Scoolptures - Materiale Umano (Leo Records, 2009) ****½
The band consists of Nicola Negrini on bass, metallophone and live electronics, Achille Succi on bass clarinet, altosax and shakuhachi, Philippe Garcia on drums, voice and live electronics, and Antonio Della Marina on sinewaves, live electronics. Despite my dislike of electronics, it works to perfection on this album, because they are used in a very functional way, often barely noticeable yet omnipresent.
The thirteen short pieces clock between two and seven minutes, and all refer to slices of the human body: "Brainslice", "Bellyslice", "Liverslice", etc. The music itself is described as "instantaneous composition, improvisation and live electronics, and the use of purposely programmed computer melt together in scenic writing". The computer records "not accidental but unforeseeable", in the sense that the repetitive elements conjured up by the system do not always follow the same rhythmic cycle. Sometimes it does, sometimes it doesn't.
OK, whatever the technology behind it, the result is quite strong. All pieces have their own story, often compact, centered around a few core ideas, yet very focused and intense. Despite all the electronics, you need visionary artists and great instrumental skills to bring this to a good end, and with success. Bizarrely enough, because of the repetitions of the electronics, it all sounds carefully composed. Some pieces are fully colored by the electronics, other start from a solid jazz base, as on "Lungslice", others mix in Asian elements, as on "Nerveslice", with shakuhachi and arco bass. The highlight is without a doubt the haunting "Lostslice", wich includes high-toned worldless singing in combination with bass clarinet. I thought those were female voices, but it's the musicians themselves: weird and brilliant. Not everything works though, or would fall within my broad level of appreciation, but that's because they take risks, and without risks, no new musical vistas, which you get here in spades.
LINKDEX
BELGIUM english
Stef Gijssels FREE JAZZ
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SWEDEN swedish : english
Johan Redin SOUNDOFMUSIC
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UNITED STATES english
Bill Meyer DOWNBEAT
Kent Manthie HEATHEN HARVEST
Art Lange MOMENT'S NOTICE
Bruce Lee Gallanter DOWNTOWN MUSIC GALLERY
Stuart Kremsky IAJRC JOURNAL
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TURKEY turkish : english
Okan Aydin CAZKOLIK
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NEDERLANDS dutch : english
Herman te Loo JAZZ FLITS
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GERMANY german : english
Rigobert Dittmann BAD ALCHEMY
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CANADA french : english
Francois Couture MONSIEUR DELIRE
Ken Waxman JAZZWORD
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CZECH REPUBLIC czech : english
Martin Filip HIS VOICE
Slaby Petr UNI MAGAZIN
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PORTUGAL portuguese : english
Rui Eduardo Paes REP
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ITALY italian : english
Mario Gamba ALIAS / IL MANIFESTO
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”No prearrangement. No Tricks. No Treatments”. Det är lätt att hävda, svårt att leva upp till. Men det här bandet fixar det galant. Scoolptures är en kvartett med nya idéer för 2010-talets jazz. Enbart instrumentsättningen tar dem till finalplats. Bandet består av Nicola Negrini på bas, metallofon och liveelektronik, Achille Succi på basklarinett, altsax och shakuhachi, Philippe Garcia på trummor, röst och liveelektronik samt Antonio Della Marina på sinusvågor och liveelektronik. Alla namn är nya för mig.
Scoolptures representerar en egensinnig jazz: stundtals dominerande elektronik men ändå med en helt akustisk atmosfär, fritt och improviserat men ändå komponerat och synkroniserat. Man kan också med glädje konstatera att den är helt vansinnig. Materiale Umano består av tretton spår där titeln tycks få sin något morbida förklaring genom att alla låttitlarna står för någon form av vivisektion av den mänskliga kroppen: ”Brainslice”, ”Liverslice”, ”Lungslice”, ”Skinslice” osv. Men jag tror inte att det finns så mycket mening under detta än själva lekfullheten, en dissekering av jazzens organiska kropp medelst elektronisk hardwear. Jag letar förgäves efter information om elektroniken som är involverad eftersom det inte handlar om sedvanligt knaster eller kretsbändning. Den låter mer som någonting Florian Hecker eller Thomas Lehn skulle gå i gång på, någonstans mellan analog synt och ren och skär hårdprogrammering. Den kvittrar, smattrar och far runt som en slumpgenerator. Stundtals är det en kamp mellan en elektronisk värld och en varm akustisk altsaxofon, en vilande bas och sparsmakat trumvispande.
Visst är skivan lekfull, men det är inte något Zappaspex. Scoolptures letar efter ett nytt språk, en ny vokabulär för en integrerad jazz. De ställer dörren på glänt. Flera av spåren är balladliknande meditationer av klassisk triosättning med sax, bas och trummor. Men något smyger sig in och utan att ta över smått börjar arrangera om och störa den trygga formen, så som t.ex. i den märkliga ”Hipslice” eller den sakrala ”Lostslice”. Det behöver inte nödvändigtvis vara en elektronisk katt bland hermelinerna. Det kan räcka med en jamande, ytterst egendomlig, mänsklig sång. Låten ”Lungslice”, med den traditionella japanska bambuflöjten shakuhachi är oerhört vacker och den påföljande ”Nervslice” bjuder bl.a. på lite fragment av old school hiphop-beats – om än på gränsen till sammanbrottet.
Det här är musik som jag bara måste bejaka. Samtidigt är det svårt att hitta några favoriter bland kroppsdelarna och som synes är det lika svårt att beskriva musiken som sådan. Och åtminstone det sistnämnda brukar vara tecken på kvalitet för mig. Materiale Umano är en lysande start för Scoolptures, men jag tror också att det kan bli än mer fokuserat och möjligen också än mer förvirrande. ”Can’t be ignored” är Leo Records litet lakoniska kommentar till bandet. Att det handlar om ett gäng musiker som är relativt okända utanför Italien borde ju inte spela någon som helst roll när musiken är bra, men musikjournalistik fungerar ofta på sitt eget opportunistiska sätt. Men skivan börjar så smått att uppmärksammas här och där. Om bandet fortsätter sitt påtande i jazzkroppen kommer de definitivt att skapa en publik och vem vet kanske också definiera en ny genre.
[google swedish>english translation]
"No prearrangement. No Tricks. No. Treatments ". It is easy to maintain, difficult to live up to. But this band got it splendidly. Scoolptures is a quartet with new ideas of 2010s jazz. Only instrument setting takes them to the final spot. The band consists of Nicola Negrini on bass, Metallophone and live electronics, Achille Succi on bass clarinet, alto saxophone and shakuhachi, Philippe Garcia on drums, voice and live electronics, and Antonio Della Marina on sine waves and live electronics. All names are new to me.
