The old-fashioned style of the album cover introduces the project, but it is above all the title, Encounters, that serves as the key to understanding the work: this album is, first and foremost, a meeting between two distinct yet deeply compatible artistic visions
Rubino and Genovesi do not seek a forced compromise between their sensibilities; on the contrary, each maintains their own identity, choosing to present individual original compositions, while relying on the ensemble’s interpretation and mutual rapport to find a common voice. Thus, Rubino contributes Nevrotica, Encounters, Infant, and Bataclan, while Genovesi responds with Possibilità, Ornette, and Smell of Spring. Rubino’s tracks lean more toward the experimental realm, while Genovesi’s compositions evoke the golden age of jazz. The ensemble nonetheless manages to give the pieces a cohesive sound, resulting in an album that is unified and musically engaging.
Rubino’s pieces are generally characterized by more aggressive rhythms, and the group seems to revel in the frantic tempo of Encounters—perhaps the most representative track of their style—driven by a garage-jazz beat and a wild interplay among the instruments. Nevrotica takes a few minutes to find its groove, but after a disjointed beginning, it launches into an intriguing rhythm that supports the instrumental dialogue. Bataclan, dedicated to the legendary Parisian theatre, is even better: Cristofaro, Rubino, and Genovesi explore an expansive atmosphere with long phrases on their respective instruments. More than dialogues, they are melodic monologues—but a pleasure to listen to.
Genovesi’s compositions come across as more nostalgic, beginning with track titles that echo another era (Possibilità, Smell of Spring) or more explicitly pay homage to one of jazz history’s giants—one of the genre’s most influential figures: Coleman, referenced in the track Ornette. The first two tracks are characterized by elegant and pleasant melodies, while the third is more angular. Of the three, Smell of Spring stands out for its refinement—it is a technical challenge for the entire group, but above all, a new, successful encounter between their different musical personalities.
Encounters is, overall, a dense album, rich with ideas, demonstrating how diversity can be a strength when placed in the service of dialogue. It is not background music—it is music that demands attentive listening, that gradually reveals itself, that allows space for the unexpected, yet is built on a solid understanding among conscious musicians.
Giovanni Baleani
