EIGHT - A PROJECT IN INTERNATIONAL COLLABORATION
BOB MARSH ( Bob Marsh, Grant Strombeck, Bellerophone, Massimo Falascone, Boris Hauf, Marina Hardy, Earzumba, Renato Ciunfrini, Bryan Eubanks, Candy Covered Clown, Bryan Day, Zz Brr, Arg)
SOLD OUT
Bob Marsh _ Grant Strombeck _ Bellerophone _ Massimo Falascone _ Boris Hauf _ Marina Hardy _ Earzumba _ Renato Ciunfrini _ Bryan Eubanks _ Candy Covered Clown _ Bryan Day _ Zz Brr _ Arg aka Graziano Lella
Musica sperimentale. Nel 2007 l'americano Bob Marsh ha inviato otto minuti di materiale audio che includono voce, elettronica e field recordings, a musicisti e compositori amici di nuova e vecchia data, sparsi in varie parti del mondo. In questo disco c'è il risultato di queste collaborazioni. Bob Marsh ha improvvisato e alterato suoni per oltre quarant'anni, incidendo innumerevoli dischi e suonando dal vivo in molti contesti artistici.
Per maggiori informazioni: www.bobmarsh.net
"(...) Nella seconda metà del 2007, il compositore/improvvisatore di San Francisco, Bob Marsh, invia, otto minuti di audio (voce, elettronica e field recordings), a 12 artisti affini, sparsi per gli Stati Uniti e l'Europa. Il risultato è questo. Dodici composizioni, più l'allegato originale, che, per addizione, sottrazione, stratificazione ed altre diavolerie varie, risultano essere, un gran lavoro, sorto quasi sul nulla, di un refolo evanescente di suono. Che poi, questo suono, strettamente correlato con il nulla, possieda colori, dimensioni ed odori, è cosa non da poco conto. Marsh è agitato ed agitatore (collaborazioni con Ernesto Diaz-Infante, il singolare quintetto The Quintessentials, specializzato nell'esecuzione di partiture grafiche sorte dall'alterazione della guida Michelin francese, gli alter cubisti, Doctor Bob e Mr. Mercury, altri, infiniti progetti, che tralascio per spazio...), logico dunque, che a rispondere alla sua chiamata, siano altrettanto scossi autori. Ed il progetto “Eight” (che vi consiglio in versione live se capita dalle vostre parti...avendo avuto occasione di testarlo personalmente in quel di Roma), diventa, piuttosto che un campionario di incomprensibili bestialità concettuali, un consigliato punto di vista dialettico, sullo stato di salute di una certa scena batterica impro/avant/radicale. Oddio, bisogna concepir il concetto suono, come qualcosa di terapeutico, dove i linguaggi, si confondono, la parola germina sul silenzio, il suono, scompare di fronte ad una sillaba, il corpo si rilascia, ed una suggestione nuova fluttua liberamente. Opera di spazi angusti, che sognano spazi aperti. Suggerisce più che proporre apertamente. Piccoli pensieri e piccoli mantra, che al contatto con l'aria si espandono sino a perder la forma originaria, resta solo un accenno di vibrazione, ed un buon sapore sulla punta della lingua. Cartoline sonore da: Chicago, Atene, Milano, Berlino, Omaha, Barcellona, Roma, Riga, New York, Parigi, San Francisco. Cartoline sonore da: Grant Strombeck, Bellerophone, Massimo Falascone, Boris Hauf, Marina Hardy, Earzumba, Renato Ciunfrini, Bryan Eubanks, Candy Covered Clown, Bryan Day, Zz Brr, Arg, Bob Marsh. Tutti bravissimi, ho i miei preferiti ma non ve li dico. Ora, cosa è questa? Post jazz? Elettroacustica? Impro? Elettronica? Tutto può essere, fondamentalmente, tredici bozzetti, che ci ricordano che il viaggio non è soltanto spostamento corporeo. Ed a noi piace viaggiare." M. Carcasi, Kathodik 2009.