Scoolptures represents a wayward jazz: sometimes dominant electronics but with an all-acoustic ambience, free and improvised but composed and synchronized. You can also pleased to note that it is completely insane. Materiale Umano consists of thirteen tracks in which the title seems to have its somewhat morbid declaration by all the song titles represent some kind of vivisection of the human body: "Brain Slice", "Liverslice" " Lung Slice "," Skin Slice "and so on. But I do not think there is so much meaning in this than the very playful, a dissection of jazz organic body by means of electronic hard wear. I'm looking in vain for information about the electronics that is involved because it is not about the usual crackle or kretsbändning. It sounds more like something Florian Hecker and Thomas Lehn would go in at once, somewhere between the analog synth and sheer hard programming. The chirps, patters and father around as a random number generator. Sometimes it is a struggle between the electronic world and a warm acoustic alto saxophone, a dormant bass drum and meticulously whipping.
Sure, the disc playful, but it is not something Zappa Spex. Scoolptures looking for a new language, a new vocabulary for an integrated jazz. They set the door ajar. Several of the tracks is the ballad-like meditations of classical trio style with sax, bass and drums. But something creeps in and, without taking over small start rearranging and interfere with the safe form, such as eg in the remarkable "Hipslice" or sacred "Lost Slice". It need not necessarily be an electronic cat amongst ermines. It could simply be a mewing, very strange man singing. The song "Lung Slice", the traditional Japanese bamboo flute shakuhachi is incredibly beautiful, and the subsequent "Nerve Slice 'offers include on some fragments of old school hip hop beats - albeit on the verge of collapse.
This is music that I just have to say yes. While it is difficult to find a few favorites among body parts and who apparently is as difficult to describe the music as such. And at least the latter tend to be a sign of quality for me. Materiale Umano is a great start for Scoolptures, but I also think it may be even more focused and possibly even more confusing. "Can not be ignored" Leo Records is a small laconic comment on the tape. That it is about a bunch of musicians who are relatively unknown outside of Italy ought not play any role when the music is good, but music journalism often work on their own opportunistic way. But the disc emerging framework of attention here and there. If the band continues its påtande in jazz body, they will definitely create an audience and who knows maybe also define a new genre.
If Superimpose gets deep into their chosen tongue, the Italian quartet Scoolptures is all about adding new words to its language. While bassist/leader Nicola Negrini, bass clarinet/alto saxophone player Achille Succi and drummer Philippe Garcia are evidently steeped in jazz, for every walking groove or pungent wail there’s an electronic counterpoint—a degraded sample, a burst of triggered beats, or a filtered instrumental signal courtesy of each player’s outboard effects, along with further glassy swells that issue from Antonio Della Marina’s sine wave generator.
But what makes Materiale Umano (LR 546; 57:14 ★★★★ excellent) a keeper is not the modernity of its sounds, but the succinctly expressive ends to which they are applied.
One of the more original neo-Euro-jazz CDs I've come across in some time. The latest from Italy's own Scoolptures, a CD entitled Materiale Umano. Each cut comes across as if it were coming straight from Birdland or the Village Vanguard. These guys have a rich sense of the jazz ethic and can really measure up to anyone.
Besides just the straight up jazz there is, interwoven, interpolated, weird synth sounds that complement the frenetic syncopation of this beautiful music. It must mean something or else be an in-joke, because all the tracks are something-slice: “Brainslice”, “Bellyslice”, “Lipslice”, “Hipslice” and more. But one thing they all have in common are rich, velvety tones with a souffle of avant-garde, Coltrane-style madness to them.
The song “Liverslice” is a very interesting tune: it utilizes some studio manipulation, a la reversing tapes and creating loops, etc., along with a very-Coltrane-like strangeness to add to it all. Even the drums sound as if they were originally recorded backwards and then straightened out to give it that strange reverse reverb sound.
One thing I've noticed is that none of the songs are very long. They each have a relatively equal share of about 4 minutes per song, which adds up to 13 songs of great style and grace, not to mention passion and charm. Hope to hear from you guys in the near future. Keep up the good work!
Kudos also to Leo Records, who are patient or smart or just fans, whatever it is, this indie outfit out of Britain is putting out some of the most unique stuff around today; genres from neoclassical, “future jazz”, many are Eastern European combos who would not otherwise get any kind of music distribution that it needed to get an audience outside their borders or even their hometowns. But it's also not just totally a “jazz” label or a “classical” label, it's a groovy, hip bunch of guys who really know how to pick 'em
Nevertheless, improvisation is their common denominator—the “human material,” as they ironically put it – with Succi’s edgy, elastic alto sax assertions providing the familiar jazz voice. Negrini’s and Garcia’s beats often intersect but avoid anything resembling a comfortable groove, while Marina’s real-time electronics elaborate on their efforts with alternately industrial clatter (“Chunkslice”), churning drones (“Bellyslice”), and textural shading (“Liverslice”). But, in order to thicken the plot, as John Cage would say, they’ve factored into the mix an extra layer of indeterminacy – a computer program which spontaneously interacts with and affects the group sound in ways beyond their control. So in “Brainslice” Succi’s alto sax lines are doubled and tripled, delayed and distorted, and sparks fly; likewise the treatment to his bass clarinet on “Skinslice.” For the most part it’s difficult to identify the source of particular sounds, amid the twisting, pulsating, ricocheting details. But in spite of their compact, protean, sculptural alignment of incidents, even the musicians can’t prevent the music, every once in a while, from bursting into son – angular and irregular, perhaps, but undeniably, song.
The first track, Brainslice, lays out most of their musical parameters: fierce and free alto saxophone over busy bass and energetic drums, sliced, diced, and altered in ways that augment the band's interactions without obscuring them. After all, as the title proclaims, it is the human material that interests them.
There's a brief note, in radically distorted type, to the effect that there was no prearrangement involved in the recording. The tracks, mostly between two and six minutes, flow into one another, and sometimes it feels like they were sliced out of longer improvisations. The instruments nearly always sound like what they are, with an overlay of distorting electronics. Succi's volatility on alto and bass clarinet are central to the quartet's peregrinations. He's the main voice, and a commanding presence, with the close-miked recording catching every click of his keys (or are those just electronic blips I hear?).
For the most part, they make spooky soundscapes loaded with unexpected fractures and echoes. Tempestuous, edgy, and sometimes teetering on the edge of random noise, the music makes for totally cool and enthralling headphone listening. Check out the other-worldly Liverslice, with its mutant percussion, or the subterranean aura of Breathslice, with a whispered and altered voice. The only real let-down is the rather unpleasant Lostslice, a dirge-like number with treated wordless voice and braying bass clarinet.
Scoolptures' music is aggressive and demanding, not the kind of music you'll be able to relegate to the background. Definitely worth a listen.
Okan Ayd?n'?n 'bilinçli bir alternatif güzergâh olu?turma gayreti'yle bu kez ?talyan kökenli Scoolptures ekibinin avantgarde nosyonu yüksek yeni albümleri "Materiale Umano"yu mercek alt?na al?yor. Hem de Ekibin lideri Nicola Negrini ile yapt??? mini bir röportaj?n e?li?inde...
