BORDOGNA
15 (Quasi) Solo Improvisations
Falascone |
Preis
/ Price :
15.08 €
Bestell-Nr.
/ Purchase Order No. : TAKLA Rec. No.1
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Massimo Falascone |
sopranino-,
alto & baritone sax |
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01.
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primo
prato (baritone sax) |
03:03 |
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02.
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lago verde (alto sax) |
04:29
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03.
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snowfall
(4 baritone saxes) |
04:22
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04.
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la
casina gialla (sopranino sax) |
04:18 |
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05.
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2
a 65 (alto sax) |
03:17 |
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06.
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lampo
e lupo (alto & baritone saxes) |
06:31
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07.
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robadenebbia
(3 sopranino saxes) |
03:59
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08.
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valle del drago (baritone sax) |
03:55 |
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09.
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tubi
(4 tugombutos) |
07:56 |
| 10. |
gemelli
(2 alto saxes) |
03:40 |
| 11. |
foppacava
(baritone sax) |
05:32 |
| 12. |
l´angela
(sopranino sax) |
02:50 |
| 13. |
little
rocks (sopranino, alto & barione saxes) |
04:58 |
| 14. |
couples
(2 sopranino, 2 alto & 2 baritone saxes) |
06:07 |
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15.
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hale-bopp
(duo with little Leonardo) (sopranino sax, tugombuto,
objects, piano; drums, objects, pots (Leonardo)) |
03:08 |
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Total
time: |
68:14
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All
music by Massimo Falascone
Produced Takla Records (Italy)
Recorded and mixed by Paolo Falascone @ Mu Rec Studio,
Milano between April 29 - July 5, 1997
Editing by Fabio Martini
Digital mastering by Umberto Signifredi
Artwork and design by Enzo De Grandi, Massimo
Falascone
Photographs by Massimo Falascone, Anna Coffetti
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| …Die
Takla Improvising Group ist ein Zusammenschluss von Musikern
aus der Mailänder Gegend, die sich jetzt mit Takla Records
ein eigenes Forum geschaffen hat. Das Debut sind die BORDOGNA
betitelten 15 (Quasi) Solo Improvisationen von Massimo Falascone.
Alt-, Bariton- & Sopraninosaximpromptus, teils pur, teils
als overdubs, die sehr schön beschrieben werden als Schichtung
von ´musikalischen´ Blättern, die vom selben Baum gefallen
sind. |
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Bad
Alchemy 34
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Excerpt
from the booklet:
(…) The strange idea of recording a ´solitary´ CD had long
since started rambling in my mind - and as soon as I realized
the time was ripe, I could stop no longer.
I had already decided to divide my work into two sections:
7 solo pieces and 7 overdubs. Each of the overdubs consists
of one or more improvisations, which were initially conceived
and recorded as ´solos´ and subsequently superimposed/regenerated
as the component elements of a whole unit. All of a sudden
I was urged to solve some questions: i) upon improvisation
it is impossible to remove the memory of the already done;
ii) it is hard to decide which behaviours should be adopted
in order to make sure the various parts can interweave consistently
in the greatest independence, i.e. doing without listening.
As a result, I thought it advisable to set the confines of
the field of action by using modules or by establishing the
courses, the times and the boundaries within which I would
be operating - but I have never played ´over´ something.
The resulting improvisation counterpoints are ascribable to
chance as well - a sort of layers made of musical ´leaves´
fallen from the same tree.
The presentation of the solo-pieces is far simpler as nothing
has been pre-arranged in these improvisations; each piece
has been played by letting it flow along the course it was
bound to take. The last piece (“live”) is a short duo with
little Leonardo, who has just become five years old. |
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Massimo
Falascone
Translation: Anna Coffetti
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About
the Music (or how I would have answered the following questions
if I had been asked)
How would you define and describe your music?
a) General features
Improvised/Structured • Simple/Complex • Regular/Irreglar
• Motional/Monotonous • Aromatic/Malodorous • Controlled/Uncontrollable
• Noisemaking/Melodic • Transparent/Impenetrable • Patient/Impulsive
• Tasteful/Disgusting • Light/Thoughtful • Composed/Improvised
• Alive
b) Main criteria
Once you´ve entered, you have no chances of return
c) Aspirations
Turn away the public, the critics, women and children • Deny
the importance of money • Be persecuted • Stop playing
d) Specifications
(…) It requires a lot of work • It is not a ´job´ • (…) It
aims at the essential
e) Influences (and correspondences)
My beloved ones; the musicians I have been playing with and:
Bach/ Buñuel/ Satie/ Duchamp/ Cage/ Webern/ Braxton/
Zappa/ Burroughs/ Josquin/ Joyce/ Mingus/ FMP/ Beatles/
Simenon/ Jannacci/ Varèse/ Jarry/ Sellers/ Kandinsky/ DonaldDuck/
Dolphy/ Ornette/ Klee/ Fo/ Breton/ Monk/ Hitchcock/ EasyRider/
Stravinsky/ Céline/ Reiser/ Mitchell/ Kubrick/ Lacy/
MontyPython/ Woodstock/ Mengelberg/ Bosch/ Poe/ Beethoven/
Dracula/ Bailey/ Eco/ Miró/ Ionesco/ Woolrich/ Dada/ Battisti/Matthau/
Lyons/ Sherlock Holmes/ Coltrane/ Laurel & Hardy/ Frankenstein/
Kantor/ Weill/ Calvino/ Rollins/ Parker (both)/ Leone/
Wounded Knee/ Escher/ Rota/ (…)Ives/ Man Ray/ Fellini/ Ellington/
(…)Truffaut/ Scelsi/ Fuchs/ Kurosawa/ (…)Totò/ Berio/
Dr. Jekyll & Mr. Hide/ Mozart/ Hal 9000 |
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MF
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Reviews
Multi-reedist Falascone delves into the heart and soul
of 15 of his compositions. (…)
Falascone is not a lyrical player by any means, yet his solos
flow easily, particularly when he opts for the sopranino.
(…)
The multiple instrumentation selections that Falascone performs
with himself are quite intriguing. (…)
The entire album is a series of creative efforts that takes
root outside the norm of conventionalism.
Falascone tests the outer limits of sound development on this
very absorbing and demanding recording. (…) |
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Frank
Rubolino,
in: Cadence, March 2000
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(…)
If you enjoy solo Braxton, Evan Parker or Michel
Doneda, BORDOGNA may be right up your alley. Falascone´s
music serves as a fitting or prime example of the always inventive
and forward moving Italien Jazz and/or Improvisational scene.
*** ½ |
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(Falascone plays exactly as you would imagine, given the stated
influences. (…) He is a big, charismatic voice which is hard
at first to pin down; one minute blustering, and the next
as delicate and controlled as Lacy (another influence
in his extravagant long list). (…)
While his alto is perhaps the best example of his style, his
sopranino playing is particularly praiseworthy. It has a Braxtonian
quick-wittedness which, married to his taste for the dramatic
gesture, surprises at regular intervals. (…) |
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