Harold Lopez Nussa trio — Opening act, Captivating + ultrafastidious
Opening act, Harold Lopez Nussa trio
Could be provocatively entitled — “Seamline crescendos”
Enthusiasm as explosive energy, to staggering subtleness at play
Effervescence – as of the original note.
From trio to duo
A fever to communicate
Deliberate partial dissonances, again, Energetic refrains
Piano solo, wandering notes & Split-second timing
Then, earnestness – onto subjective, playful openness
Piano solo – a ballade of introversion
A rejuvenating simplicity
Becoming very personal, very expressive
Back onto trio – and a renewal of harmonious accordance
Clarity & crispness in the piano once released from the grip of the standard
Closure, as seamline crescendos of melody at final execution, triumphant release, then reluctant cessation of the onstage exchange (…) then onto (…)
Kenny Barron & Dado Moroni — A complementary Comprehensive — resolute authorship, yet coincidences
Initial number: Little Niles
Dual signatures
Pianos reunited as one.
Expansive,
Kenny Barron – his resounding authenticity in causal grace & conspicuous clarity
Sharpness evened out by consistent roundness
A bright circularity
Monk’s Dream – Thelonious Monk
High Fly – Ray Wilson
Dicey high notes, Singing waves
Elongated frames
Of Precipitous lengths, timely measures in creation,
Perspicacious rhythms — reconstructed as Duo once again,
A prolongation of accents, revealing structures of precise apparition
First Smile – Dado Moroni, solo, as ‘Baby’s first smile’: reminders, misplaced somewhere in our memories, cues to our own histories, implicit reminiscences
Patterns of shared roles, yet of each, sovereignty.
Château de Beaupré, Saint-Cannat, July 2016 © carasdesign — All rights reserved
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