“Bilinçli bir alternatif güzergah olu?turma gayreti”miz do?rultusunda ç?kt???m?z maceraperest yolculu?umuzda çok farkl? bir müzikal durakta mola veriyoruz bu defa. Avangart ve deneysel nosyonu yüksek bir eksen üzerinde, do?açlama caz ve elektroni?in birlikte ç?kt?klar? bu yolculuktaki kaptanlar?m?z ilk albümleri “Materiale Umano”yu geçti?imiz aylarda yay?mlayan Scoolptures ekibi. Gruba, bu kö?e için farkl? bir dinleme prati?i içine girdi?im bir dönemde, hat?r? say?l?r müzik yap?m ?irketlerinden biri olarak hatmetti?imiz Leo Records’tan ç?kan son çal??malar aras?nda rastlam?? olmak, benim aç?mdan gerçekten çok keyifli bir ke?if niteli?indeydi. Burada “rastlant?” ifadesini bilinçli bir ?ekilde kullan?yor ve aç?k yüreklilikle de arkas?nda duruyorum. Zira AKsi-isT?KAMET kö?emiz için sizlere al???lm???n / rutinin d???nda ve olabildi?ince farkl? bir sayfa (hatta sat?r aras?) aralamaya çal??t???m?z için, bu çerçevede detayl?ca bahsetmeye de?er nitelikte zengin bir yelpazeden beslenen çal??malar? gün yüzüne ç?karmak için gerçekten gözümüzü kula??m?z? binbir türlü t?n?ya hassasiyetle kabart?yoruz.
Bu k?sa aç?klaman?n ard?ndan tela?l? heveskarl???m?zla beslenen notlar?m?z? s?ralamaya ve “Materiale Umano” albümünü irdelemeye çal??al?m. Asl?nda Scoolptures ekibi bir proje grubu. Her biri caz müzik alan?nda farkl? çal??ma ve gruplarda yeralm?? dört müzisyenin biraraya geldi?i özel bir proje. Projeyi farkl? k?lan noktalar? biraz erteleyerekten bu dört ismi daha yak?ndan tan?tmaya çal??al?m sizlere. Ekip ?u isimlerden olu?uyor: Nicola Negrini (bas, metallophone, canl? elektronikler); Achille Succi (bas klarnet, alto saksafon, shakuhachi); Philippe Garcia (davul, canl? elektronikler); Antonio Della Marina (ses dalgalar?, canl? elektronikler). Kabul etmeliyim ki kimin ne çald???n? yaz?nca projenin dikkat çekici parametrelerinden biri de asl?nda biraz daha ayd?nlanm?? oldu (canl? elektronikler efendim).
Ekibin lideri ?talyan müzisyen Nicola Negrini. Scoolptures projesi d???nda da birçok toplulukta yeralan müzisyen ayn? zamanda farkl? sanatsal disiplinlerle de yak?n bir ili?ki içinde. Bunlar aras?nda en öne ç?kanlar? bir nujazz grubu olan Faze Liquide ve Alkord Quintet. Negrini’nin bahsi geçen farkl? disiplinlere uzanan çal??ma alanlar? aras?nda tiyatro bir ad?m daha önde say?labilir.
Achille Succi, Uri Caine’in “Othello Suite” projesinin yan?s?ra farkl? topluluklarda kar??m?za ç?kan bir isim. Danimarkal? besteci Pierre Dorge ile imza att?klar? “New Jungle Orchestra” yerald??? projelerden bir di?eri. Grup lideri vasf?yla yay?mlad??? iki albümü olan Succi, ayn? zamanda do?açlama caz müzi?i üzerine birçok enstitü ve festivalde atölye çal??malar?na da katk? vermi? olan de?erli bir müzisyen. Ayr?ca 2006 y?l?ndan bu yana de Ferrara Konservatuar?’nda do?açlama teknikleri üzerine e?itmenlik yapt???n? da belirtelim.
Grubun bir di?er eleman? olan Philippe Garcia’n?n ki?isel bilgileri asl?nda bir hayli dikkat çekici (elbetteki bizler aç?s?ndan). Zira kendisi 84-85 y?llar?nda Ankara’da e?itmenlik yapm??, 85-91 aras? burada perküsyon dersleri vermi? ve sonras?nda da Ankara Senfoni Orkestras? ile birlikte çalm?? bir müzisyen. Bununla da yetinmemi?, Sezen Aksu’dan Onno Tunç’a, Okay Temiz’e dek önemli Türk müzisyenlerle de birlikte çal??malar gerçekle?tirmi?. 91’de Fransa’ya dönmesinin ard?ndan Erik Truffaz, Don Cherry ve Markus Stockhausen gibi dev isimlerin de aras?nda bulundu?u birçok müzisyenle yapt??? çal??malar?n yan?s?ra ça?da? dans topluluklar?nda da piyano çalan Garcia ile yolumuzun bu denli kesi?ti?ini görmek de sevindirici. (??te o malum sat?r aralar?ndan böylesine güzellikler ye?illenebiliyor.)
Antonio Della Marina ise Bologna Üniversitesi performans sanatlar? bölümünden mezun bir isim. Amerikan deneysel müzi?i, minimalizm ve ses-imaj aras?ndaki ili?kiler asl?nda ana ilgi alanlar?n? olu?turuyor Marina’n?n. Genel bir de?erlendirmede bulunacak olursak bu basit girizgah dahi Scoolptures projesine farkl? bir boyut katan önemli isimlerden birinin de Marina oldu?unu gösteriyor bizlere. Seslerin elektronik ortamlardaki manipülasyonu, dijital kompozisyon ve bilgisayar destekli müzik üretimi üzerine e?itim gören Marina ayr?ca bu konularda aralar?nda Carsten Nicolai (aka Alva Noto) gibi elektronik müzik co?rafyas?n?n referans? en kuvvetli neferlerinden birinin de oldu?u çe?itli ki?i ve kurulu?larla da yak?n ili?kisini sürdürmü?. 99’dan bu yana ses konsepti üzerine odaklanan canl? performanslar, web tabanl? projeler ve çe?itli enstalasyon çal??malar?nda ismine rastlad???m?z Marina, ayn? zamanda müzi?i arac?l???yla uluslararas? müzik ve tiyatro festivallerinin de aran?lan isimlerinden biri olmay? ba?arm??. 99-04 aras?nda Bologna Üniversitesi’ndeki Multimedya Müzesi’nin i?itsel altyap? çal??malar?n?n da küratörlü?ünü üstlenen Marina, çe?itli ortak projelerle de üretkenli?ini sürdürüyor.
