StarProd
DYADE
1996

CAMBALUC
1997


ARCHITECTURES
1998


AVANTI !
2000


DAL VIVO
2001


MIRABASSI & JAGODZINSKI TRIO
2002


(((AIR)))
2003


LIVE AT SUNSIDE !
2003 (DVD)


MORE FROM SUNSIDE
2004


PRIMA O POI
2005


LIVE@MOKKIRI-YA
2005


LIVE IN JAPAN
2005 (DVD)


LUCKY BOYS
2006


C MINOR
2006


CANTOPIANO
2006


ARTERO BREL
2006


TERRA FURIOSA
2008


LA PRINCESSE ET LES CROQUE-NOTES
2008


OUT OF TRACK
2009


LIVE @ THE BLUE NOTE, TOKYO
2010


¡ ADELANTE !
2011


VIVA V.E.R.D.I.
2013


TRIBUTE TO BILL
2013


PRIMA O POI
    « Perfect albums are as neatly prepared as a hold-up must be. They are pondered upon for a long time, lived out in dreams hundreds of times, our best friends are kept at close hand, and D day is long awaited for, everything unfolds in the most natural way. « Sooner or later », Giovanni was bound to do it. This Italian pianist of thirty five years old has been making his way in French jazz for twelve years now. A first successful « hold-up » in 1998 with his Architectures  as polished as Beaudelaire’s poetry ; a second more thundering one in 2000, Avanti ! , revolutionary songs transfigured into jazz standards, another more dared, in 2003, « Air », an airy conversation between a piano, a trombone and a bugle. But there is always this marginality, so difficult to manage. Finally, D day… Louis Moutin mastering the beat, Gildas Boclé picking or sliding along the strings, Flavio Boltro whose sound would pierce through any safe, a new label, a deep need of oxygen, and there you have it ! To those who reproached him for not « playing jazz », for navigating too close to the dark banks of romanticism, Mirabassi responds through this amazing musical hold-up, nine jewels stolen in this humming atmosphere.
    Yes, this is what we call jazz. At least the kind of jazz one wants to hear in 2005. This is jazz mocking the commercial diktats, in order to trade better with whom listens to it. Playful, grooving, free jazz. Sophisticated as well as spontaneous. Whether it be irrigated by pulsations from Brazil (Llôro), flirting with musette (Howl’s moving castle) or floating in a slow and lascivious waltz ; whether funk intervene to destructure its tempos (Tôt ou tard) it ends up in a solar choral alike Petrucciani’s style, and this is real jazz. Raring to go, never boring. Lyricism is always present, and so is melancholy, both digested, they have become constitutive elements of a special style and writing by now fully assumed.
    Like many other children from the ECM generation, Mirabassi has been nurtured by Corea, Jarrett, Gismonti. He had met with Schumann and Bill Evans, mixed the whole with Parker and Baker, in fact he built himself thanks to all of them. Sooner or later he had to admit it to them, straightforwardly, with no shame. Like before a long trip, Mirabassi tidies his childhood drawers, keeping just the best in them. That’s who I was before (Ero Io), that’s who I am now. We’ll see later about tomorrow… Finally, as a result we get a barcarolle which drifts into an afro 6 / 8 (Barcarole), a childhood score all impregnated with Chick (Minor Voyage), a tribute to an old adventurous great-uncle butcher (Il bandolero stanco), a nervous symphony (Symphomaniax), a toccata which kills (Llôro), an airy soundtrack by Myazaki (Howl’s Moving Castle). The outcome is a cheerful form of jazz. Sooner or later, he had to plunge in the Styx of Evan’s and Chet’s and really show it. That’s done. A domani Giovanni. »
Bruno Costemalle