Emanuele Cisi

"An album that puts jazz at the center. Emanuele Cisi records his first release for Mono Jazz (Right Tempo) returning to those elements from which everything begins and in which everything is fulfilled. With melody and swing, a deep sense of blues—not just as a style but as a fundamental state of music—and spirituality, the improvisation here becomes a space where the pieces reveal themselves as springboards for self-expression.

Rushin’ is not merely a collection of references and tributes, although there are some; instead, it embodies a spirit and an approach where the performance isn’t what matters. The recordings took place over just one weekend, resulting in a mere take and a half—two takes at most—to preserve the energy and inspiration of that initial discovery. Because playing a piece is about discovering it. Take, for example, "Baubles, Bangles and Beads," originally a ¾ waltz transformed into a Broadway classic when sung by Frank Sinatra. Here, it’s infused with the essence of John Coltrane, sounding as if it’s at the crossroads of "My Favorite Things" and "Inch Worm." Similarly, Cisi’s original "Pharoah’s Message" reaches towards a spiritual jazz that has, in recent years, captivated younger audiences, as seen with artists like Kamasi Washington and Shabaka Hutchings. It honors both Sanders and Coltrane—one of Cisi’s heroes, alongside Lester Young and Sonny Rollins. An album like this demands, of course, an authoritative knowledge of the genre. Cisi on saxophone, Dado Moroni on piano, Nicolas Thys on bass, and Jorge Rossy on drums form a powerhouse quartet. In some pieces, they expand to a quintet with the young trumpeter Cesare Mecca, who’s not yet 30, joining in.

They breathe new life into the Blue Note vibe of Hank Mobley’s "My Groove You Move" and pay homage to Lee Morgan’s ‘Sidewinder’ with "Boogaloop". Cisi and Moroni are both heavyweight talents with a profound love for jazz, complemented by Tys and Rossy, who, having shared a home in New York for a time, create a solid and swinging rhythm section—ideal for a jazz centered recording session.

Whether it's Cisi’s original "Rushin’," Jackie McLean’s "Little Melonae," or Moroni’s "Ile de Roume," which blends a European sensitivity with a gentle Cuban influence, each piece shines. "Hi-Fly" pays tribute to Randy Weston with its perfect melody, even if built on just two notes. The homage to Coltrane’s lyricism is also evident in "Never Let Me Go," a ballad that quotes the tail end of "Naima." Rushin’ is an album that celebrates jazz not as a lesson but as a personal and collective experience—a matter of men and style." - Gianluca Runza