Inside Out

"Inside-Out, feeling and matter become musical body in the latest work by Pietro Girardi who, in a very personal free-jazz, is able to amaze and upset with long pauses of enormous roar (War) or to nestle in the heart of the listener in a sort of total identification between himself and the instrument"

Liner notes by Arrigo Cappelletti


"I’ve known Pietro Girardi for a long time, having been his jazz teacher for two years at the Venice Conservatory. Nonetheless, this first important CD with piano solos stunned me for his maturity and rigor.
There is no trace of the original passion for Keith Jarrett, apart from the extraordinary control of touch and a residual taste for the lyrical and cantabile phrase.

Pietro does not state, he holds perfectly his technique and explosiveness, and compared to Jarrett, he is unquestionably less sentimental and self-satisfied.

His subdued, essential, mysterious music echoes the composer Morton Feldman. As in Feldman’s, attention is shifted from the height and duration of the sounds to the dynamics, the intensity, the timbre. In one word: to the sound itself (and to silence, its counterpart).

The piano is explored throughout the range of its tonal potentials. Even the title of the CD “Inside Out” refers to expressive contents, to the dialogue between the “inside” of the piano (tailpiece, sound box, pedal) and the keyboard, where the leader is once again the sound just like in Rothko is color and the surface of the canvas.

The difference with Feldman, whose music is entirely written, is that what we hear here is entirely improvised. Even if it does not seem."

Press

Magazine

"The 42 years old Pietro Girardi from Italy is an exception within the numerous group of jazz pianists in his native country.

Despite all the stylistic variance, most of them are recognizable for a strong preference for the - sometimes even slightly sentimental - phrasic statement.
Not so Girardi: with the exception of the 8th ("Out on a Windy Night") of a total of 13 pieces, which is supported by a typical Jarrett ostinato, for Girardi are chordal density, dynamics, articulation, but especially the smoothness and strength of the sound stream in the foreground: i.e. the size of the interval jumps, how much something is syncopated, the metric rule or irregularity of the sound events.

In his free improvisations, which he has mostly titled with laconic nouns, Girardi varies between parts that build up and down static sounds, and those that alter dynamic processes, broken sequences with inserts and cuts and, moreover, the refined use of the sustain pedal and glissandi to introduce new soundscapes.

The times when Pietro Girardi was a chapter to be written should be over, thanks to such great recordings."