js Possibly the best fusion band you’ve never heard of, Slivovitz is one of those groups that deserves much wider recognition. Although they started out as an eclectic rock band with fusion leanings, over the years, and through a change-up in the rhythm section, Slivovitz has blossomed into a full blown fusion outfit that can go toe to toe and blow for blow with anybody. This latest album that includes live recordings from 2016 finds the band hitting new peaks and finalizing their status as current fusion heavyweights. All of the tunes on “LiveR” come from their previous two studio albums, but here they are given new life as the band has grown at a rapid rate. Although all of their music more or less falls under the broad umbrella of fusion, their eclectic tendencies remain intact as they perform complex arrangements that draw from funk, prog, the Middle East, blues rock and more.

One of the more striking aspects to Slivovitz is their sound. With a front line ‘horn’ section that includes harmonica, sax, trumpet and violin, they obviously aren’t going to sound like anyone else. It is an entirely un-slick sound, pleasingly raw and ragged, and with their penchant for melodies from Eastern Europe and the Middle East, they can often sound ‘gypsy’ like. Slivovitz can also use all of these instruments to make interesting orchestrations, which they often do while indulging their appreciation for fast changing prog rock style arrangements. This is a live album and everyone gets plenty of solo room and many of the intense solos are the highlight of the record, particularly the rides by saxophonist, Pietro Santangelo.

Album opener “Mai Per Comando” is a top track with its upbeat punk funk reminiscent of the early days of Bill Laswell’s Material. “Currywurst” features JB’s style funk in a somewhat frantic and slightly fractured mode. “Negative Creep” is actually the Nirvana song and Slivovitz plays it hard and heavy in that same style. “Caldo Bagno” is a bonus track that features a burning distorted guitar solo from Marcello Giannini.

kev rowland Slivovitz are back with their fourth album, which has been made available in multiple formats: HD Download (24bit/88.2khz WAV, FLAC, M4A, MP3-320) and CD (rigid cardboard Mini LP gatefold style packaging, on MoonJune, in collaboration with Audio Anatomy, Poland) and LP - 180 gram vinyl (released in a limited quantity on the Italian vinyl only label SoundFly). Recorded live on May 27th, 2016 at Casa di Alex (Milan), here we have the same line-up that recorded the previous studio album, with material being taken from both ‘All You Can Eat’ and ‘Bani Ahead’. As one would expect from these guys, they have taken the original material and have kept it incredibly tight, but have also allowed themselves to expand and take it into new directions.

These guys are at one with the music, and at one with each other. Yes there is a great deal of structure, there needs to be when the music is as complex as this, yet there is also plenty of room for individual expression. Marcello Giannini allows himself to turn his amp up just that little bit more, using distortion to create a backdrop where he can sit and let the others take the lead, or provide just that little bit of edge. One of the highlights of the set is “Cleopatra Through”, where the guys do allow Riccardo Villari to demonstrate his skills with the violin, and one can feel/hear them all champing at the bit waiting to make their presence felt. It is almost like a pack of wolves, they all want to demonstrate that they are the alpha, but let the others strut their stuff first. The restraint being displayed by all of them is quite considerable, but the music as a whole is always more important than any single individual, and they know when it is time not to play, when it is time to support, and when it is time to just let loose the hounds and go full blast into the dark night. Music likes this takes on an additional edge when in the live environment, and if you have yet to approach these guys, then this is the pl;ace to start.

kev rowland Some four years on from their second album ‘Bani Ahead’, this the Italian masters of progressive gypsy electro-eclectic jazz returned in 2015 with ‘All You Can Eat’. As with their previous album. this is again fully instrumental, primarily because there is just no room at all for any vocals. They just wouldn’t fit! Yet again there had been a slight line-up change, with bassist Domenico Angarano making way for Vincenzo Lamagna. Here is band that is continuing to push the boundaries of progressive jazz rock, taking the likes of Zappa into areas that even he hadn’t thought of. Ricccardo Villari (electric and acoustic violin) has obviously been heavily influenced by the great Stéphane Grappelli, but whereas he normally only had to battle against a guitarist (admittedly he made his career working opposite one of the greatest of all time), here we also have a sax player, a trumpeter, plus Derek Di Perri on harmonica. Derek isn’t a blues wailer either, he is short and sharp, tying in the rest of the brass to provide a structured wall for the others to play against.

There are times when the guys are languid, structured, layered, all taking their time to add their touches to the music, while at others they are battling, with the brass and violin competing against the electric guitar to see who can be the most dominant and have major impact. Then behind it all Salvatore Rainone is keeping it all together on the drums, and Vincenzo has a wonderfully warm bass sound and feel that provides the foundation for the others. The title suggests that there is room here for over-indulgence, and the musicians, both individually, and collectively, do push proceedings well into the realm of excess, allowing themselves the joy complex arrangements and dramatic compositional shifts and transitions, until they are finally satiated and there just isn’t space for another morsel. Moonjune Records keep releasing amazing albums by fine artists, and this is yet another.

js Slivovitz has been around for about a decade now, and “All You can Eat” is their fourth album. While Slivovitz has always been an interesting band, with “All You can Eat’, they seem to step up their game with a stronger, more mature sound and are proving themselves to be a force to reckon with on the international fusion scene. Slivovitz hails from Italy, but their music reveals influences from the Middle East, and Eastern Europe as well. Some have referred to their music as ‘gypsy’ influenced, but their influences are far more diverse than that. Along with the ‘ethnic’ European sounds, Slivovitz can also recall the music of Fred Frith and Frank Zappa, as well as other artists who mix diverse international influences. In line with their musical vision, Slivovitz uses an eclectic array of instruments that includes violin, saxophone, trumpet and harmonica, all backed by a muscular guitar driven jazz-rock rhythm section. This large group functions like a mini-orchestra that has many tone colors to draw upon.

The core of Slivovitz has always been Ricardo Villari on violin, Marcello Gianni on guitar, Derek Di Perri on harmonica and Pietro Santangelo on saxophone. Over the years, their rhythm section has been changing a member at a time, it’s the new current team of Vincenzo Lamagna on bass and Salvatore Rainone on drums that has pushed Slivovitz into a stronger more cohesive sound. The hot trumpet work of Ciro Riccardi is the icing on the cake. All of the tracks on here are good, but three stand out due to their well developed arrangements and strong melodies; “Persian Night”, “Yahtzee” and “Hangover”. Along with good solos, interesting arrangements are a key feature of Slivovitz’s appeal.