"(...) Bob Marsh is a composer and improvisor from San Francisco. You may known him from his work with The Emergency String Quartet, Jack Wright and with The Abstractions. For his newest project he composed a piece of 8 minutes consisting of field recordings, voice and electronics. This track, which is enclosed on this cd (the last track), was sent by Marsh to 12 fellow improvisors in the States and Europe. They were invited in whatever way to transform this material into a short piece of music. The results meet on this CD. It's a procedure we know from other artists like Frans de Waard as well. Most of the inivted guests I'm not familair with: Grant Strombeck (Chicago), Bellerophone (Athens), Massimo Falascone (Milano), Boris Hauf (Berlin), Marina Hardy (Omaha), Earzumba (Barcelona), Renato Ciunfrini (Roma), Bryan Eubanks (New York), Candy Covered Clown (Riga), Bryan Day (Omaha), Zz Brr (Paris), Arg (Roma). The piece by Marsh is not just a bag with soundmaterial put together at random. It is a piece of music in itself, accompanied by mutated versions of itself. A release like this triggers always many puzzling questions in my mind. Meaningfull questions I don,t know.All tracks start from the same eight minutes of soundmaterial provided by Bob Marsh. In all freedom the artists worked with this material in order to create their piece of music. Listening two the twelve results, we hear very different works. More then limiting, the material opens the way for very different treatments.Would it be possible to transform a piece back to the original version of Marsh, or into any of the other pieces of this album? They are all made of the same stuff. Marsh invited to use the material. But is it possible to say that the material of Marsh is interpreted with intentions of staying close to the original or to take opposite positions? For how many percent can one one really become free from all qualities of the original material and at the same time using it? From what I understand Marsh did not include some focus or question, or whatever. It was just the soundmaterial with a open invitation to use it as a starting point for a piece of music. Of course all cooperators used different procedures and techniques in structuring their own piece. Most pieces are shorter then the material supplied by Marsh. The pieces on this CDR make up a coherent whole, which is (not) due to the fact that they all used the same 8 minutes that Marsh defined. At the same the CDR is surprisingly diverse and of an overall considerable quality. An interesting one." DM, Vital Weekly n.665, 2009.
"(...) In 2007, composer/cellist/improviser Marsh put together a strange, disjointed eight-minute piece of sound art, using voices, electronics, and field recordings. He sent that material to twelve other artists—the only one I have heard of (besides Marsh) is Boris Hauf; the others are completely foreign to me—and asked them to do their thing to it, with no expectation that the new pieces would remain in any way faithful to the original. Those twelve versions are here, along with Marsh’s original piece as Track 13. The many versions are interestingly dissimilar, yet they can’t help but go together well because of their common origin, and they make a nice collection; it’s often difficult to tell just by listening when one track ends and the next one starts. Track 9 seems a bit different, with a softer sound and a less disconnected feeling than the other tracks have. I probably like that track the best, but there is good, creative stuff throughout." Max Level, KFJC Radio, 2009.
"(...) Phonographers unite! Composer and Improviser Bob Marsh sent a 8 minute track to 12 phonographers - (musicians, who record natural, city and industrial sounds with microphones and then change them, remix and recreate these sounds). There wasn't any 'real' melodic music on the origianl track, more atmospheric sounds: electronics, voices, sounds composed on a laptop, sampled sounds and sounds recorded with a microphone. The 12 musicians - all of them like Marsh free improvisors were asked to use this 8 min track as a base for new ideas. The base track, Bob Marsh's "Eight" is represented as track 13 on the CD. The 12 others are from soundartists from different cities in America and Europe (Chicago, Athen, Milano, Berlin, 2x Omaha, Barcelona, 2x Rom, New York, Riga, Paris). Although one can marginally make out the original in all the tracks, they are all different. One needs quite some 'disposedness' to dedicate oneself to these onomatopoeic and film sounds which can't really be heard and perceived as conventional 'music'. The multitude of sounds are funny and entertaining. Sounds like metal falling onto concrete, flies,voices, guitarsounds, 'real' saxophone and fluttering. The best 'tinkered' track in my opinion is "Memoreight" by Zz Brr from Paris. The sounds are impregnable, secretive. Like a thriller. The other pieces rank behind. The original track is the softest. Features the fewest sounds and lots of striking space and silence. Hearing the other tracks it makes sense that this one is the base track. The other must have drawn upon it. Which subculture do these boys and girls belong to? how did they form this idea of soundscapes? Did they listen to too much Fred Frith? Did the sound grow out of Jazz? Out of weariness for pigged out popular music?" VM, Ragazzi Music Erregende Musik, 2008.
