[LAST UPDATE : 11 NOV 11]
Scoolptures - Materiale Umano (Leo Records, 2009) ****½
A new band, announced by the label as "Can't be ignored", which is quite a negative way of putting it, but true enough, this is highly clever, highly creative and highly emotional music, a rare combination, but what is more: their take on music is something else: powerful and visionary.
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.
|Stef Gijssels :: Free Jazz [BE]|
SWEDEN swedish : english
TURKEY turkish : english
NEDERLANDS dutch : english
GERMANY german : english
PORTUGAL portuguese : english
ITALY italian : english
Giuseppe Dalla Bona MUSICA JAZZ
Massimo Ricci TOUCHING EXTREMES
Piercarlo Poggio BLOW UP
FRANCE french : english
”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.
[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.
|Johan Redin :: SoundOfMusic [SE]|
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.
|Bill Meyer :: Downbeat [US]|
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.
|Kent Manthie :: Heathen Harvest [US]|
Although its best known member may be alto saxophonist/bass clarinetist Achille Succi, this quartet’s instigator seems to have been bassist Nicole Negrini, who originally created several pieces of abstract video art titled “Scoolptures” (they can be seen at www.nicneg.it). His musical/visual art inspiration is shared by Antonio Della Marina, who uses custom-built sound generators and mathematically-based computer programs to produce “sonorous structures” for gallery installations and ambient performances. Add Philippe Garcia, who has contributed percussion and electronics to scenes ranging from dancefloor hybrids to electroacoustic experiments, and you have a band that seems ripe for conceptual collisions.
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.
|Art Lange :: Point Of Departure / Moment's Notice [US]|
I can't say that I was familiar with any of the members of this Italian quartet but I did notice that Achille Succi does have a duo disc out on El Gallo Rojo with Salvatore Maiore. Scoolptures is a formidable improvising quartet that moves from free jazz to electronic improv pretty quickly. Each of the 13 tracks is name after a "slice" of something like "Brainslice" or "Nerveslice". Achille's Succi's alto sax or bass clarinet is often at the front of the quartet with electronics swirling and tight yet free support of that inventive acoustic bass and drums underneath. Sometimes this music is playful, sometimes it is filled with suspense. For "Chunkslice" Achille's alto drifts eerily on a cushion of hypnotic electronic space. I dig the way the electronics and samples are used selectively to create effective soundscapes and spacious drama. Acoustic bassist Nicola Negrini also plays quite well, often adding tasty licks to the right places. Another gem from Leo's unending treasure chest of delights by lesser known musicians from around the world.
|Bruce Lee Gallanter :: Downtown Music Galley [US]|
Scoolptures is a quartet of three instrumentalists (bassist Nicola Negrini, reedist Achille Succi, and drummer Philippe Garcia) plus sound manipulator Antonio della Marina, credited with sinewaves and live electronics. Prime instigator Negrini and Garcia also contribute live electronic treatments to the proceedings on Materiale Umano.
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.
|Stuart Kremsky :: IAJRC Journal [US]|
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.
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.
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.
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.
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.
|Okan Aydìn :: Cazkolik [TR]|
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.
|Herman te Loo :: Jazz Flits [NL]|
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.
|Rigobert Dittmann :: Bad Alchemy [D]|
Quatre Italiens que je ne connaissais pas du tout (Nicola Negrini, Achille Succi, Philippe Garcia, Antonio Della Marina): contrebasse, clarinette basse, batterie, ondes sinusoïdales, et tout le monde fait aussi des électroniques. Une approche pluristylistique qui s’inspire à la fois de Cage, de l’impro européenne, du bruitisme, du jazz d’avant-garde et du côté humoristique du rock-in-opposition. C’est une musique sérieuse mais parfois enjouée, souvent vibrante, occupée et soigneusement désorganisée-réorganisée. À explorer plus en profondeur. Ça a du potentiel.
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.
|François Couture :: Monsieur Délire [QC : CAN]|
Although his own sessions as leader aren’t that numerous, Modena-born saxophonist and clarinetist Achille Succi seems to be the go-to guy when adventurous Italian composers want to add professional zing to their projects.
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.
|Ken Waxman :: JazzWord [ON : CAN]|
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.
[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.
|Martin Filip :: HIS Voice [CZ]|
Leo Records se však nevyhýbají ani poněkud ulítlejším projektům, které avizují už netradiční obaly s poněkud deformovaným písmem a nevšedními obrázky.
[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.
|Slabý Petr :: UniMagazin [CZ]|
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.
[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.
|Rui Eduardo Paes :: REP [PT]|
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?
[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?
|Mario Gamba :: Alias / Il Manifesto [IT]|
I protagonisti sono gli strumenti di Succi, tra i quali rimane particolarmente impresso il giapponese sciakuaci per la suggestiva aderenza con cui in Lungslice fa sentire da quali recessi prenda vita e forma. Il lavoro dei partner è tuttavia essenziale a restituire tutta la plasticità e la risonanza necessarie allo stagliarsi delle sue voci.
