Emanuele Filippi - Carousel (2024) [Hi-Res]

The influences are quite varied. This group is conceived as a midpoint between a jazz ensemble and a chamber music quartet, merging these two traditions. On the jazz side, the closest influence would be the trio and quartet groups of Paul Motian, which played without a bass. On the classical side, I was inspired by the chamber music works of Debussy and Ravel.

In addition, there’s a touch of folk melody—something that evokes traditions, whether it’s French chanson, tango, or even sacred music. These elements, combined with the modal jazz influences of artists like Kenny Wheeler and Joe Henderson, shape both my compositions and the group’s improvisations.
How would you define the sound of “Carousel”?

I would define the sound of Carousel as dreamlike and atmospheric, yet infused with a tribal energy. There is also a great deal of silence in this album, which I find equally important. I like to think of some melodies as having the quality of a prayer, intimate and reflective.
Can you tell us a little about the musicians you’ve brought together for this recording? What drew you to each of them?

Cosimo Boni is an extraordinary musician who also recorded on my previous album, Musica Fragile. He truly shares my musical vision: taking great liberties with the initial composition while always respecting the direction the music is heading. Above all, he has an incredible ability to create space for others.

Matteo Pastorino is unique on his instrument, the bass clarinet. He has a deep understanding of jazz tradition but expresses himself without relying on clichés, singing every single note with sincerity.

Mattia Galeotti is an experienced and highly musical drummer with a vast knowledge of repertoire. He has the versatility to play in both coloristic and more rhythmically driven contexts, always bringing depth and nuance to the music.
How does the quartet’s dynamic evolve in live settings compared to the recording process? Are there particular challenges or freedoms in performing this repertoire on stage?

When we play live, we often let the arrangements of the pieces we already know emerge spontaneously. This means they can end up being very different from one concert to the next, bringing a sense of freshness and unpredictability to each performance.