"(...) Phonographer aller Länder, vereinigt Euch! Komponist und Improvisateur Bob Marsh sandte an 12 Phonographer (Musiker, die mit dem Mikrophon Natur-, Stadt- oder Industrieklänge aufnehmen und anschließend mit Laptop die Sounds verfremden, mixen und neu erzeugen) ein von ihm gefertigtes Band mit 8 Minuten Soundmaterial. Keine "wirkliche", melodische Musik darauf, sondern atmosphärische Klänge: Elektronisches, Stimmen, am Laptop Erzeugtes, Gesampeltes, mit dem Mikrophon aufgenommenes. Die 12 Musiker, allesamt freie Improvisateure wie Marsh, bekamen das Band mit der Aufforderung, diese 8 Minuten als Basis für eigene Ideen zu nehmen und nach Herzenslust zu verarbeiten. Die Basis, Bob Marshs "Eight" ist als dreizehnter Track auf der CD enthalten. Die 12 dem zuvor kommenden Tracks stammen von den in verschiedenen Städten Amerikas und Europas (Chicago, Athen, Milano, Berlin, 2x Omaha, Barcelona, 2x Rom, New York, Riga, Paris) lebenden Soundkünstlern und alle Tracks sind so unterschiedlich, das zwar marginal das Original auszumachen ist, kein Stück dem anderen aber besonders ähnelt. Es bedarf einiger Geneigtheit, sich diesen lautmalerischen oder filmmusikalischen Sounds zu widmen, die in erster Linie und herkömmlich nicht als "Musik" als solche gehört und empfunden werden. Geräusche, wie das Fallen einer Eisenstange auf Beton, Fliegenschwärme, Stimmensamples, artfremde Gitarrensounds, gar mal "richtiges" Saxophon, Geflatter und Gewusel, geheimnisvolle Klänge oder nicht Einschätz- oder Erkennbares - die Vielfalt der Klänge ist überraschend und, einmal darauf eingelassen, witzig und unterhaltsam. Am besten hat meiner Meinung nach Zz Brr aus Paris seinen Track "Memoreight" "gebastelt" - die Klänge sind unbezwingbar, geheimnisvoll, wie ein Laut gewordener Krimi. Die anderen Stücke stehen dem wenig nach. Das Original ist am leisesten von allen Tracks. Hat die wenigsten Sounds, viel eindrucksvolle Leere und Stille. Als Basis, nachdem ich alle Stücke gehört habe, nachvollziehbar. Die müssen sich drauf gestützt haben. Nur welcher Subkultur gehören die hinter ihren Aufnahmen stehenden Jungs und Mädels an? Wie hat sich die Idee dieser Klanglandschaft in ihnen geprägt? Haben sie zuviel Fred Frith gehört? Ist der Sound aus Jazz gewachsen? Aus Überdruss vor der voll gestopften populären Musik?" VM, Ragazzi Music Erregende Musik, 2008.
"(...) Bob Marsh, improvisador oriundo de Detroit, há quase uma década fixado em na Bay Area de S. Francisco, depois de uma longa passagem por Chicago, tem-se ocupado com múltiplos projectos de criação musical, entre os quais avultam a String Theory, a Che Guevarra Memorial Marching (and Stationary) Accordion Band, os Robot Martians, a Out of the Blue Chamber Ensemble, e várias outros grupos com designações dentro do género, a par de colaborações com a fina-flor da família west coast experimental, como Rent Romus, Ernesto Diaz-Infante, Jim Ryan, Moe! Staiano, Jack Wright, etc. Em 2007, na sequência de uma série de projectos em que deu largas à sua iconoclastia sonora, Bob Marsh preparou um ficheiro com oito minutos de um composto sonoro à base de field recordings, voz e electrónica, produto que enviou a doze improvisadores localizados em pontos diferentes dos EUA e da Europa. Ao correio, Bob Marsh fez juntar um repto dirigido a cada um dos colaboradores: o de transformar o material sonoro de base pela via que cada um entendesse. O resultado final da dúzia de contribuições, mais a participação original, está coligida em Eight, A Project in International Collaboration, editado pela italiana Setola di Maiale, editora dedicada às músicas não convencionais. Participam, além de Marsh, Grant Strombeck (Chicago), Bellerophone (Atenas), Massimo Falascone (Milão), Boris Hauf (Berlim), Marina Hardy (Omaha), Earzumba (Barcelona), Renato Ciunfrini (Roma), Bryan Eubanks (Nova Iorque), Candy Covered Clown (Riga), Bryan Day (Omaha), Zz Brr (Paris) e Arg aka Graziano Lella (Roma). E há 'visões' para todos os gostos, com predominância para as tonalidades escuras, paisagens quase bucólicas e ilustrações sonoras arrepiantes, no melhor e no pior sentido do termo. Bob Marsh conseguiu dar coerência e homogeneidade à disparidade dos projectos oferecidos, preservando a individualidade das contribuições. Eight não serve como música de fundo." Eduardo Chagas, Jazz e Arredores 2008.
