This is Arrigo Cappelletti's third album, and is by far his richest. While on "Reflections" and "Open Spaces" he reflected upon his many influences (both on and off the instrument), and, here, with the help of the always elegant Billy Elgart on drums and the unsung Hämi Hämmerli on the double bass, we get the full range of the pianist's musical research and assembled vision. What is immediately noticeable here is how well Cappelletti has been able to integrate his harmonic sensibilities into nearly every music he attempts to play. His lust textured approach to the keyboard is very much from the Bill Evans school, but unlike most of the Italians who have taken the might pianist and composer as their Buddha of inspiration, Cappelletti is the only one who gets that Evans was never a sentimental player -- he was a lyrical one. There are 14 tunes on this set, the vast majority originals that range from the hard bop linguistic structure of "Nel Mio Campo," with a soaring bassline by Hämmerli that uses the upper register as a way of balancing both harmony and rhythm. There is also the gorgeous tango "Il Tango Delle Pianure" that effects Piazzolla's new rhythmic constructs for the form and infuses them with Paul Bley's pianistic pointillism, that accents the underside of a melodic line rather than its pedal point. There are also stunning versions of "When Sunny Gets Blue," with its understated arpeggios and whispering ostinato, and Evans' "Time Remembered," with its gorgeous legato phrasing and inverted line glissandi. If you top this off with "Un Uomo Prudente," a tough, angular modal blues, you get a picture Cappelletti as a pianist who may take not only Italian jazz, but the music as a whole -- an entire run higher in its ever-reaching scope to include all forms of music within its many colored heart. Singolari Equilibri is a brilliant exposition of that ambition.
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AllMusic Review by Thom Jurek