# A performance that imposed itself on the large apparatus of noises offered by Piazza XXVI with bells – Eugenia Canale Trio: Video, Photos

- Link: https://jazzblues.eu/2024/08/30/a-performance-that-imposed-itself-on-the-large-apparatus-of-noises-offered-by-piazza-xxvi-with-bells-eugenia-canale-trio-video-photos/
- Published: 2024-08-30T00:02:02+01:00
- Author: https://JazzBlues.EU

**The sixth edition of the Ombre di Jazz Festival, organized in the center of the
town of Bogliasco by the Artistic Director Luca Falomi, guitarist and composer, 
with the support of the Municipal Administration and the Pro Loco, opened with a
pleasant surprise.**

Eugenia Canale, a young pianist with a classical and jazz background, active as 
an author and performer in both fields, presented with her new trio, with Riccardo
Fioravanti on bass and Nicola Stranieri on drums, a set full of suggestions and 
references to world music, interpreted with lyrical sensitivity and open communication.

The enveloping atmospheres of “Gabbiani“, a song from the recent CD “Risvegli” recorded
in a quartet with Max De Aloe, Fioravanti and Marco Castiglioni, introduced a concert
conceived as a review of the music most loved by the protagonist.

![](https://i0.wp.com/traccedijazz.com/wp-content/uploads/2024/08/ec.jpg?w=640&ssl
=1)

With a large section dedicated to the Brazilian choro, including originals, by Canale
and Fioravanti (the rarefied and fascinating “Neve“) and interpretations (“Choro
dancado” composed by Maria Schneider), other original compositions with expressionist
tones such as the title track of the CD “Risvegli“, or a recent dedication to the
vibraphonist Joel Ross (“Jewel”) and a reinterpretation of “Il paradiso dei caciottelli”
by Maria Pia De Vito.

To test the pianist’s interpretive skills, also two pieces by Egberto Gismonti (“
Loro” and “Frevo” proposed as an encore), with complex harmonic architectures. Choices
indicative of a predilection for the cultured side of South American music and beyond,
which Canale however manages to naturally blend with the world of jazz and improvisation,
in a process of full harmony and exchange with Fioravanti’s bass, often engaged 
in a co-protagonist role with solos rich in narrative charge and with the discreet
but essential drums of Stranieri.

A performance that imposed itself on the large apparatus of noises offered by Piazza
XXVI Aprile with bells, passing trains and children’s games, capturing a large audience
in which the tall figure of Dado Moroni stood out, who was one of Canale’s masters
in the field of jazz.

![](https://i0.wp.com/traccedijazz.com/wp-content/uploads/2024/08/ec.jpg?w=640&ssl
=1)

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