Carla Marciano

Trane's Groove

Dischi Della Quercia 128059-2

Item: full_album_8024709103826_CD

Artists :
Dario Deidda ( Bass )
Carla Marciano ( Alto & Sopranino Saxes )
Alessandro La Corte ( Piano )
Aldo Vigorito ( Bass )
Donato Cimaglia ( Drums )
Release date
Dec 31, 2002

"Since Marciano has never recorded before, one wonders whether she has adopted Coltrane's tone and attack for this tribute project or if she always plays with such force".
(Bill Donaldson, Cadence Magazine)

Recorded in September 2001 at Panorama Studio
Mixed and pre-mastered at Zork Digital Planet in Salerno by Daniele Chiarello


Carla Marciano, Trane’s Groove

La Marciano è un tripudio di energia del sassofono. Lo possiede, lo controlla, lo maneggia con destrezza, ne estrae cascate di note, scale in progressione, lo valorizza nelle sonorità più piene e ridondanti. Si è parlato di “saxability”, abilità di sassofonista. E le si potrebbe ricamare addosso il termine “saxspirituality”, per quelle “timbricità” tutte coltraniane che, ascoltate da una musicista, a dir poco sorprendono anche in successive prove discografiche con la Soul Note. Per un’altra battaglia di genere (non solo musicale) vinta, in un catalogo, ampiamente tratteggiato dagli scuri colori oltreoceanici del jazz.

6/6/2014Asterischi di inizio Millennio - Il giro del jazz in 80 dischiAmedeo Furfaro

On her first CD recording, Italian saxophonist Carla Marciano intends to start at the top with nothing less than a convincing tribute to John Coltrane.And indeed, Marciano, who appears from the photographs in the liner notes, to be in her late twenties or early thirties, has injected the language of Coltrane into all of the tracks. Since Marciano has never recorded before, one wonders whether she has adopted Coltrane's tone and attack for this tribute project or if she always plays with such force. Mostly modal, except when she plays jazz standards such as "Stars fell on Alabama", Marciano's choice of tunes evolve quickly into a trance-like, spiritual realm where her instrument becomes the immediate means of expression for her feeling. Even on standards like "Prisoner of love", Marciano introduces the eventual presentation of the song with an extended work-out of a cadenza consisting of overtones, over-flowing emotion and an eventual piecing together of the song's melody. Marciano's group has studied Coltrane diligently as well, and there's no mistaking the Tyner allusions on "Hamlet" or the tip of the hat to Elvin Jones on "Bye bye Trane", which an on-fire Marciano plays accompanied only by Donato Cimaglia on drums with polyrhythmic flair...

Cadence MagazineBill Donaldson

The Italian saxophonist Carla Marciano rightly named her first album Trane's Groove (Black Saint), for on both alto and sopranino, her approach shows the strong influence of the recording's namesake. Much of the music has a modal character and in general, Marciano's playing utilizes the runs, cries, multiphonics and other techniques that Coltrane pioneered in that context. Since she is quite technically proficient and obviously steeped in the conventions of modal playing, her improvisations generate a great deal of passion and excitement. Her fine pianist Alessandro La Corte tends to adopt a hard-bop stance in his solos, and he contributes some first-rate improvisations that are both imaginative and rhythmically appealing. In contrast to most of her playing on the CD, Marciano's warm alto reading of the melody of "Stars Fell on Alabama" shows that she can easily move to a more conventional, non modal style when she wants to.

Jazz TimesDavid Franklin

Carla Marciano is a child prodigy who grew up to be a serious-minded jazz musician. Even her choice of instrument is uncanny and remarkably prescient. Both alto sax and sopranino sax she wields with a natural grace and ease that can mark the musicianship of someone who has played it devotedly for many decades longer than she has been playing it's pure genius at play, liberally peppered with unmitigated inspiration. Carla hails from, lives in and works at Salerno near Naples in Italy. She, like an increasing tribe of intellectually refined jazz musicians, teaches music whilst playing at gigs all over Europe, especially at jazz festivals and jamming with internationally acclaimed maestros from US and other places where jazz is more dominant, more entrenched. This does not mean jazz in Italy is a freak phenomenon, for the reviews and liner notes on her jazz cd tell us otherwise: the jazz scene is pretty as much vibrant as in any similar developed nation—a statement that's roused my personal inquisitiveness a notch higher than usual. Her jazz CD: Trane's Groove is a collector's item. Ostensibly dedicated to the memory of the late master of saxophone and one of the very few stalwarts in serious jazz who left his immortal mark on entire course of jazz history. Coltrane's whip-lashing style and innovative ideas in jazz improvisation pretty much laid the foundation for Free Jazz to follow—with some musicians going off into more exotic territories like avant-garde, and some making Free Jazz their life-force, their station in life as it were. Carla seems to have thrashed out her own course through the woods, and makes it a pleasure for us to accompany her on a fanciful sortie now and then. Carla's lyricism shines through every number like a lighthouse submerged under water of several streams, for thats what here sidekicks are each one of them rushing in a helpless gush to keep pace with her restless march towards lofty ends...” She shows her professional acumen and sagacity by selecting the right tunes, the right personnel to make up her small but powerhouse combo, just the right balance of melody, harmony and improvisation which form the backbone of any such intellectually stimulating exercise. The title tune “Trane's Groove” one of her own compositions, kicks off the proceedings on a very lively note: the ensemble here sounds almost as if Coltrane has been reincarnated into the shapely and attractive form of an Italian young lady, whose sax appears to be an extension of her body: not an artificial appendage, but a lively and expressive member. Her unshackled improvisational outbursts on the second tune: “As Usual”, again penned by her, takes the listener's breath away. There’s a typical European touch to her post-modern hard bop style here, the sort of highly polished and intellectually uplifted style that is reminiscent of Jan Garbarek at his best. Carla's lyricism shines through every number like a lighthouse submerged under water of several streams, for that's what here sidekicks are—each one of them rushing in a helpless gush to keep pace with her restless march towards lofty ends. Before she signs off with her composition, rather simplistically entitled “Bye Bye Trane” she provides five more pieces: each one a juicy morsel, each one a self-expanding treasure within itself. One of the most remarkable number is “India Moods”, wherein she has blended seamlessly, some inspired sitar sounds and a bit of almost devotional singing from someone sounding uncannily like Ustad Shujad Khan. Carla chose to enter our world too late—decades after John Coltrane passed away. This fact brings to my mind at least, some of the very poignant observations made by the humorous American poet Ogden Nash: So many I love today were not born when so many I loved were alive... what wonderfully explosive combination would have Carla and Coltrane made, if they had met each other! The mind shrinks at the enormity of such an imagined encounter. Power to you, Carla, may you reach and scale effortlessly the highest peaks in your musical career.

All About JazzMax Babi

Saxist Carla Marciano evokes the spirit of John Coltrane in Trane’s Groove. Playing within the quartet setting, Marciano sets a tone that is both graceful and original. The compositions experiment within lush layers of transcending vibes that floats within a sea of spiritual certainty. Marciano rotates between bass players in Coltrane tradition, thus creating movement and balance. Each arrangement makes a definitive statement that ushers the collection forward and beyond the current acceptable levels of jazz. Songs are a tapestry of changing hues and textures. Where “As Usual” is pleasingly palatable, “India’s Mood” evokes flavors of change and risk. “Stars Fell on Alabama” is a melodic journey by a concisely focused group of musicians. Throughout the CD, each member shines. No one musician stands out or overpowers. Each song is a harmonious effort to hone the groove, while finding the voice that lingers within.

Jazz ReviewCheryl Hughey