Scoolptures ekibini olu?turan müzisyenlerin geçmi?lerine do?ru yapt???m?z bu k?sa yolculu?un ard?ndan albümle ilgili notlar?m?za geçmekte fayda var. Üç y?ll?k bir haz?rl?k sürecinin ürünü olan albüm, stüdyoda geçirilen iki günlük bir çal??ma esnas?nda kaydedilmi?. Ancak bahsedilen üç y?ll?k haz?rl?k süreci sadece müzikal bir olgunla?may? de?il, albümün içine yedirilen çe?itli kavramlar üzerine odaklan?lan bir dü?ünsel haz?rl?k safhas?n?, bu süreç zarf?nda farkl? ?ehir ve insanlarla olan etkile?imleri ve haz?rl?klar? da içeriyor. Çal??maya ili?kin dü?ülen notlarda birçok kavram üzerinden yap?lan bir sorgulaman?n / ara?t?rman?n dökümantasyonu oldu?u belirtilen albümde; zaman, dikkat, bekleme, müdahale, k?yas gibi ba?l?klar s?ralanm??. Bu kavramlar üzerine in?a edilen, dikkatle haz?rlanan ve kendi içinde harmanlanarak olgunla?an / geli?en bir kavramlar bütününün i?itsel dökümü asl?nda “Materiale Umano”. Sözün olmad??? bir katmanda olu?an tematik bo?lu?u farkl? ses ve t?n?lar?n bütünlü?üyle doldurmay? hedefleyen bir olma / olgunla?ma süreci bahsetti?imiz. Müzikal içeri?in, t?n?lar?n, dü?üncelerin do?açlama bir kurgu içinde özenle olu?turulan farkl? ses renklerine boyand??? bir yarat?m süreci.
Detay bir incelemede kar??m?za ço?ul ve derinlikli katmanlar?n ç?kt??? bu çal??man?n geneli hakk?nda birkaç not daha dü?mek istiyorum. Scoolptures bu proje grubunun ad? olmas?n?n yan?s?ra, yukar?da özetlemeye çal??t???m?z kavramsal çerçeveyi olu?turan bir kompozisyonu da üreten bir bak?? aç?s? asl?nda. Burada üç farkl? boyuttan bahsetmek mümkün; projedeki anl?k düzenlemelerin bir kö?esinde do?açlama varken, üçlü yap?n?n di?er kö?elerinde de akustik seslerden üretilen gerçek zamanl? canl? elektronikler ve bunlar?n önceden programlanm?? bir bilgisayar arac?l???yla gerçekle?tirilen do?al bir kar???m? bulunuyor.
Albümde tamam?na yak?n? sonuna “slice” (dilim) uzant?s? eklenmi? organ isimlerinden olu?an (Brainslice / Nerveslice / Lungslice / Lipslice gibi) ve toplam süresi yakla??k bir saati bulan 13 parça var. Aç?l?? etkileyici bir parça olarak tan?mlanabilecek “Brainslice” ile yap?l?yor. Saksafonun ba?rolde oldu?u parçada, arka planda adeta birbiriyle yar??an canl? elektronikler ve davulla desteklenen h?zl? bir tempo var. Parçan?n en karakteristik özelli?i tüm melodi ve t?n?lar?n bir ?ekilde yaratmay? ba?ard?klar? “bitmemi?lik” hissi. Kaotik olmadan da ara pasajlarda kan? kaynayan ama hep bir ?ekilde içinden bir?eyler eksiltilmi? hissi veren bu parçada kullan?lan tüm yap?land?rmalar sanki tra?lanm?? / uçlar? törpülenmi? ve devam etmeleri gerekirken aniden biten, o yüzden de bir eksiklik hissiyat? veren bir duygu yarat?yorlar. “Bellyslice” saksafonun ana omurgay? ?ekillendirdi?i, minik lezzet pasajlar? sunan elektroniklerin yan?nda derinden gelen bir bas ve davulun zenginlik katt??? bir parça. “Tactslice” do?açlama vurgusunun ön planda oldu?u, albümde bir ad?m daha öne ç?kan parçalardan biri. Aksak ritimlerle beslenen ve tüm enstrümanlar? duyabildi?imiz bu parçan?n ard?ndan gelen “Chunkslice”da ise elektroniklerin ana ekseni belirledi?i bir güzergah izlenebiliyor. “Liverslice” ve “Breatheslice” deneysel, ekolu ve elektronik atmosferleriyle albüme renk ve derinlik katan di?er parçalardan sadece birkaç?. Standart bir caz parças? k?vam?nda ba?layan “Hipslice” ise ilerleyen dakikalarda dizginlerinden bo?alm?? bir zenginlik, çok katmanl?l?k ve kontrollü bir deneysellikle elektronik bir kurgunun ne denli farkl? t?n?lar üretebildi?ine iyi bir örnek olu?turuyor ve “Materiale Umano”nun en iyilerinden biri olarak y?ld?zl? pekiyi al?yor. “Lungslice” ba?ka bir albümde kar??m?za ç?ksa, anlat?rken caz referansl? ifadelere pek ba?vurmayaca??m?z bir kurguya sahip. Ziyadesiyle elektronik. “Nerveslice” albümde dikkatimizi celbeden nitelik ç?tas? bir hayli yüksek parçalardan bir di?eri. Burada da do?açlama ile elektroniklerin nitelikli bir kar???m?na ?ahitlik ediyoruz. Kapan??, albümün en uzun parças? olan “Skinslice” ile yap?l?yor. Bu parça adeta albüme ili?kin söylenebilecek tüm ifadelerin bir özeti niteli?inde. Devinimi fazla yükseltmeden, elektroniklerle beslenen deneysel bir platform üzerinde do?açlama caz?n ç??l?klar?. Arada bas, kalrnet ve davulun ben de buraday?m diyen minik sesleni?leri.
Albümü genel olarak de?erlendirdi?imizde benzersiz bir ba?yap?ttan bahsedemesek de oldukça farkl? bir pencereden bir meydan okuma oldu?unu da görmemiz gerekli diye dü?ünüyorum. Burada elbette bir deneysellik mevcut ama tamam?yla “kontrolden ç?km??l?k” veya bir “hakim olamama” durumu söz konusu de?il. Planlanm??, çal???lm?? bir kaotik yap?n?n ayak uçlar?nda ?ekillenen bir rastlant?sall?k, kontrollü bir de?i?kenlik ve tüm bunlar?n aras?ndan dev?irilen farkl? bir dilden konu?an bir albüm “Materiale Umano”. Herhangi bir enstrüman yada müzisyenin bütünden s?yr?lmaks?z?n ahenk içinde beraber hareket edebildi?i, baz? küçük ön ke?iflerde saksafon ve klarnetin ba?? çekti?i, elektroniklerin her daim minik patlamalar yapmaya müsait bir gizlilik (ama bilinirlik) içinde parçalar?n içine yedirildi?i dikkat çekici ve keyifli bir albüm. Caz?n al??ageldik enstrümanlar?n?n farkl? bir kurgu dahilinde elektroniklerle bezendi?i bu melez çal??ma, bir yandan getirdi?i yenilikçi yakla??m bir yandan da dengeli ve maharetle kotar?lm?? müzikal içeri?i ile bizleri farkl? bir perspektife do?ru çekmeyi ba?ar?yor.
