I am grateful for having been nominated for this year’s prestigious TOP JAZZ, Musica Jazz’ award, in the category New Talent and Album of the Year. Grazie! Read on Musica Jazz

I had a chat with Libero Farina from Musica Jazz, Italy’s leading jazz magazine.

Read on Musica Jazz

Source: Radio P2

Read at: All About Jazz

Source: Västerbotten Kuriren (full copied text under “Read more”)

Source: Västerbotten Kuriren

En italiensk basist, tydligtvis bosatt i Stockholm, heter Ilaria Capalbo och har komponerat en musikalisk svit med motiv från sin uppväxtmiljö. Från Neapel är avståndet över havet inte långt till Kartago, som fått ge namn till musiken.

Nu vet jag inte om denna var särskilt avvikande eller orientalisk, normalt jazzmusikalisk snarare, och mot det finns ju inget att invända. Några sökande, trevande avsnitt från saxofonisterna kunde tänkas eftersträva viss mystik, men tjänade mera som tempoväxlingar i spelprogrammet. Att uppfatta kompositionerna som bildmusik föreföll bortkastad möda.

I stället fick vi uppleva sköna melodier och stämföringar för blandad rörblås, för Thomas Backman och Fredrik Nordström, där de båda ömsom kom samman, ömsom gick isär, i vackra dialoger. Samspel mellan altsax och tenorsax är ju en klassisk jazzmusikalisk formering, här ypperligt utförd. Nya altsaxen Backman har efter några säsonger i hetluften vunnit stadga och spelar med mod och självtillit, Nordström är en veteran som gav ut plattor redan för femton år sedan, och här uppvisar full attack och uppmärksamhet i arbetet. Tillsammans sökte de både medhåll och kontrast i Capalbos slingor.

En låt hette Scintilla, italienska ordet för Gnista, där även Capalbo själv tog sig in i handlingen som solist med en sorts dansande tonfall över strängarna. En annan hette Beloved, där blåsarna gav sig hän som ett hänfört dubbelkommando, och trumslagaren Fredrik Rundqvist höll allting samman med tyngd och överblick.

Återstår att nämna gitarristen Andreas Hourdakis som till en början fick breda ut sig ordentligt innan blåsarna kom loss. Det var långa resor mot en smärtgräns.

Sammantaget var detta en högst njutbar spelning av en nybildad grupp med Ilaria Capalbos kompositioner som fast kapital. På en skivinspelning av det här materialet medverkade ytterligare två blåsare för extra emfas. Resurser finns för en utvidgning.

Gunnar Balgård

Source: Folkbladet (full copied text under “Read more”)

Source: Folkbladet

“En ny bekantskap för Jazzstudions publik presenterar sig på torsdagskvällen - italienskan Ilaria Capalbo, basist och kompositör.

Ja, verkligen en kompositör av samma slag som Duke Ellington och Charles Mingus, inte bara en skapare av enkla teman för att rama in solisterna.

Hennes verk är helgjutna kompositioner där soloinsatserna också är integrerade och fördjupar de skrivna avsnitten. Den grupp musiker hon samlat kring sig klarar den uppgiften på ett beundransvärt sätt.

De två blåsarna, Fredrik Nordström och Thomas Backman, dubblar på flera saxofoner och träblås, vilket ger stor variation i klangbilden. Gitarristen Andreas Hourdakis är med sitt distinkta spel och luftiga ljudbild en viktig kugge, liksom den synnerligen flexible trumslagaren Fredrik Rundqvist.

Capalbo själv är den som med sitt både rörliga och handfasta bas-spel håller ihop ensemblerna och hennes solon blir aldrig virtuosa uppvisningar utan har en logisk anknytning till kompositionerna.

Liksom Mingus på sin tid, dirigerar hon gruppen med sitt instrument.

I några av styckena vilar en ellingtonsk stämning över ensemblerna, speciellt i de två saxarnas stämföring. Båda är frifräsare, men lämnar aldrig jazzens huvudfåra ens i de halsbrytande kollektiva improvisationer som dyker upp här och där.

