Charlie Mariano (as), Tete Montoliu (p), Horacio Fumero (b), Peer Wyboris (d)
Reference: FSRCD 5021
Bar code: 8427328650212
An outstanding veteran pianist from Barcelona, Tete Montoliu was born blind. By the mid-50s he was regularly sitting in with visiting American artists, including Lionel Hampton. By the end of the decade he had ventured north to play at a number of important European jazz festivals and had also played in Scandinavia. Montoliu's own recording career began in 1958, and he was to prove a prolific recording artist.
CHOC Jazz Magazine (April 2014)
"Il est toujours étrange, juste après avoir prêté loreille à tel ou tel jazzman actuel, découter sans transition un disque comme celuici, pas si ancien après tout (1989), mais dont se dégage fatalement cette sensation que lon ne ressent quà lécoute des musiciens qui possèdent, outre le bagage technique, un certain vécu. Pas nécessairement le vécu, comme certains limaginent ou le fantasment, de lerrance et des épreuves personnelles, mais plus simplement celui que façonne une carrière musicale longue, intense, riche de collaborations exigeantes [...] phrases élégantes et poignantes, alternance constante entre tension et détente (lon songe bien sûr à Charlie Parker et Art Pepper), intonations déchirantes (les suraigus du saxophone alto de Mariano sont jouissifs), et un Montoliu qui joue cette abondance de notes quon lui connaît, ici pour notre plus grand plaisir. On notera enfin la manière extraordinairement bien sentie dont Mariano (disparu en 2009) jouait le blues."
Eric Quenot (April, 2014)
"This is a reissue of an original Fresh Sound release that we can welcome back with open arms; volume two follows hot on its heels. When Jordi Pujol eventually persuaded Mariano to record this material the saxophonist had left his bebop roots a long way behind and immersed himself in what has long been called world music. Consequently, the accompanying sleeve-note suggests there was a marked reluctance on his part to get involved in a project he may have regarded as a backward step.
In the event he seems to have embraced the two days of recording with enthusiasm, the evidence in his often passionate delivery, respect for the melody and nicely weighted theme statements. His bluesy inclinations, particularly evident on Manha De Carnival, are picked up by the always reliable Montoliu who matches Mariano throughout in both thought and deed. There is nothing profound on offer, just good solid fare from fine musicians who knew how to swing in a modern vein and very rarely produced anything of a secondary quality during their distinguished careers. Just one to sit back and enjoy!"
Peter Gamble -April, 2014