SummaryAndrea Pozza Trio opens its new work with the grace of Sem Palavras's crystal scales. Without words, the only thing speaking all throughout the record is pure music, springing from Andrea Pozza's piano, accompanied by Aldo Zunino's double bass and Shane Forbes's drums. After Drop This Thing, the trio is involved for the second time in a Dejavu Records production. With this label they experiment an effective and original mixture of modern jazz with a more traditional one, particularly convincing in this album. After all, Pozza is one of the most acclaimed young Italian pianists, according which tradition is an important reference point, and it's not a case that the last track, The Duke, is undoubtedly a homage to Ellington, to his melodies and to his dim lights. Furthermore it is not to be forgotten his background and his countless collaborations with some of the most important jazz artists: as soon as he finished his classical studies, Pozza devoted himself to jazz and from that moment on he played with some heavyweights like Chet Baker, Lee Konitz, Scott Hamilton and Massimo Urbani; for four years he was part of Enrico Rava's quintet, played in Steve Grossman's quartet and for over twenty years he was abreast with Gianni Basso, one of the figures that contributed to write the history of Italian jazz. A rich, intense and eclectic experience merges into the personal composition of this young pianist from Genoa, in a balanced coexistence of new and classic. Differently from the previous record, he prefers soft lighting atmospheres and delicate colors that definitely connote this storyboard, rather that nu-jazz rhythms. Listening to the eight tracks of Blue Daniel, one has the impression to follow a path: the tracks slip one after the other in a compact and fluid way, starting from the involving incipit of Sem Palavras, and floating on the elegant atmospheres of Naima, to the freshest and most playful ones of Children Games, from the intimate mood of Blue Daniel to a more variegated one, supported by a faster rhythm of Three Slices of Bread, leading to the impassive calm and the tranquil notes of The Duke, that wittingly close a tale softly played by the main character, accompanied by the lightness of the co-stars and capable of deeply soliciting the sensitivity of the listeners.