Ibland bildas ett collage av ljud och ljus när Nordström utforskar tenorsaxens höga register, Backman mullrar med basklarinetten och Hourdakis leker med rymdklanger, samtidigt som Capalbo och Rundquist lägger en gungande, komplex rytm i botten.

Varje enskilt nummer har sin egen karaktär och jag förundras hela tiden över hur känsligt Nordström och Backman rör sig mellan de fria, improviserade avsnitten och Capalbos komponerade riktlinjer.

Musiken blir en levande organism, som ständigt förändras och förnyas. Att den är både livsbejakande och lätt att ta till sig gör inte saken sämre.

Capalbo har sannerligen hittat en egen väg, där komposition och improvisation smälter samman till en syntes, som berikar och utvecklar musiken. Det var något märkvärdigt vi fick vara med om i Studion den här kvällen, något som gör en nyfiken på framtiden.”

MUSIK

Ilaria Capalbo - Karthago

Studion, Umeå Folkets Hus

Publik: 150

Betyg: 5

Read at: All About Jazz

“For her debut as leader, bassist Ilaria Capalbo takes as her muse the ancient city-state of Carthage, the former Mediterranean powerhouse, in what is today modern Tunisia. Repeatedly sacked by a series of invaders, Carthage's colorful history, and its near mythical figurehead, queen Alyssia (or Dido), has inspired writers, poets and composers since Roman times. It is a bold canvas on which to inscribe musical notation, particularly for a debut, but the Stockholm-based Italian's writing for this lithe quintet, full of swing and improvisational fires, is a match for her thematic ambition.

A heavy concept album then? On the contrary. Bright melodies and sympathetic counterpoint abound, while the rhythms—steered by the leader's spare, earthy sound and drummer Fredrik Rundqvist's nuanced animation—are never cluttered. And while Thomas Backman (alto saxophone and clarinet) and Fredrik Nordstrom (tenor and baritone saxophones) do create sparks with their freely improvised exchanges, their deft harmonic lines color these eight originals to equal degree. This balance between alluring melodicism, unhurried grooves and bursts of unrestrained release is perfectly encapsulated in the opening track, "Beloved," which features a solo of fluid luminescence from guitarist Andreas Hourdakis and additional muscle from guests Tobias Wiklund on cornet and Mats Aleklint on trombone.

It might have been tempting for Capalbo to harness the full power and range of the septet throughout Karthago, but the remaining compositions for her core quintet provide a convincing argument for less is, well, plenty already. Beguiling, the episodic "Part 1. Ab Radice;" bowed bass, whispering cymbals and lowing horns bookend a flowing narrative, with unobtrusive pulses and horn motifs underpinning Hourdakis' sparkling, though measured solo. On the slow waltz of the title track, noirish, prowling bass and soft brushes guide the horns' slowly curling melodicism. The spell of their tender reverie is punctured by Hourdakis' exhilarating interjection, a tempest that whips the horns into feverish response. After the storm, however, the gentlest of codas.

Sparer still, is the vignette "Mare Nostrum," an intimate duet between bassist and guitarist, while the bare-bones architecture of "Scintilla" invites solos from Nordstrom on tenor followed by the ever-lyrical Capalbo, and, over a unified ostinato, a brief flurry from Rundqvist. Backman widens the sonic palette on the bass-and-brushes steered ballad "Moth," his clarinet lines transitioning from dreamy nostalgia to gentle playfulness. Form and freedom meet head-on in "Part II: Ago Radices," with spiralling horns letting off steam over a bass-cum-guitar vamp. Here, Hourdakis again shines, down the home stretch, as the horns return the supporting favor. "What Remains of Those Days" is a tale of two halves as Backman and Hourdakis' understated elegance gives way to Nordstrom's stormy exclamations on baritone saxophone, placing an emphatic seal on an impressive album.

With her debut Capalbo delivers an unequivocal statement of intent. This is a mature sounding, seductive work of immediacy, depth and beauty.”