[google turkish>english translation]
"A deliberate effort to create alternative routes" miz out in accordance with the very different musical adventurers in our journey we stop at the break this time. Avant-garde and experimental notion of a high on the axis, improvisational jazz and electronics that together they journey out of the captain of the first album, "Materiale Umano" yu released in recent months that Scoolptures team. Group, at the corner of a different practice that I entered into a period, considerable music production company as one of the Leo Records hatmet Among the recent studies to have met, from my point really was a pleasant discovery properties. Where the "coincidence" the phrase being used in a conscious way and I'm standing in the back Openly. Because otherwise-direction corner for us we ordinary / routine outside and as a different page (or even between the lines of) arala're trying to, in this framework in detail to mention property values in a rich range of feeding from work days in the face to remove really our eyes our ears a thousand kinds of sound with a precision we are surging.
This brief description note of our order and then fed to our hectic heveskârl?k "Materiale Umano" let us try to examine the album. In fact, a project team Scoolptures group. Each of the different work in the field of jazz music and musicians in groups of four yeralm?? together a special project. What makes the project a different name these four points, a little snooze you'll work closely to promote. Team is composed of the following names: Nicola Negrini (bass, metallophone, live electronics); Achille Succi (bass clarinet, alto saxophone, Shakuhachi); Philippe Garcia (drums, live electronics); Antonio Della Marina (sound waves, live electronics). I admit that what the play who wrote that one of that project, the parameters of the remarkable fact was a little more enlightened (live electronics, sir).
Team leader of the Italian musician Nicola Negrini. In many communities outside of the project Scoolptures musicians involved also in a close relationship in different artistic disciplines. These are among the most forward as a group, Faze Liquide nujazz and Alkord Quintet. Work with different disciplines mentioned Negrini'nin area extending between the front stage can be considered a step further.
Achille Succi, Uri Caine "Othello Suite" project as well as our diverse communities face in the name. They signed with the Danish composer Pierre Dorge "New Jungle Orchestra" One of yeraldý?ý project. Group leader released two albums with the qualifications Succi, but also on jazz improvisation festival in many institutes and workshops have also provided a valuable contribution musician. In addition, since the year 2006 on the techniques taught at Ferrara noted Conservatory let improvisation.
Another element of the group that Philippe Garcia's actually a rather remarkable personal information (of course for us). Because he has taught in Ankara 84-85 years, 85-91, and after searching here, taught percussion in conjunction with the Ankara Symphony Orchestra has played a musician. Moreover not, from Sezen Aksu to Onno Tunç, Okay Temiz in Turkey until the important work carried out in conjunction with musicians from developed. After returning to France 91'de Erik Truffaz, Don Cherry and the giant names such as Markus Stockhausen also among the many musicians with his work, as well as the contemporary dance community in the way Garcia played the piano so we also pleasing to see that intersection. (That's between the lines of those known such beauty can be green.)
Antonio Della Marina graduated from the University of Bologna performing arts department name. American experimental music, minimalism and sound-image relationship between the in fact constitute the main areas of Marina. If we are to have an overall evaluation project, a new dimension to this simple girizgâh even Scoolptures floor of one of the most prominent figures in the Marina tells us. Voice of the manipulation of electronic media, digital compositing and computer-assisted music production on the Marina in training in these areas also among Carsten Nicolai (aka Alva Noto) electronic music, such as geography reference of the strongest soldier in one of the various individuals and with organizations that maintain close relations were. Since more than 99 sound concept focusing on live performance, web-based project work and various installations across the Marina in the name, but also through music, international music and theater festival called the name of the search has succeeded in becoming one of. Between 99-04 at the University of Bologna in a multimedia museum curator of the audio infrastructure work that Marina, the productivity of various joint projects continues.
Towards a history of forming the team Scoolptures musicians do not related to the album after this short journey is useful to our late. Three-year preparatory process is a product of the album, spent two days in the studio recorded during a study. However, the mentioned three-year preparatory process of maturation is not only a musical, the album was eating into the various concepts of an intellectual focus on the preparation phase, during this process, different cities and the interaction with people and will also include preparation. The study notes several concepts are made through the fall of an inquiry / investigation documentation that the album; time, attention, standby, intervention, as compared sorted by title. Built on these concepts, carefully blending in itself be prepared and maturing / evolving concepts of the auditory whole cast actually "Materiale Umano". Formed in a layer where there is no promise that the thematic unity of space filled with a different tone and timbre that aims to be one / maturation process mentioned. Musical content, of timbre, improvisation ideas in a fiction created painstakingly painted a different timbre to the creation process.
Detail in a study that met our plural and depth of the layers out of this work I want to fall again a few notes about the general. In addition to being the name of this project Scoolptures group, the above conceptual framework we have attempted to summarize the point of producing a composition that, in fact. Here to talk about three different sizes is possible moment in the project in a corner of the arrangements when there are impromptu tripartite structure in the other corner of acoustic noise produced in real-time live electronics, and their pre-programmed made through a computer is equipped with a natural mixture.
Near the end of the entire album "slice" (slice) extension attached organ consisting of the name (Brainslice / Nerveslice / Lungslice / Lipslice) and total duration of about an hour finding has 13 tracks. Can be described as an impressive opening track "Brainslice" is made. In part as the lead saxophone in the background almost competing with live electronics and drums have supported a rapid pace. Part of the most characteristic feature of all the melody and the sound they managed to create "bit underdevelopment" feeling. Without Chaotic passages in between the blood boiling, but always in a way has been subtracted from the feeling of something which in this piece is used as if all configurations tra?lanm?? / ends at rasping and to continue while the sudden ending, so a lack of feeling a sense of which are created. "Bellyslice" saxophone shaped the main spine, little flavor offering snippets from electronic as well as a deeply enriched the part of the bass and drums. "Tactslice" is at the forefront of emphasis on improvisation, the album a step forward in one of the parts. And all the instruments fed by halting rhythm of this track could be followed by "Chunkslice" the main axis of the electronic set can be viewed on a route. "Liverslice" and "Breatheslice" experimental, electronic echo and atmosphere and depth that adds color to the album with a few other parts. A standard piece of jazz began in consistency "Hipslice", then minutes later the reins in a run-down of wealth, of multi-layered and controlled experimentation with an electronic fiction how the different timbres produced well constitute an example and "Materiale Umano" s one of the best as the star is very good. "Lungslice" against another album out of our class, telling many of jazz expression with reference to a fiction of apply. Largely electronic. "Nerveslice" album our attention that cite a very high quality parts another ledge. Here, too, bear witness to a mixture of improvisation and electronics are qualified for. Closing the album's longest track, the "Skinslice" is made. All statements can be said about this track album almost a summary of the qualifications. Motion without raising too, fed with an experimental electronic platform cries of jazz improvisation. Between bass, drums kalrnet and I am here at the appeal of the tiny.
