Claudio Scolari Project | Intermission (March 2023)

1.Cannoli on Board 2.Croque Monsieur 3.Ice Glitter 4.Don’t Look Back 5.Intermission 6.What How 7.Seven Four 8.Damn Funk 9.Rainbow Mirror 10.Hidden in The Sand 11.Come With Me 12.Come With Me (part 2) 13.Pullulation.

Musicians:
Claudio Scolari – drum set 1, synthesizer programming Daniele Cavalca – drums set 2, synthesizers, Rhodes, piano Simone Scolari – trumpet Michele Cavalca – electric bass

Claudio Scolari is a tireless musician, always in search of new experiences and sounds. He has just released his seventh album with his Claudio Scolari Project, titled “Intermission”. Twelve songs composed and produced by Claudio Scolari and Daniele Calvaca.

The first song we find is “Cannoli on Board”, which is a mix of modern jazz but with hints of classic jazz. The piano ostinato directs the development of the composition and around it the rest of the components are incorporated with their own lines, more or less progressive, but faithful to the original. An original song where improvisation has its place.

“Croque Monsieur” has a powerful start with drums and bass, which doesn’t let up for a moment. In the background the trumpet incorporates lines that, to a certain extent, soften the focus, until the synthesizers and piano go wild in an orgy of sound and force. The ostinato dominates the composition.

“Ice Glitter” brings calm after what has been experienced. Electronic, special and spatial sounds, experimenting and improvising together. Nice topic.

It is followed by “Don’t Look Back”, the rhythm of the beginning marks the steps that must be followed from now on. In line with the previous one, more rhythmic and forceful and with a greater number of tonalities. Catchy, funky electronic rhythm that moves you out of your seat.

The album’s title track, “Intermission,” the shortest, is based on a series of bursts of notes, without melody. Free jazz.


The longest song on the album is “What How.” The piano opens the fire, supported by the trumpet, drums and bass, looking for something to hold on to. Little by little it is gaining momentum but maintaining the structure of the beginning. Improvisation at the service of non-improvisation.

“Seven Four” has a similar structure to the previous cut, somewhat repetitive, gaining in intensity as it progresses.

“Damn Funk” is progressivism based on touches of piano and synth, with the bass and drums marking funky territory. The trumpet sounds like Davis, as in other moments on the album. Another theme with a predominance of electronics.

It’s time to calm down, and “Rainbow Mirror” does it. Theme with bass and percussion as main actors.

“Come With Me” is divided into two parts of practically the same length, both totaling just over thirteen minutes. The first part presents us with a trumpet with a beautiful ethereal sound, which is superimposed on the bass and keyboards, giving an immense spatial sensation. It could be part of the soundtrack of either of the two Blade Runner installments.

The second part begins with the piano exhibiting the melody of the first part. The melody continues to dominate the scene despite expressing a little more jazz intensity than the first part. “Come With Me” is the composition that I liked the most.

The album ends with “Pullulation”, a song in which everyone seems to go their own way, similar to what happens with the traffic of people or cars in a big city.

While it is true that electronic elements are not used excessively, it is no less true that their presence is palpable, so the acoustic sound is nuanced.

Experimental jazz album, avant-garde, free jazz, funky, experimental electronic, modern jazz, any of these adjectives, or all, can be applied to this album.

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