Federico Chiarofonte: Underbrush

Underbrush is the first project led by drummer and composer Federico Chiarofonte. The title is appropriate as it alludes to the undergrowth from which biological forms emerge, as well as a secure space where concepts can flourish. Those natural world elements are also reflected in many of the track titles, all eight of which were composed by Chiarofonte.

Chiarofonte is among those imaginative drummers who take on leadership and compositional roles as well as their role as rhythm specialist. The result of this is that they frequently use their compositional frameworks to provide freedom and space for their associates to thrive and become equal partners in the project. Joining Chiarofonte are pianist Vittorio Solimene and bassist Alessandro Bintzios. Although this is Chiarofonte's first project as leader, he and his collaborators have extensive club, festival and recording experience both in Italy and internationally.

"Porto Cupo" opens the album. A recurring figure, performed by Solimene and Bintzios, sets the stage for piano explorations centred on that theme. Piano and bass butt up against each other in "Speecher's Fight Circle," before their interchanges develop into a neat counterpoint. Bintzios' bass solo excels and Chiarofonte provides nuanced direction. Bintzios provides further excellent bass work in "Upas." Named after a plant from which a toxic substance is extracted, the track is full of unexpected turns, with Chiarofonte providing open, rhythmic paths for bass and piano to explore.

"Raja Clavata" opens with a repeating piano sequence and inventive drum runs; the mood of the track changes as it transitions into post-bop swing, before returning to the repeating piano sequence. Regrettably, the track ends frustratingly early without fully fleshing out some of the interesting thematic ideas.

Some excellent piano and bass interplay introduces "Eròoiogn"; in order to create a veiled, enigmatic atmosphere, the composer explores the Prometheus chord used by Russian composer Alexander Skrjabin. Two themes are alternated in "Lanius Collurio." Chiarofonte's elegant and perceptive drumming leaves the right amount of space for the counterpoint between Solimene's flowing lines and Bintzios' lyrical bass to sustain interest throughout. The gentle tempo of "Mayas" closes the album. The piano and bass entwine around the melody before moving away to improvise. Chiarofonte holds back, only coming forward when there is an opportunity to enhance the narrative.

The album has a lot of excellent compositional ideas; however, the 34-minute running time means some of the tracks could have used a little more room to breathe. Chiarofonte excels both in his compositions and in his deft use of the drum kit, while Solimene and Bintzios give creative performances. This appealing album makes a compelling debut, offering listeners a contemporary piano trio album with creative interplay and interesting melodic structures.

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