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Guido Spannocchi’s Kammermusik is his first studio album since the critically acclaimed Perihelion in 2021. On Kammermusik, Spannocchi explores his childhood growing up in Vienna surrounded by classical music and merges this with the influences of jazz and his life as a touring musician now based in London. There are nuances and influences from many styles of jazz, and Spannocchi describes the album as his “most daring yet most sensitive work to date.” He adds, “It moves between classical chamber music (hence the title Kammermusik) and jazz with hints of exotica.”
Kammermusik features long-term collaborator and cellist Danny Keane (Grammy-nominated composer and sideman of Anoushka Shankar and Mulatu Astatke) as well as Milan-born and London-based Andea Di Biase on bass and London Philharmonic solo percussionist James Larter on vibraphone and tubular bells. It is an intimate album, with music woven around personal experiences. Kammermusik is fresh and avoids cliches, presenting a new blended sound and sense of solace in our currently unpredictable world.
The opening track, “Echoes of Your Formal Education,” has an introduction from the ensemble, ending on a held note that evolves into a thunking rhythm set up on the strings, over which Spannocchi enters with a flowing melody that itself evolves into a fast-fingered solo, typical of Spannocchi’s style in its delicacy and tone. Larter’s solo is playful and gives way again to the sax, with a brief revival of the thunking rhythm before an ensemble finish. Already, Spannocchi is setting the tone for an album that promises the traditional mixed seamlessly with world rhythms.
“Imaginary Capetown” is a track of a different ilk; a walking rhythm and a laid back pace which puts into mind a stroll down a hot, dusty street. The cello sings a gorgeous melody with resonant bass supporting, and Spannocchi delivers a solo, this time reedy and low, in keeping with the relaxed atmosphere of the piece. Tubular bells add to the convivial ambience of this warm, meandering number. “Seven Dials Tryptych” opens with the bass, then bass and cello, with Spannocchi’s sax adding a quirky line across the top in a dance-like structure. The cello solo is bewitching, as is its presence throughout. This track has everything, from European dance modes to classical emphasis, and the exquisite cello lines from Keane make the heart soar.
“Pensees / Meditations” is atmospheric, dark, and carries such depth. The plucked cello and sonorous bass create a conversation with the vibraphone, providing chordal support. The sax lines flow and spin across the top, and the track is superb in terms of musicality and depth, with rhythmic changes and a vibraphone delivery that sings over the deeper rhythms. “Full Moon on the Bosporous” is relaxed, gentle, and musing, while DKT is a playful exploration of rhythms and quirky sidelines, with Spannocchi’s sax singing across the rhythms of the strings, made even quirkier by the unusual seven-beat pattern, with an interesting change in the final phrases.
“Kivu” is based on a theme set up by the sax with vibraphone supporting, before the cello rises above, beautiful and soaring. Spannocchi introduces snippets of jazz melodies, with the cello now plucked supporting in harmony underneath. Contra Corrent (against the current) lives up to its title with Spannocchi maintaining a rapid tempo over relaxed bass until the vibraphone takes up the pace and provides more rapido across the top. “Retrospect” is beautifully structured, with a building energy initially from Spannocchi with bass and vibraphone adding layers to create a textured, multi-layered piece with room for a bass solo. Spannocchi excels in his emotive delivery.
There is a lot to unpack on this recording, not least the multiple influences that seep into the music, from jazz to European and African rhythm patterns, such as the Eastern rhythms on “Kivu,” and classical influences are clear as well, with the traditional structure and the ensemble endings of most tracks. It is intensely listenable and has so much content that each listen reveals something new, making it an album that keeps on giving. There are no drums, but nothing feels amiss, and Keane’s cello on this album is superb, as he demonstrates the ability to support, soar, and add beautiful essences just when needed.
All the musicians are given ample room to shine, and they do, led by Guido Spannocchi, who has surrounded himself with musicians who also understand his style, classical background, and desire to infuse multiple facets into the music. While each musician delivers impressive solos, this remains a collaborative recording and one that echoes the inclusive nature of Spannocchi and his love of different genres and styles, rooted in jazz but paying homage to many others. A hugely enjoyable listen.
- Guido Spannocchi – ‘Kammermusik’ (2026) - April 18, 2026
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