Generally regarded as a unique masterpiece album, we can not talk about quite different from a window as a challenge I think is also required to see. Here, of course, but an experimentation entirely possible "ed out of control" or an "inability to control" state is not in question. Planned work at the foot of a chaotic structure forming a Random Number between a controlled variable, and all they talk a different language can recruit from an album "Materiale Umano". Any instrument or musician stand out from the whole in harmony together without it can act, some in small preliminary exploration of the saxophone and clarinet to take the lead, electronics at all times of tiny explosions to make available a privacy (but awareness) in parts it was eating into the eye-catching and enjoyable album. Of jazz instruments used within a different fiction has been decorated with the hybrid electronic work, while its innovative approach to bring a balanced hand with dexterity and musical content has been scrubbed with a different perspective, we managed to appeal to the right.
Scoolptures is weer zo'n geinig bandje uit Italië. Bassist Nicola Negrini heeft een kwartet om zich heen geformeerd dat behalve akoestische instrumenten ook elektronica bespeelt. Altsaxofonist Achille Succi heeft een leuke springerige speelstijl, die op de cd ‘Materiale Umano’ bijvoorbeeld goed naar voren komt in 'Nerveslice'. Op shakuhachi (de Japanse bamboefluit) weet hij een spannende atmosfeer neer te zetten tegen de analoge elektronische achtergrond van Antonio della Marina, en het speelse slagwerk van Philippe Garcia in 'Lungslice'. Negrini bespeelt zelf ook nog een zelfgebouwd rek vol metalen voorwerpen (dat je zelf kunt bespelen door op zijn site http://www.nicneq.it te navigeren). De vrije improvisaties getuigen van een goed vormgevoel, want het klinkt af en toe of er toch een componist aan de slag is geweest.
[google dutch>english translation]
Scoolptures is another funny band from Italy. Bassist Nicola Negrini has a quartet that formed around him but also electronics playing acoustic instruments. Alto saxophonist Achille Succi has a nice springy playing style, which on the CD "Materiale Umano" good example emerges in 'Nerve Slice'. On shakuhachi (Japanese bamboo flute) he knows an exciting atmosphere to put down against the background of electronic analog Antonio della Marina, and the playful percussion Philippe Garcia in "Lungslice. Negrini itself also plays a self-built rack of metal objects (which you can play through on his site to navigate http://www.nicneq.it). The free improvisations bear witness to form a good feeling, because it sounds sometimes whether there is a composer was to work.
Mit Materiale Umano (LR 546) stellt sich SCOOLPTURES vor, ein neues Quartett mit Nicola Negrini (Bass, Metallophone), der mit Gianmaria Testa spielt, NuJazz in Faze Liquide und polystilistisch in Alkord, mit Philippe Garcia (Drums), der mit Erik Truffaz unterwegs ist, mit Antonio Della Marina (Sinewaves) und Achille Succi (Bassklarinette, Altosax). Alle bis auf den Bläser setzen auch noch live-elektronische Effekte ein. So weit ist das aber mit der Elektronik nach dem ersten Eindruck nicht her, es wird geblasen, geplonkt und getrommelt, was das Zeug hält, alles spritzig improvisiert. Erst bei ’Chunkslice‘, dem vierten Track, ist der steckdosengezapfte Soundanteil 3:1 und so, dass das elegisch gestimmte Altosax sich davon Scheiben abschneiden kann. Bei ’Liverslice‘ schnetzelt der Drummer Leber zu rückwärts geschnurzelten Geräuschen und Oktavsprüngen der Bassklarinette, bevor er neue Kiloportionen heran wuchtet. Für ’Lipslice‘ spitzt das Alto melancholisch die Lippen zu Bassgeplonke und Noisewellen. ’Breathslice‘ zerkratzt Bassschraffuren mit spotzenden Stimmfetzen. Den bläser beschrieb Gary Lucas nach ihrer Begegnung in Gallo & The Roosters als the sanguine 6 footer sardonico Achille Succi - a Borat ringer! - on fruity/woody bass clarinet. Der zappaschnauzige Typ aus Modena, der immer wieder mit S. Guiduccis Gramelot und auch schon mit P. Dørges New Jungle Orchestra zu hören war, ist tatsächlich allein schon das Geld wert. Die elektroakustische Mixtur ist aber bis hin zu ’Skinslice‘, das einem die alte Haut abzieht, damit eine neue wächst, insgesamt eindrucksvoll genug, um Scoolptures zu einem Leo-Geheimtip zu machen.
[google german>english translation]
With Materiale Umano (LR 546) imagines SCOOLPTURES, a new quartet with Nicola Negrini (bass, Metallophones), who plays with Gianmaria Testa, NuJazz in Faze Liquide and polystylism in Alkord, with Philippe Garcia (drums), with Erik Truffaz headed, with Antonio Della Marina (sinewaves) and Achille Succi (bass clarinet, alto saxophone). All but the wind comes in even-a live electronic effects. How far is this to do with the electronics after the first impression is not, it is blown geplonkt and drumming, all it's worth, all sparkling improvisation. Only when 'Chunkslice', the fourth track, is the sound steckdosengezapfte proportion 3:1, and so that the elegiac tuned altosax can cut them in slices. For 'Liver Slice' schnetzelt drummer liver backward geschnurzelten noise and octave of the bass clarinet, before he heaves up a new kilo portions. For 'Lipslice' purses her lips in the Alto melancholy Bassgeplonke and noise waves. 'Breath Slice' scratched Bassschraffuren with spotzenden vocal shreds. The blowers described Gary Lucas after their meeting in Gallo & The Roosters sanguine than the 6 foot sardonico Achille Succi - a ringer Borat! - On fruity / woody bass clarinet. The zappaschnauzige guy from Modena, which was heard again and again with S. Guiduccis Gramelot even with P. Dorge and New Jungle Orchestra, is actually worth the money alone. The electro-acoustic mix is to 'Skinslice', which subtracts one's old skin so that a new growth, whole impressive enough to make Scoolptures a tip to Leo.
Four Italians I never heard before (Nicola Negrini, Achille Succi, Philippe Garcia, Antonio Della Marina): doublebass, bass clarinet, drums, sine waves, and everyone also uses electronics. A pluristylistic approach that draws inspiration from Cage, European improvisation, noise, avant-garde jazz, and the funny side of Rock-in-Opposition. This is serious music that can sound cheerful, vibrant, busy, and carefully disorganized/reorganized. I need to dig deeper into this disc. Materiale Umano has potential.
...
