#Review of Norwegian Landscapes by Marco Cappelli Acoustic Trio, Da Vinci Classics, 2018 on #neuguitars #blog


Review of Norwegian Landscapes by Marco Cappelli Acoustic Trio, Da Vinci Classics, 2018



01. Harry Hole’s Mood – (05:30)
02. Norwegian Landscapes #1 – (02:49)
03. Escape to Hong Kong – (06:41)
04. Norwegian Landscapes #2 – (02:17)
05. Finding Rakel – (08:06)
06. Norwegian Landscapes #3 – (02:23)
07. Bat Hunt – (07:08)
08. Norwegian Landscapes #4 – (02:19)
09. Marcia del potere marcio – (06:02)
10. Norwegian Landscapes #5 – (02:14)
11. Oleg’s Gamble – (03:32)
12. Norwegian Landscapes #6 – (02:26)
13. Asajev Song: Homage to Igor – (04:56)


Where was the Marco Cappelli Acoustic Trio gone? I was beginning to fear the worst. You know, if you frequent writers of detective novels you never know where you could end up. After “Les Nuages ​​En France” inspired by the writer Fred Vargas in 2011 and “Le Stagioni del Commissario Ricciardi” in 2013, The trio had mysteriously disappeared. Eclipsed. An investigative exploration had led to nothing. Then, as often happens in crime novels, the twist: the Trio is found in the last place where you could look for it, in Norway. And it’s not just the Trio. With them there are other suspects, people already known in certain circles: Oscar Noriega and DJ Olive. Even the crime scene has changed, this time to inspire the actions of the enlarged Trio are the novels of Jo NesbØ. Has the quality changed? No. The scenarios, the settings have changed, but the music of Marco Cappelli Acoustic Trio faithfully reflects the sociological structure of a crime novel: it’s a game of mirrors, a chromatic overlap of surfaces. The reader, the listener always falls into it, is happy to believe in it, knows that something is about to happen, he wants to understand, he knows that someone weaves in the shadows and wants to discover it. But it’s not so easy with the Trio. Structures that seem seemingly solid prove to be castles of notes, simple traces are instead supporting cues, evanescent echoes are proofs that are understood only at the end. And the sound. And improvisation. The perfect suspects. The listener improvises himself as a detective, wanders in the Norwegian landscapes, looks for tracks, sniffs the snow, listens to the wind. Who is the guilty? The umpteenth chimera. Yes we know, crime novels sounds like metaphors. Just like their own music.