— Ian Patterson

Source: LIRA

“Ni som hört Fredrik Nordströms trumlösa Dolores-kvartett har redan lagt märke till basisten Ilaria Capalbos starka, visionärt arkitektoniska spel. 

Nu släpper den Stockholmsbaserade italienska basisten sin debutskiva Karthago med originalkompositioner under eget namn med titelspårets ödesmättade vemod i zenit. Capalbo har samlat en högoktanig blåskvartett med Mats Äleklint, Tobias Wiklund, Fredrik Nordström och Thomas Backman framför trumslagaren Fredrik Rundqvist och gitarristen Andreas Hourdakis i kompet med henne själv. 

Öppet flödande kammarjazz med inslag av fri form och folkvisa närmare ett neapolitanskt landskap som i Ab Radice, på ett samtida sätt med Ilaria Capalbo som orkesterns givna ryggrad. En septettlåt som Belóved för tankarna till Johan Lindströms kalejdoskopiska värld, och det är skimrande vackert hur Capalbo lägger blåslinjerna kring Äleklints uttrycksfulla trombon och Wiklunds skira kornett och går över i melodispel på kontrabasen i dialog med Hourdakis lätt distade gitarr. 

Och sen på duo med Andreas Hourdakis sträcker Capalbo ut rejält och följaktligen är det Mare Nostrums skimrande vattenspeglar, där Capalbo och Hourdakis jagar speglingar i och under vattenytan som initialt hamnar på repeat på denna starka debutplatta.”

— Magnus Östnäs

Source: PTA

“This is twice in one week that I’ve reviewed an album that focuses on the idea of the bassist as leader in jazz. With the David Finck album, he was simply an extraordinary bassist who could add another layer to the sound of fairly conventional compositions. But Italian bassist Ilaria Capalbo approaches her music from a completely different direction. Her new album Karthago, inspired by the ancient and tragic city of Carthage, comes from a darker and somewhat subdued land. At this music’s core, however, there’s a delicate surprise.

These eight original compositions are intriguing and original and far from an attempt to add another entry to the Great American Songbook. No, this is haunting music that strikes you as completely new. In contemporary jazz, that often means going off the tracks at least once in a while, but the magical element here is Ilaria Capalbo and her bass, always keeping everyone true to the melodies.

Ilaria Capalbo strikes me as the contemporary jazz equivalent of Paul McCartney. I’ve had plenty of arguments about who’s best, Jaco or Les or Ox or, in one surreal case, Geddy Lee, but I always throw McCartney into the discussion because I know it will trip up at least one person. Here’s the thing–when I listen to Paul’s bass, I get easily sucked in. I start hearing this wonderful little song within the song, a song that was mostly unknown until people stopped listening to the Beatles on little transistor radios. Ilaria Capalbo is always like that. Focus on her bass playing, and you’ll suddenly find another beautiful song in the still, deep water.

Aside from Ilaria Capalbo and her supremely musical bass, there’s a stunning and versatile ensemble following her lead–guitarist Andreas Hourdakis and drummer Fredrik Rundqvist are an adventurous core, and Capalbo has invited a few guests along the way, horns and reeds that also fall under her spell. There is darkness here, a sharp edge there, but if you find yourself drifting just work your way back to Ilaria Capalbo, who’s probably playing a song that not everyone can hear.”

— Marc Phillips

Source: Salt Peanuts

“Italian, Stockholm-based double bass player-composer Ilaria Capalbo’s first album as a bandleader tells the story of the ancient and once-powerful North African metropolis of Karthago, ruled by the legendary Queen Dido but doomed by its proximity to the Roman Empire. Capalbo is known as the co-leader of the Italian trio Kósmos, a member of Swedish sax player Fredrik Nordström’s Dolores band (Nordström plays in this album, mixed, mastered and produced it and released it via his label, Bluenord Records) and of the European trio of Japanese pianist Chihiro Yamanaka. «Karthago» was recorded at BAS Bandhagen in Stockholm in April 2021.

