My review of Italian Roberto Bonati’s wonderful solo double bass recording, Vesper and Silence, today at All About Jazz.

Roberto Bonati may not be a name familiar to many jazz fans in North America, but at home in Italy and, increasingly, across Europe he has become a far more familiar face. Beyond inimitable talents as a double bassist, composer and conductor, Bonati has created a name both for himself and the northern Italian city of Parma for its far-reaching annual festival, ParmaFrontiere, first launched in 1996 and where he has remained Artistic Director ever since. ParmaFrontiere's name has gained even greater exposure since 2012, through the same-named record label that Bonati was instrumental in creating as an adjunct to the event.

The label's small but consistently creative and artistically experimental discography matches the festival's expansive purview, which explores both written and improvised music (and the nexus where the two meet). It is largely devoted to documenting works and projects germinating or performed at (but not exclusive to) the ParmaFrontiere festival, and that includes Bonati's marvelous 2019 solo bass outing, Vesper and Silence, recorded live in August, 2017. This 63-minute, 12-piece recording amply demonstrates, perhaps more than in any of the many other contexts in which Bonati has participated, the double bassist's broad musicality, deep vernacular and remarkable instrumental acumen, qualities which he has applied to other recordings in his own discography, and through his work with artists including, amongst many others, fellow Italians Mario Piacentini and, most notably, Gianluigi Trovesi.

Well known for his series of ECM recordings, including one-off projects like 2007's trio date Vaghissimo Ritratto and 2009's more ambitious All'Opera session, Profumo Di Violetta, Trovesi's more recent work is even better recognized for the clarinetist/saxophonist's longstanding collaboration with accordionist Gianni Coscia, the pair having released four albums for the label since 2010. Still, one of Trovesi's finest ensembles remains his Ottetto (Octet), featuring two bassists (including Bonati) and which, following two equally fine releases on Italy's Soul Note imprint (1992's From G to G and 1996's Les Hommes Armés), was responsible for its to-date high watermark, Fugace (ECM, 2003).

In addition to recording with Piacentini on the (sadly) almost impossible to find Circles (Nueva, 1991), Bonati has appeared on more recent, easier to locate recordings from the keyboardist like Néant (Incipit, 2014). A sparkling sextet date that, in addition to Bonati, drummer Marco Tonni and guest Trovesi, also includes another ECM label stalwart, Russian French hornist Arkady Shilkloper, alongside Norwegian saxophonist Tor Yttredal in the front line, delivering a standout performance at the 2014 Mai Jazz festival in Stavanger, Norway.

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