Furio di Castri- Wooden You (Splas(H), 1999)

 

Furio di Castri, bass
Mauro Negri, B♭ & bass clarinets

Andrea Dulbecco, marimba
Bill Elgart, drums

Recorded March 30 & 31, 1999
Obelix Studio, Legnano (Milano), Italy
Engineers: Giuseppe Emanuele & Mario Cavallaro

Whimsey is not the first thought that comes to mind when writing about jazz albums of any era. Nonetheless, bassist Furio di Castri conceived Wooden You as a pun in a moment of whimsical reflection.* As he explains in the album's liner notes, the idea of playing with an all-woods ensemble came to him while preparing a meal. Wood is meant literally since the band's instruments are all made from wood. 

As might be apparent from earlier listings, I like woody sounds, especially in lower registers. Bass clarinets, marimbas, cellos, double basses, and Bösendorfer grand pianos all resonate with me, literally. Therefore, I acquired Wooden You as soon as I learned about it and have enjoyed it for at least 25 years. 

The band includes three Italians and the expat American Bill Elgart. Clarinetist Mauro Negri is the primary voice on Wooden You, mostly on B♭ clarinet but also bass clarinet on three numbers. His tone is rich; his ideas smart; his emotional expressions heartfelt; and his extended techniques reserved for the right moments.

Andrea Dulbecco plays marimba on Wooden You. He began his recording career in the early 1990s and has appeared on more than 65 albums, mostly as a vibist. He stays with the marimba on Wooden You to preserve the wooden premise. When not soloing, Dulbecco often provides chordal support for the bass and clarinet. Since marimba bars do not resonate like a piano or electrified vibes, marimba players chord by repeatedly striking up to four bars in rapid succession. Doing so sustains the notes of a chord through repetition, not resonance.

Drummer Bill Elgart completes the quartet. Although he was born in Massachusetts in 1942, Elgart moved to Europe in 1976, and most of his discography is on European labels. His presence on Wooden You is essential, despite the absence of drum solos. Of course, his sticks are made of wood.

Aside from the wooden theme, Wooden You acknowledges a debt to Thelonious Monk. The group's take on Monk's "Ugly Beauty" is ingenious. Negri on bass clarinet and di Castri play the mournful theme in unison, ceding the bridge to the marimba. di Castri then plays a bass solo over the melody played by Negri on bass clarinet. This is a fascinating arrangement because the tune's melody never disappears while the soloist improvises. 

Dulbecco's "Lontano" is the most overtly passionate composition on the album, although Elgart keeps it edgy enough to avoid pastiche. Dulbecco's "Blanca" is also emotional, prompting a beautiful solo from Negri. Dulbecco sneaks in a flamenco figure near the end of the piece, perhaps to honor whoever Blanca might be.

The second Monk tune, "Ruby My Dear," offers another surprise arrangement. Instead of playing the melody, each soloist floats over the song's familiar chord changes. Negri begins on B♭ clarinet and is followed by Dulbecco and di Castri. Playing over the chord changes of standard tunes is not an original idea. Most of Charlie Parker's oeuvre, for example, is constructed over familiar changes. But very few artists play a classic without ever playing the melody.

"Morning" is another noteworthy di Castri composition. It's a modal exercise with a strong walking beat, reminiscent of Miles Davis's "Nefertiti." Negri's solo is outstanding.

The closing number is di Castri's mysterious "Matière de Bretagne," a reference to Britain's medieval literature. The CD booklet gives no explanation for the title, suggesting another inspirational bit of whimsey. 

*Note: The pun is the same one devised by Dizzy Gillespie when writing "Woody'n You" in 1942 as an homage to bandleader Woody Herman. Both puns are variations of "wouldn't you."

Larry Goldings - Moonbird (Palmetto, 1999)

Larry Goldings, organ
Peter Bernstein, guitar
Bill Stewart, drums

Recorded February 27, 1999

Venue and engineer not reported

Larry Goldings has been a favorite of mine for a long time. With Peter Bernstein on guitar and Bill Stewart on drums, Goldings has all the resources he needs for a clean, contemporary style. He eschews the theatrics that many Hammond B3 organists favor, as well as the soul jazz that was popularized in the 1960s. Goldings is also a pianist, which helps to understand his approach to the organ.

The same group sometimes records under Bernstein's name, with similar results. The guitarist is currently among the giants of jazz, but his work with Goldings began only six years into his recording career.

Drummer Stewart is also a long-time member of Goldings' trio. Like Bernstein, Stewart has become a first-call drummer and an asset to the many recording he appears on. 

The repertoire on Moonbird includes originals from all three players and covers of jazz standards, show tunes, and popular music. A key track is "Woodstock," Joni Mitchell's hippie anthem from the 1970s. At over 10 minutes in length, "Woodstock" feels like a story that progresses gently through multiple chapters. Clearly, the song has special meaning for Goldings, who was born in 1968, one year before the legendary Woodstock festival. 

Randy Newman's "I Think It's Going to Rain Today," is from the same era. Like "Woodstock," Newman's composition addresses serious matters, e.g., depression and isolation. Goldings' versions of these songs are genuine and respectful, creating an effective balance to an otherwise upbeat album. The opener, "Crawdaddy," is the one bow toward soulful funk.

I recall seeing Goldings' trio play a short set in 1996 during the International Association of Jazz Educators Conference in Atlanta. They were one of two Warner Brothers bands I saw, Kenny Garrett being the other. It was a great way to sample bands I liked without any travel, admission charge, or overpriced alcohol. Just walk from the Marta station into the hotel and find who you want to hear. My friend Max from Miami was there too. Not often do I get to reunite with a friend at a free concert in my city. Live jazz my way. 

In August 2026 Goldings' trio released Rhombus, a new album marking 35 years since their first recording together. Such longevity of personnel in the same band is a rarity in jazz. Rhombus is also their first album to be released on vinyl since 1993's Light Blue (Minor Music). The music on Rhombus is great. Having never heard them on vinyl before, I can appreciate more of the group's subtle interactions, not to mention the superior sonic presentations of the organ and drums.