Capalbo composed eight pieces, rooted in the jazz legacy but leaving enough space for her band to improvise on her compositional ideas that tell the mythical legend of Karthago. It is a musical story of resilience, courage and vulnerability, of the courage to build things from scratch and pursue a vision, against all odds. She is enjoying the company of sax players Nordström (on tenor and baritone saxes and alto flute) and Thomas Backman (on alto sax and the clarinet), guitarist Andreas Hourdakis and drummer Fredrik Rundqvist. Cornetist Tobias Wiklund and trombonist Mats Äleklint join her band on the opening piece «Belóved».

Capalbo’s compositions are connected as a long suite. All tell detailed and often sensual,  contemplative and harmonious stories, based on rich, melodic themes fleshed out with short solos of her band’s musicians, except of guitarist Hourdakis who converses closely with Capalbo (check out their touching duet on «Mare Nostrum, Our Sea», the ancient name of the Mediterranean sea). Capalbo herself leads her band with natural command and opts for a collective, layered sound of the band that relies on the strong but lush rhythmic backbone of hers. She concludes this impressive suite with the moving, uplifting melody of «What Remains of These Days».

Simply beautiful.”

Eyal Hareuveni

Source: Uk Vibe

“Now based in Stockholm, Italian bassist and composer, Ilaria Capalbo, has become immersed within Sweden’s thriving jazz scene that sees her star continually rise amidst some of the exciting musicians currently making and performing jazz music in the country today. And following the release of her debut album, ‘Invisible Atlas’ (2018), the versatile and dynamic bassist has found herself enjoying the fruits of a creative bubble that the following year went on to deliver the debut release from KÓSMOS – the trio project that pairs Capalbo alongside pianist Stefano Falcone and drummer Giuseppe D’Alessandro – as well as serving as bassist to saxophonist Fredrik Nordström’s DOLORES project and honing her skills as a seasoned live performer gracing stages in Sweden, Italy and throughout Europe. And on that note, there’s a riveting collection of YouTube videos that chart the range of Capalbo’s musical performances showcasing her alongside KÓSMOS, Chihiro Yamanaka Electric Trio, Susanna Risberg, Stefano Falcone and some live renditions of tracks from ‘Karthago’ as well that are all such a joy.

Capalbo’s penchant for wearing her influences on her sleeve is a particularly endearing quality when considering her music to date. As part of her KÓSMOS collective, their album ‘Back Home’ (2019) is created as something of a tribute to Lennie Tristano with the trio lovingly reinterpreting and reimagining compositions by the American pianist, composer and educator. With ‘Karthago’, Ilaria seeks inspiration from an entirely different source – that of the legendary Dido who fled tyranny to found her own city in northwest Africa named Carthage (from the Latin, Karthago).

Throughout the album’s eight tracks, Capalbo’s inspired and incredibly ambitious project seeks to outline the city’s fabled past charting the tragedy that served as its catalyst with ‘Belóved’, its humble beginnings in ‘Part I: Ab radice’ and finally to lament its long-lasting legacy with ‘What Remains of Those Days’.

The story is brought to life by an excellent array of artists and musicians with the core quintet comprised of Capalbo on bass and compositions, the aforementioned Fredrik Nordström on saxophone, Andreas Hourdakis on guitar, Fredrik Rundqvist on drums and Thomas Backman on saxophone and clarinet; Tobias Wiklund (cornet) and Mats Äleklint (trombone) add further layers to the album opener, ‘Belóved’. ‘Karthago’ absolutely delivers as a real passion project in the same way that passion exudes from all of Capalbo’s musical endeavours. This is an album boasting a series of wonderful moments from the emphatic opening number to the incredible title track that, following its sublime first half, descends into a gloriously chaotic finale.

Both Dido’s and Carthage’s legacy lay in the success they each achieved against insurmountable odds. Starting from practically nothing, under Dido’s leadership, Carthage quickly became a thriving Mediterranean city and a subsequent rival to Rome. The music throughout is performed with the majesty befitting a story and history of such reverence and it serves as not just a fitting tribute to its inspiration but also to the immeasurable talents of Ilaria Capalbo as well.”