"(...) Il lavoro di Bob Marsh mi piace molto. La musica elettronica spesso corre il rischio di 'gelare'. In questo caso ho apprezzato moltissimo. L’uso dei colori e della ripetizione come mezzi di composizione. L’intenzione da un punto di vista prettamente concettuale, la de-composizione, la de-strutturazione. E la ri-composizione attraverso una logica 'geografica', apolide, spersonalizzata. Molto bello il 3 di Falascone, ottimo davvero, forse il mio preferito per l’uso magistrale degli spazi e delle 'memorie': il cucù è fantastico...". M. De Mattia, musicista.
01 _ First in first out (con Grant Strombeck, Chicago) 4:26
02 _ Eta (con Bellerophone, Atene) 8:02
03 _ Ottovolante (con Massimo Falascone, Milano) 6:59
04 _ Return of the 8 Bobs (con Boris Hauf, Berlino) 2:45
05 _ No bones (con Marina Hardy, Omaha) 5:10
06 _ Trotando riesgos (con Earzumba, Barcellona) 3:03
07 _ W-Eight (con Renato Ciunfrini, Roma) 3:57
08 _ Wanna wanna (con Bryan Eubanks, New York) 3:23
09 _ 8Eight (con Candy Covered Clown, Riga) 4:03
10 _ Cut up (con Bryan Day, Omaha) 7:37
11 _ Memoreight (con Zz Brr, Parigi) 8:30
12 _ Jumping on eight (con Arg, Roma) 5:31
13 _ Eight (Bob Marsh, San Francisco) 8:01
(C) + (P) 2008
SOLD OUT
Bob Marsh _ Grant Strombeck _ Bellerophone _ Massimo Falascone _ Boris Hauf _ Marina Hardy _ Earzumba _ Renato Ciunfrini _ Bryan Eubanks _ Candy Covered Clown _ Bryan Day _ Zz Brr _ Arg aka Graziano Lella
Experimental music. In the second half of 2007 San Francisco composer/improviser Bob Marsh sent eight minutes of sonic material – voice, electronics, field recordings – to twelve other composer/improvisers in different parts of America and Europe inviting them to add, subtract, multiply, divide and otherwise alter and transform the material. Here are the results. Bob Marsh has improvised and altered sounds, colors, lines and ideas for the last fourty years and will continue to do so for a while longer.