As different as Sun Ra is from Son House, Materiale Umano is made up of 13 instant compositions, where everyone with the exception of Succi – who adds shakuachi textures to his usual bass clarinet and alto saxophone lines here – utilizes some form of live electronics. Scoolptures is the brainchild of Nicola Negrini, a native of Alba, who plays metallophone and electronics as well as double bass. Negrini, who in the past has been involved in theatre pieces as well the likes of saxophonist Javier Girotto and pianist Rita Marcotulli, says the band concept comes from meditations on “faces, deaths, love, births, streets travel, psychiatry and philosophy”. Sound sculpture generation and sine wave expression on this CD come from Udine’s Antonio Della Marina; with Philippe Garcia contributing his talents on drums, voice and live electronics as well.
At points sounding as if it’s sonically illustrating an earlier Negrini-affiliated band, the Alien Army Collective, this “human material” encompasses many actions and textures that are irregular, disconnected, looped and pulsed – with intense reed burbles plus drum rolls and ruffs adding to discontinuity produced by electronic circuitry. Each composition includes the suffix “slice”. Does it mean that each is designed as a slice of life?
A track such as “Liverslice”, for instance begins with diffuse electronics buzzing discontinuously as if a switch is being turned on and off. Soon moderato bass clarinet lows are matched with ring-modulator signals overlaid on a military drum beat. Eventually Succi’s squeaking and vibrating reed bites identify the narrative as do steel-pan-like strokes and blurry electronic interfaces.
“Skinslice” on the other hand has an exposition that is almost harmonious, with sweet clarinet trills, bell-like pings and drum rolls that are only gradually enveloped by ganulized pitches. As the wave-form undercurrent buzzes and blurs with distant whooshes and squealing oscillations, harsh clarinet split tones and tongue flutters not only accelerate but also become densely concrete as well. Soon high-pitched flattement and feline yowls join body-tube yelps and clouds of interlocking drones and flanges. Crossing and re-crossing one another from multiple outputs, the timbres finally connect in an echoing finale. Elsewhere there’s Succi’s whiny and otherworldly shakuachi puffing matched with equivalent dragging string resonation; as well as sections when upwards alto saxophone slurs, cries and tongue flutters exacerbate crashing cymbal abrasions in the middle of a piece.
Most characteristic of Scoolptures’ strategy however may be the resolution into percussive oil-drum-like strokes, steady sine-waves pulsations and grainy, emphasized double-tonguing on “Chunkslice”. This follows a nearly soundless exposition and climaxes with patched reflections of the initial super-loud alto saxophone squeals which balance the harsh repetitive sine-wave loops.
Scoolptures je italské jazzové kvarteto kolem kontrabasisty Nicoly Negriniho. Kvartetem jsou z hlediska počtu muzikantů, ne že by ovládali tradiční jazzové nástroje. Negrini kromě basy místy používá metalofon a stejně jako dva další hráči pracuje s živou elektronikou. K nějakému tomu počítačovému lupanci občas sáhne i bubeník Philippe Garcia. S počítačem si nehraje pouze dechař Achille Succi, který na albu střídá altsaxofon, basklarinet a japonskou tradiční flétnu shakuhachi. Naopak čtvrtý člen kapely Antonio Della Marina hraje výhradně na mašinky.
Přes elektoniku kapela posílá především zvuky, které sami muzikanti nejprve akusticky vytvoří. A pokud použijeme "diskurz", kterým Scoolptures pojmenovávají písně, můžeme říci, že hudebníci akustický zvuk jazzové kapely krájí na tenké plátky, ty promačkávají elektonickými filtry a zkresleními a výsledek míchají v reálném čase do původní produkce. Podle názvů tracků totiž Scoolptures produkují samé slices (plátky, řezy, krajíce, porce..).
Tak třeba hned první Brainslice. Elektonické zvuky jsou tady napojené na hrající saxofon jako jeho kompaktní novodobý výrůstek, ohon vlající za tělem saxofonu. Škoda, že není vidět muzikantů pod ruce, co to vlastně dělají. Jako by část zvuku odebírali od hrdla saxofonu do nějaké binární počitačové nádoby a v ten samý moment jej pozměněný, uměle najiskřený, stačili vylévat do saxofonistovy hry. Povedené.
Scoolptures nabízejí také třeba Bellyslice, Tactslice, Chunkslice.. Víceméně avantgardní improvizované kusy. Nejchytlavější je porcování jater, Liverslice. Mezi skladbami s většinou neuchopitelnou melodií a rytmem vystupuje tato pátá skladba výrazným těžkým ritmem. Právě spojení jasných a prostých úderů bicí soupravy s avantgardními výstupy ostatních nástrojů je vtipné a dokonce dovede udělat free jazz chytlavým. Jindy, jako v osmičce Hipslice, slyšíme klubový jazzík, jak má být.
Vymyká se devátá skladba Lungslice. Právě tady hraje dechař na japonskou flétnu. Kapela s její pomocí ale vyrábí atmosféru jiného dílu světa. Snad stepi, prérie nebo třeba buše. Až má posluchač pocit, že na něj spadne tarantule, šlápne na skorpiona nebo že by se měl ukrýt před nějakým nočním predátorem. Lungslice zkrátka působí jako soundtrack k nějaké noční exteriérové scéně dobrodružného filmu. V navozování atmosféry a prostoru pokračuje i výborná strašidelná jedenáctka Lostslice. Tajemný ženský hlas létá nad klarinetem. Nařezané plákty at` už čehokoliv se poztrácely v opuštěných a mlhou zahalených ulicích, tu a tam nějaký zahlédneme, ale sotva se jej odvážíme sebrat.
Na přebalu svého alba nechali Scoolptures počítačem pokřivit a zkreslit textovou část tak, až je místy nečitelná. Jejich hudbě je ke cti, že to samé neudělali s výstupem z nástrojů. Zásah The Scoolptures Machine, jak část své elektroniky nazývají, je spíše decentní a příjemný. Méně srozumitelná, i když docela fajn, je samotná improvizace muzikantů.
[google czech>english translation]
Scoolptures is an Italian jazz quartet around the bass Nicola Negriniho. Quartet in terms of musicians, not that dominated the traditional jazz instruments. Negrin except bass sometimes used metalofon as well as two other players working with live electronics. To some this computer lupanci sometimes reaches the drummer Philippe Garcia. The computer can not play only windjammer Achille Succ, which on the album alternate alto saxophone, bass clarinet and traditional Japanese shakuhachi flute. On the contrary, the fourth member of the band Antonio Della Marina plays exclusively on locomotive.
Despite electonic band sends particular sounds themselves musicians first acoustically creates. And if you use "discourse" which Scoolptures naming songs, we can say that the musicians sound of an acoustic jazz band sliced into thin slices, you promačkávají elektonickými filters, distortions and result in real-time mix to the original production. According to the names of the tracks Scoolptures produce the same slices (slices, cuts, slices, serving ..).
That should be your first Brainslice. Elektonické sounds here are linked to playing the saxophone as his compact modern outgrowth, tail waving in the body saxophone. Pity that you can not see the hands of musicians, what do you do it. As a part of the audio sourced from the neck to the saxophone a binary computer, and the same container moment it modified, artificially najiskřený, were able to pour into saxofonistovy game. Hilarious.