— Imran Mirza

Source: Mondo Jazz

Source: No Treble

“Bassist and composer Ilaria Capalbo has released her stunning debut album, Karthago, which blends the jazz tradition with contemporary improvisation. The eight original pieces are inspired by the city of Karthago, which was ruled by a legendary queen but “doomed by its proximity to Rome.”

“It’s a musical tale of resilience, courage, and vulnerability; part ancient history, part myth,” a press release explains.

Capalbo’s writing is lush, with arrangements that span the spectrum between an intimate duo on “Mare Nostrum” and chamber orchestra sounds that evolve into chaos on the title track. Her rich bass tone, delicate touch, and thoughtful melodicism tie it all together into a cohesive sound.”

— Kevin Johnson, No Treble

Read at: Jazzit

Read at: Hyperlocrian

Source: All About Jazz Italia

“Nell'epoca dell'accelerazione permanente in cui ogni idea deve essere smart e leggera affinché possa cogliere in pochi secondi la fragile attenzione di un pubblico stordito da infinite ondate di suoni, di immagini e di notizie, soltanto gli artisti dotati di una propria voce autentica possono avere il coraggio di dare vita a opere concettuali che richiedono (e meritano) tempo e attenzione, e che sono fondate sul desiderio di condividere emozioni e significati profondi.

È sicuramente un'opera di questo genere Karthago di Ilaria Capalbo, un album che rappresenta —attraverso otto composizioni originali permeate da una dinamica fusione tra sonorità del jazz classico con elementi di improvvisazione contemporanea—la fondazione, l'ascesa e il declino dell'antica città di Cartagine.

Così come Cartagine nella storia e nella mitologia a un certo punto ha smesso di essere una città per diventare un simbolo di resistenza, coraggio e fragilità al cospetto di Roma, città eterna e capitale del più grande Impero mai costruito dall'umanità, allo stesso modo la musica di Ilaria Capalbo e dei sei virtuosi musicisti che l'accompagnano in questo viaggio fuori dal tempo e dallo spazio sprigiona una luminosità trascendentale e un'energia che restituiscono il senso di una rinascita.

Ilaria Capalbo riesce a restare sempre al centro di quest'opera, dirigendo la band con altruismo e coraggio, oltre che con talento smisurato. Basti pensare a come riesce a scomparire all'interno dei brani (nella opening track "Belóved" per esempio, laddove il contrabbasso fa la sua comparsa solo dopo un minuto e mezzo, al termine dell'iniziale esplosione orchestrale) pur rimanendo sempre presente nel dettare la direzione e i tempi alle varie componenti.

Dal punto di vista strettamente musicale, il disco è davvero stratificato; la ricerca armonica è perturbata da uno scontrarsi naturale fra il classico e il postmoderno, che genera un caos calmo di meditazioni agitate, temi brillanti, rotture tonali, tempi acrobatici, smottamenti.

Si passa dalle stasi metafisiche tipiche del jazz sperimentale nord europeo e scandinavo in particolare (l'apocalittica "Mare Nostrum" per dirne una, in cui la band, attraverso la tensione ieratica di fiati e di percussioni, mette in scena l'incombere di una tempesta o di un plotone di battaglia) alle perturbazioni improvvisate ai limiti del rumorismo (la radioheadiana "Part I: Ab Radice"); e ancora c'è spazio per il classicismo da camera sognante della fiabesca "Scintilla," che come colonna sonora di un film di Matteo Garrone ci starebbe benissimo, e per sonorità di stampo più classic jazz ma comunque contaminate da percussioni e corde suadenti dal sapore mediterraneo in pieno stile Avishai Cohen.

Cartagine infine cadde. La sua Regina e fondatrice Didone morì suicida per amore. Eppure questo mito di resistenza continua a perpetuarsi nella memoria, anche attraverso l'arte e la musica, come dimostra questa importante opera prima di Ilaria Capalbo come band leader.”

Read at: Bass Magazine

Source: Bass Magazine