All the compositions on Between Loves, my debut recording for the ZOHO label, were composed during my first years in this country. The title subject "Between Loves" of this CD is still a current theme in my music and my life, which is always an issue for a person with an immigration background like myself - in my case, from Uruguay to New York.
Between loves - it's love for the music, the kind that touches us in a very deep place in our souls. It is an addictive force beyond our understanding that makes one travel cross the whole world in its pursuit. What is that strong and inescapable energy that makes one pursue this love? Yet, other loves are never left behind. This is what is present in each and every single one of these tunes.
It is not music from the North or South, nor from "here" or "there". It is in between, between loves.
Hurry is an arrangement of a popular song composed by Hugo Fattoruso, a great Uruguayan musician who composed hundreds of really beautiful tunes.
When I was about to start writing this arrangement, I contacted the composer to ask him for the lead sheet of the tune, to have a better idea of what was he thinking about when writing it, as all my references up to that moment were recordings. I realized that the melody written on the lead sheet differed a lot from the live versions which I had being hearing. On his live recordings, he was singing much richer rhythms. So I decided to transcribe these rhythms and they became the main characteristic of my arrangement. The combined horns play these complex rhythms, unlocking the tune and making it flow in a more magical and fresher way, much as the live versions of this tune that I heard from Hugo Fattoruso.
Woman Dreaming of Escape was inspired by the great Argentine Tango pianist and composer Osvaldo Pugliese, Stravinsky’s music - mainly the first and third of his “periods” - and by the works of Catalan surrealist painter Joan Miro. Some years ago, I wrote this extended piece as a final project for a music class, and my goal was to write a sort of abstract tango. At the same time life was going by, many things were happening in my life…
I had the opportunity to spend time in Barcelona as a student ambassador and in my free time, I escaped to see the works of Gaudi, Picasso, Dali and Miro. Miro had the deepest impact on me. I felt I was witnessing his whole evolution. I spent a whole day in his museum, overcome with emotion, and it was there that I discovered his painting: “Woman Dreaming of Escape.”
On Big Boss, their third offering and debut ZOHO CD release, Charlie Apicella & Iron City renew the traditional organ group sound. Rife with swing, up-tempos and ballads, each song has its own story and groove. Of the eight tunes, four are penned by Apicella, the other four are covers of Grant Green, Willie Dixon and not-oft-instrumentally-heard MoTown classic by Holland-Dozier-Holland.
I conducted an interview with Charlie Apicella and found that he, along with Alan Korzin, drummer and co-producer on this date, has assembled a CD of love; love of classic jazz and blues and love for the musicians who the pair credits as influences. For Apicella they range from Lester Young to Gene Ammons and Miles Davis; with Grant Green, Wes Montgomery, Barry Galbraith, Dave Stryker, Yuseef Lateef and even Frank Sinatra his top influences. He says, “I have a deep love of the Count Basie big band and have based almost my entire chord style on Freddie Green’s.”
According to Korzin, “most of the classic recordings we love feature a core rhythm section supporting the leader of the date. For organ music it was the Don Patterson/Billy James unit, “Big” John Patton/Ben Dixon, and Larry Young/Elvin Jones. We also love the more well-known piano-based rhythm sections.”
Sheila Anderson: How did you come to name the band Iron City? Was it a nod to Pittsburgh?
Charlie Apicella: it is not a reference to any specific place but more the imagery that I am seeking. My music has a strong foundation and is built on a solid structure of grooves, like a building’s beams made out of steel and iron.”
SA: What is your connection with Yusef Lateef?
CA: Before moving to New York City, I lived in Western Massachusetts while Yusef Lateef was a professor at UMASS. I had the good fortune to get private lessons with him where I brought in my original tunes. He taught me how to take the craft of composition seriously, that it is as much a part of one's work as a competent and engaging solo.”
SA: Describe your guitar playing.
CA: I take great pride in my guitar tone and I strive for a direct, thoughtful approach to improvisation. From the masters I have learned that a solo isn't only about the individual, it must also enhance the groove, progress from beginning to end and tell a story. I try to play with clarity and lay down some listenable, digestible, soulful ideas. I can learn something from any solo I hear. The important thing with most of these masters is that they are great composers as well as improvisers.
SA: What is your approach to writing? All of your songs on this CD are distinct. I especially love your beautiful ballad “Amalfi.”
read more: http://www.zohomusic.com/cds_detail.php?cds_id=137
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