'Tradition and Innovation meet in Virtuosic Saxophonist Aldevis Tibaldi's captivating new album, Twentysix Three' March 25th 2016 marks the release of Twentysix Three, the hotly anticipated album from saxophonist, composer, producer, and arranger Aldevis Tibaldi. A cool blend of gripping originals punctuated with a selection of aptly chosen covers, Aldevis Tibaldi’s Twentysix Three perfectly balances the sleek tones of a traditional jazz sound with an exciting and contemporary sensibility. A record that will appeal to the full spectrum of jazz fans – from trad. lovers to the modern vanguard - Twentysix Three is undoubtedly one of this year’s most interesting and unique releases to date. Precision and spontaneity are the dual hallmarks of Aldevis Tibaldi’s singular sound. Classically trained at the prestigious Tartini Conservatoire in his native Italy, Tibaldi developed the unique character of his playing style through the adoption and adaptation of different musical forms. Though he has recorded and performed in a number of genres - from fusion to rock, to world music and theatrical accompaniment – it was his conversion to the compelling possibilities of jazz in the 1980s that set the wheels in motion for the impressive offerings of Twentysix Three. The broad range of his musical expertise has made him the ‘go to’ man for a diverse range of musicians, and in recent years Tibaldi has collaborated with both respected jazz artists and stars of contemporary pop including Paloma Faith, the Guillemots, and London based jazz trumpeter John Eacott. Grooving throughout and always accessible, Twentysix Three is nevertheless startling in its musical ingenuity. The secret of the album’s appeal is its subtle play on the tension between structure and impulse: the perfectly assembled sextet are audibly attuned to the subtleties of each player’s style, enabling them to create tightly woven tracks over which the soloists can really soar. Full of swing but also containing surprising twists and turns, the album is brought to life by the saxophonist’s nuanced tonal palette. An exemplary record of how a traditional sound can be ignited and made new by individual improvisational flare, Twentysix Three will cement Aldevis Tibaldi’s reputation as an energizing contributor to London’s cosmopolitan jazz scene. Recorded live and entirely in one take, the analogue equipment used in the making of Twentysix Three has given it a deep and timeless sound. These increasingly rare recording techniques have captured the full vibrancy of the session, and the richness of the production means that listeners will pick up every spark and subtly of the band’s performance…just as they did in the great studios of the 50’s, ‘60s and ‘70s. Aldevis Tibaldi’s Twentysix Three is a dynamic project that combines elements of the avantgarde with hints of heritage. It’s unique positioning in the jazz spectrum will appeal to a wide range of musical tastes, making it an album that will simultaneously progress and promote the innovative, yet accessible nature of the UK scene. Some listener comments: Jazz lover... "Someone had me worried about this idéa that, in contemporary music, the traditional sound of jazz, had reached its potential, and that trying to create something new in that idiom would simply end up being repetitive. I'm ecstatic and relieved to say, that 'Twenty Six Three', proved that theory very wrong." London Cabbie.... " "Been playing it in my cab, had a passenger on Wednesday night who paid a compliment "nice tunes driver, enjoyed my journey home" ! " JazzItalia.net.... " The compositions are mostly signed by the saxophonist, except for four beautiful brackets that make it clear what the jazz tradition loved by the leader: "Weird Nightmare" by Charles Mingus, the beautiful and meaningful "Black And Tan Fantasy" by Duke Ellington, "We See" Thelonious Monk and, icing on the cake, "Like" Lelio Luttazzi, that swing had to sell. The compositional vocabulary of Tibaldi exudes these Giants moving brackets between massive doses of blues, swing, ballad also lopsided, up-tempo choral mainstream doc, as in "Night Bus" where you listen to a rousing solo Liam Dunachie fluttering in tied on the keyboard with the metronome traveling at step of the way, thanks to glowing rhythmic Sadler and Gale. All this, mind you, not with haughty elegance and stubborn taste of retro, but with a refreshing performance, with interesting innovations and tonal harmonies always ready to amaze and entertain."