Doctor Faustus

Mitteleuropa Orchestra, the brainchild of Italian percussionist, Andrea Centazzo, was an unusual band, featuring a forward-looking all-star lineup that immersed itself in the often chamber-like compositions of its leader, mixing genres, exploiting the extraordinary improvisational skills of some of its participants, and exhibiting one of the most complete realizations of Centazzo's vision. The large group focuses on breakaway combinations of musicians within the larger structure so that the resulting sounds often project the feel of much smaller groups. The previously issued first four tracks of Doctor Faustus were recorded live in Bologna, Italy, in the first year of the band's existence, and are wonderful examples of the group at its finest, where the composer's landscapes set up a fiery contribution by violinist Carlos Zingaro on the opening "Musicaschema," followed by an extended trenchant solo by trumpeter Enrico Rava on "Third Environment for Orchestra," and a brilliant contribution by one of the string bassists on "Chirimia." The high proportion of reeds and percussion shifts the sound, giving it an airy quality, with strong individual improvisational efforts from a collective of Italians who include Gianluigi Trovesi on bass clarinet and alto sax, Carlo Actis Dato (who soars brilliantly on "Third Environment") on clarinet and baritone sax, and Roberto Ottaviano on soprano saxes. The last three previously unreleased numbers broaden the base, with radical trombonist Radu Malfatti joining on one piece, and trombonist Albert Mangelsdorff and clarinetist Theo Jörgensmann added on "Doctor Faustus," which is also bolstered by extra percussionists. There are flashes of brilliance throughout, with Centazzo's compositional backdrops and sometimes startling solos laying the groundwork. "Chirimea" offers a unique collective improvisation from Rava and flugelhornist Franz Koglmann, followed by two reeds, and throughout the piece there are surprises galore, with oddball rhythms and Zorn-like rapidly changing directions. The trumpet is featured again on "First Environment" and "Lost in the Mist," each to good effect, while the short but frenetic "Mittelmarch" allows Zingaro more space. "Dr. Faustus," dedicated to Manglesdorff, gives the trombonist considerable solo space, at first backed by sympathetic percussion and later performing a cappella. In all, a solid performance.