great playing. This is a record that should add to Dominelli's reputation both in Canada and further afield.