Scoolptures also offer should Bellyslice, Tactslice, Chunkslice .. Or less improvised avant-garde pieces. Nejchytlavější as cutting liver Liverslice. Among the tracks most elusive melody and rhythm performing the fifth major piece heavy ritmo. Now connections clear and simple drum beats set the outputs of other avant-garde instruments is funny and is able to make even attractive for free jazz. Sometimes, as in the Number Eight Hipslice, we hear the club jazzík as it should be.
Beyond the ninth song Lungslice. It was here playing the Japanese flute windjammer. Band with its atmosphere but produced by different parts of the world. Perhaps the desert, prairie, or maybe bush. When a listener feel that it falls tarantula, scorpion, or stepping on it would be some shelter from nocturnal predators. Lungslice simply acts as a soundtrack to a night exterior scene adventure film. In inducing atmosphere and space continues excellent spectral Eleven Lostslice. Mysterious woman's voice flies over the clarinet. Cut at `plákty have anything to poztrácely in abandoned and fog draped the streets, here and there a glimpse, but it hardly dare pick up.
The cover of the album left Scoolptures computer warp and distort the text part, so until the sometimes illegible. Their music is to the credit that the same thing done with the output from the instruments. The Intervention Scoolptures Machine, as part of its electronics called, is rather unobtrusive and pleasant. Less understood, though quite nice, the mere improvisation musicians.
Leo Records se však nevyhýbají ani poněkud ulítlejším projektům, které avizují už netradiční obaly s poněkud deformovaným písmem a nevšedními obrázky.
Italské kvarteto Scoolptures prý strávilo tříletou přípravu na svůj debut přemýšlením, čtením knih a nasloucháním zvuků a zaobíralo se například Heideggerovou koncepcí času, Jungovými úvahami o synchronicitě či koncepty Johna Cage.
Název alba MATERIALE UMANO (LR 546, 57:19) napovídá, že předmětem výsledného zkoumání je lidské tělo, které muzikanti naporcovali na jemné plátky, což dokládají názvy skladeb, jejichž druhou část vždy tvoří výraz slice. Řezy z mozku, břicha, jater, rtů, dechu, hýždí, nervů či kůže jsou zde gratinovány na postjazzovém základu s dominujícím saxofonem, basklarinetem a kontrabasem a servírovány s bohatou oblohou elektroniky včetně sinusových vln. Ve výsledku je to ještě občas okořeněno japonskou tradiční flétnou šakuhači či pseudoženskými vokály. Vše se vyznačuje výraznou, ale vyváženou, byť poněkud exotickou nebo spíše extatickou chutí a tenhle eintopf není ve finále žádným dortem a la pes a kočička.
[google czech>english translation]
Leo Records, however, fall victim rather ulítlejším projects that already announces innovative packaging with a somewhat deformed characters and remarkable images.
Italian quartet Scoolptures said he had spent three years preparing for its debut by thinking, reading books and listening to sounds and preoccupied, for example, Heidegger's concept of time thinking about Jung or synchronous concepts of John Cage.
Album Name MATERIAL Uman (LR 546, 57:19) indicates that the subject of final examination of the human body is that of musicians naporcovali thin slices, as evidenced by song titles, the second part is always a slice expression. Slices of brain, stomach, liver, mouth, breath, buttocks, skin or nerves are the gratin postjazzovém base and a large saxophone, bass and basklarinetem and served with rich garnish of electronics, including sine waves. As a result, it is still occasionally spiced traditional Japanese shakuhachi flute, and vocals pseudoženskými. All are characterized by strong, but balanced, if somewhat exotic, or rather ecstatic taste and this is in the final eintopf any cake a la dog and cat.
Se o mais conhecido dos membros do quarteto italiano Materiale Umano é Achile Succi (clarinete baixo, saxofone alto, shakuhachi), os restantes compensam a pouca projecção extra-fronteiras com prestações de alta qualidade: Nicola Negrini (contrabaixo, metalofone, electrónica), Philippe Garcia (bateria, voz, electrónica) e Antonio Della Marina (electrónica) são nomes a fixar.
O que aqui vem é improvisação electroacústica com matriz jazzística e dimensão humana. Intensa, mas muito focada, com uma honestidade estética e uma competência técnica de aplaudir. Dizem os MU que a inspiração foram buscá-la ao conceito do tempo de Heidegger e às perspectivas de Jung quanto à sincronicidade – seja como for, na prática tudo parece natural e espontâneo.
[google portuguese>english translation]
If the best known members of the Italian quartet is Materiale Umano Achile Succi (bass clarinet, alto saxophone, shakuhachi), the others compensate for the low projection with extra-border supply of high quality: Nicola Negrini (bass, glockenspiel, electronics), Philippe Garcia (drums, vocals, electronics) and Antonio Della Marina (electronics) are names to be fixed.
What is here is headquartered electroacoustic improvisation jazz and human dimension. Intense, but very focused, with an honesty and an aesthetic expertise to applaud. MU say that the inspiration came for her the concept of time in Heidegger and Jung's perspectives on the synchronicity - in any case, in practice it seems natural and spontaneous.
Scoolptures - Materiale Umano (Leorecords/Ird) voto: IMMENSO
Il trionfo di Achille Succi. Una performance che costringe a riflettere sulle valutazioni correnti nel campo del jazz italiano (che in questo caso è dichiaratamente avant-jazz). Perché non si parla sempre di Succi come di un musicista tra i più geniali? Perché non lo troviamo sempre ai primi posti delle classifiche?
Fatto sta che in queste tredici tracce in compagnia dei funzionalissimi Negrini (contrabbasso ed elettronica), Garcia (batteria ed elettronica) e Della Marina (elettronica) il trentottenne virtuoso modenese di altosax e di clarinetto basso prende letteralmente alla gola, cattura attenzione/emozione, travolge e sconvolge. La sua ricetta qui (in una situazione di improvvisazione totale) è semplice: usare gli impulsi sonori dei partner come un tappeto volante. Fluente e aguzzo, torrenziale e schizoide. Smisuratamente fascinoso.
[google italian>english translation]
Scoolptures - Materiale Umano (Leorecords/Ird) rating: IMMENSE
The triumph of Achille Succi. A performance that forces one to reflect on current valuations in the Italian jazz (in this case is avowedly avant-jazz). Why do we always talk about Succi as a musician among the most talented? Why do not we always at the top of the charts?
Fact is that in these thirteen tracks in the company of funzionalissimi Negrini (bass and electronics), Garcia (drums and electronics) and Navy (e) the thirty-eight virtuoso clarinet and Modena altosax literally comes down to the throat, capture attention / emotion, overwhelmed and upset. His recipe here (in a situation of total improvisation) is simple: use sound impulses partners as a flying carpet. Fluent and sharp, torrential and schizoid. Immeasurably fascinating.