The association between CAM JAZZ and Claudio Filippini is growing to an increasingly greater depth. The same applies to the collaborative relationship between the piano player from Italy’s Abruzzi region and the Scandinavian rhythm section consisting of the great Palle Danielsson on double bass and Olavi Louhivuori on drums. After approximately one year, “Breathing In Unison” is the ideal sequel to the outstanding “Facing North”.
Its concept is quite similar, too. Filippini took on writing all of the tunes in “Facing North” (except for a couple of pop classics and a couple of jazz standards). Here, the game is played again, with a significant extra, the superb “Night Flower” by Louhivuori. And with the usual mention of the pianist’s musical bents, whether pop, rock or jazz. So, there flow a wonderful “As Time Goes By”, but also an intriguing “Poses”, borrowed from that angelic-voiced man, Rufus Wainwright. This album includes two timeless hits that have weathered six decades of the history of song: “Secret Love”, originally sung by Doris Day and more recently re-evaluated by Mika, the star of Lebanese origin, and “A Time For Love” sung by Tony Bennett and Kurt Elling, previously performed by Oscar Peterson and Milt Jackson, among others. This album closes with the soul tune “At The Dark End Of The Street”, made successful by legends such as Aretha Franklin and Bruce Springsteen.
Claudio Filippini has proven himself to be an enlightened, talented musician, among the greatest in new Italian jazz. His empathy with Danielsson and Louhivuori – the former being a real reference in European jazz, the latter one of the most intriguing emerging performers of the Nordic scene – is taking increasingly interesting forms. Besides, the title of this album must not have been chosen by chance. It recalls the strong affinity among the three players, who understand each other quite well by now and have produced a recording of thorough enjoyment.
Recorded in Ludwigsburg at Bauer Studios – Recording engineer Johannes Wohlleben
Liner notes by Brian Morton