[google italian>english translation]
The protagonists are the tools of juice, including the remains particularly impressed by the beautiful Japanese sciakuaci grip which makes itself felt in Lungslice from which withdrawal will take life and form. The work of the partners is essential, however, to return all plastic and resonance necessary for standing out of its entries. Scoolptures perceived connotation of an original rhythmic fluency and cohesion in the bass-drums duo. In the study, there was (maybe too) thoroughly engaged electronics, which has added strength and elasticity. The music has thus taken on a dimension that can be envisaged balenanti soundscapes and swirling counterpoint to the function and to be especially tense alternation of legato and staccato innervates and continually feeds the articulation of juice, both the alto and bass clarinet, an instrument that playing a dangerous vertical, enables it to adjust intense expressiveness of which is easy to recognize its roots in blues and free.
|Giuseppe Dalla Bona :: Musica Jazz [I]|
Scoolptures: a triad of Italians (bassist-cum-metallophone Nicola Negrini, reedist Achille Succi and sinewave wizard Antonio Della Marina) augmented by French drummer Philippe Garcia. Three of them utilize live electronics, doing it with intelligence to spare.
In actuality, the whole of Materiale Umano sounds like a shrewdly conceived project, testifying about how often brilliant recordings lie dormant under the blankets of indifference and scarce media hype, while absolute nonentities – more able to market a self-attributed genius – receive privileges and exposure.
The nonconformist attitude of this quartet is expressed through sonorities that owe something – not everything – to artists such as Ned Rothenberg (an evident influence on the way in which bass clarinet, alto sax and shakuhachi are employed by Succi) and, in spite of the lack of keyboards, to early Wayne Horvitz. Dave Petts and Adrian Northover’s Remote Viewers also came to mind, if just during brief flashes.
But there’s a lot of distinctive personality in what we heard. Initial ideas are gently but relentlessly manumitted, retaining melodic incisiveness and non-compliant hooks even when the commingling of diverse components appears to represent a sure path towards utter dissolution.
A proper groove and a touch of well-regulated abstractness can work magnificently when the musicians know the right time to stop; indeed these guys do not prolong anything more than the strict necessary, investigating a wide gamut of milieus with a blend of cunning nosiness and expert control on the sonic structure’s mechanisms.
The admirable balance between acoustic and electronic hues is the eventual decisive factor for the endorsement of this secreted little gem.
|Massimo Ricci :: Touching Extremes [I]|
C'è sempre più Italia nelle incisioni Leo, ulteriore dimostrazione della bontà della nostra scuola "improvvisata". Al di là dell'orgoglio nazionalista, "Materiale Umano" non può che essere definito un signor disco, ben strutturato e pieno di intuizioni felici.
[google italian>english translation]
There is always more Italy in Leo recordings, further proof of the goodness of our "improvised" school. Beyond national pride, "Materiale Umano " can only be called a Mr. disc, well-structured and full of smart intuitions.
|Piercarlo Poggio:: Blow Up [I]|
Le label britannique s'est depuis longtemps investi, entre autres, dans la production improvisée italienne. On connaît ses enregistrements de Carlo Actis Dato, ceux de l'Italian Instabile Orchestra ou de Fabio Martini, parmi d'autres. Ces deux enregistrements, parus il y presque un an, apportent du sang neuf.
Certes, parmi les musiciens de l'une ou l'autre formation, apparaissent des noms déjà croisés: Antonio Della Marina, auteur d'un enregistrement sur Dischi di Angelica ["Fades" IDA 022] et membre de Scoolptures, Gianni Lenoci sur Ambiance Magnétiques...
Stefano Luigi Mangia est... [...............] ... dans laquelle la voix prend des accents à la Demetrio Stratos.
On lui préfèrera nettement l'album des Scoolptures, un quartet qui associe largement l'utilisation de l'électroniques live - seul le souffleur Achille Succi (clarinette basse, saxophone alto et shakuhashi) n'use pas d'effets électroniques - au travail proprement instrumental. Un quartet quoique conçu par le contrebassiste Nicola Negrini, qui présente avec "Materiale Umano" treize pièces signe collectivement et présentées comme spontanées.
Le travail électronique n'y consiste pas seulement à transformer le son acoustique des instruments ou à l'envelopper, mais peut avoir dans le cadre des improvisations sa propre autonomie. Complexe et bruitiste, avec des sonorités percussives variées (le métallophone de Philippe Garcia), d'apparence désorganisée (seule "lost slice" avec ses effets vocaux développe une structure plus mélodieuse), la musique de cet album met particuliérement en valeur Achille Succi.
[google french>english translation]
The British label has long invested, among others, in the Italian improvised production. We know his records Carlo Actis Dato, those of Italian or Instabile Orchestra Fabio Martini, among others. These two records, there appeared almost a year bringing in new blood.
Certainly, among the musicians of any training, appear the names already crossed Antonio Della Marina, author of a recording Dischi di Angelica ["Fades" IDA 022] and a member of Scoolptures Gianni Lenoci on Atmosphere Magnetic ...
Luigi Stefano Mangia is ... [...............] ... in which the voice takes accents Demetrio Stratos.
He clearly prefers the Scoolptures album, a quartet that combines the widely use of electronic live - only the blower Achille Succi (bass clarinet, alto saxophone and shakuhashi) does not use electronic effects - to work properly instrumental. A quartet though designed by bassist Nicola Negrini, who presents with "Materiale Umano" sign thirteen pieces together and presented as spontaneous.
The electronic working there is not only transforming the acoustic sound of instruments or wrap, but can have as part of his own improvisations autonomy. Complex and noisy, with various percussive sounds (the metallophone Philippe Garcia), apparently disorganized (the only "lost slice with vocal effects develops a more melodious), the music on this album particularly highlights Achille Succi.
|Pierre Durr :: Revue et Corrigée [F]|