For more info: www.bobmarsh.net
"(...) Bob Marsh is a composer and improvisor from San Francisco. You may known him from his work with The Emergency String Quartet, Jack Wright and with The Abstractions. For his newest project he composed a piece of 8 minutes consisting of field recordings, voice and electronics. This track, which is enclosed on this cd (the last track), was sent by Marsh to 12 fellow improvisors in the States and Europe. They were invited in whatever way to transform this material into a short piece of music. The results meet on this CD. It's a procedure we know from other artists like Frans de Waard as well. Most of the inivted guests I'm not familair with: Grant Strombeck (Chicago), Bellerophone (Athens), Massimo Falascone (Milano), Boris Hauf (Berlin), Marina Hardy (Omaha), Earzumba (Barcelona), Renato Ciunfrini (Roma), Bryan Eubanks (New York), Candy Covered Clown (Riga), Bryan Day (Omaha), Zz Brr (Paris), Arg (Roma). The piece by Marsh is not just a bag with soundmaterial put together at random. It is a piece of music in itself, accompanied by mutated versions of itself. A release like this triggers always many puzzling questions in my mind. Meaningfull questions I don,t know.All tracks start from the same eight minutes of soundmaterial provided by Bob Marsh. In all freedom the artists worked with this material in order to create their piece of music. Listening two the twelve results, we hear very different works. More then limiting, the material opens the way for very different treatments.Would it be possible to transform a piece back to the original version of Marsh, or into any of the other pieces of this album? They are all made of the same stuff. Marsh invited to use the material. But is it possible to say that the material of Marsh is interpreted with intentions of staying close to the original or to take opposite positions? For how many percent can one one really become free from all qualities of the original material and at the same time using it? From what I understand Marsh did not include some focus or question, or whatever. It was just the soundmaterial with a open invitation to use it as a starting point for a piece of music. Of course all cooperators used different procedures and techniques in structuring their own piece. Most pieces are shorter then the material supplied by Marsh. The pieces on this CDR make up a coherent whole, which is (not) due to the fact that they all used the same 8 minutes that Marsh defined. At the same the CDR is surprisingly diverse and of an overall considerable quality. An interesting one." DM, Vital Weekly n.665, 2009.
"(...) In 2007, composer/cellist/improviser Marsh put together a strange, disjointed eight-minute piece of sound art, using voices, electronics, and field recordings. He sent that material to twelve other artists—the only one I have heard of (besides Marsh) is Boris Hauf; the others are completely foreign to me—and asked them to do their thing to it, with no expectation that the new pieces would remain in any way faithful to the original. Those twelve versions are here, along with Marsh’s original piece as Track 13. The many versions are interestingly dissimilar, yet they can’t help but go together well because of their common origin, and they make a nice collection; it’s often difficult to tell just by listening when one track ends and the next one starts. Track 9 seems a bit different, with a softer sound and a less disconnected feeling than the other tracks have. I probably like that track the best, but there is good, creative stuff throughout." Max Level, KFJC Radio, 2009.
"(...) Phonographers unite! Composer and Improviser Bob Marsh sent a 8 minute track to 12 phonographers - (musicians, who record natural, city and industrial sounds with microphones and then change them, remix and recreate these sounds). There wasn't any 'real' melodic music on the origianl track, more atmospheric sounds: electronics, voices, sounds composed on a laptop, sampled sounds and sounds recorded with a microphone. The 12 musicians - all of them like Marsh free improvisors were asked to use this 8 min track as a base for new ideas. The base track, Bob Marsh's "Eight" is represented as track 13 on the CD. The 12 others are from soundartists from different cities in America and Europe (Chicago, Athen, Milano, Berlin, 2x Omaha, Barcelona, 2x Rom, New York, Riga, Paris). Although one can marginally make out the original in all the tracks, they are all different. One needs quite some 'disposedness' to dedicate oneself to these onomatopoeic and film sounds which can't really be heard and perceived as conventional 'music'. The multitude of sounds are funny and entertaining. Sounds like metal falling onto concrete, flies,voices, guitarsounds, 'real' saxophone and fluttering. The best 'tinkered' track in my opinion is "Memoreight" by Zz Brr from Paris. The sounds are impregnable, secretive. Like a thriller. The other pieces rank behind. The original track is the softest. Features the fewest sounds and lots of striking space and silence. Hearing the other tracks it makes sense that this one is the base track. The other must have drawn upon it. Which subculture do these boys and girls belong to? how did they form this idea of soundscapes? Did they listen to too much Fred Frith? Did the sound grow out of Jazz? Out of weariness for pigged out popular music?" VM, Ragazzi Music Erregende Musik, 2008.
"(...) Phonographer aller Länder, vereinigt Euch! Komponist und Improvisateur Bob Marsh sandte an 12 Phonographer (Musiker, die mit dem Mikrophon Natur-, Stadt- oder Industrieklänge aufnehmen und anschließend mit Laptop die Sounds verfremden, mixen und neu erzeugen) ein von ihm gefertigtes Band mit 8 Minuten Soundmaterial. Keine "wirkliche", melodische Musik darauf, sondern atmosphärische Klänge: Elektronisches, Stimmen, am Laptop Erzeugtes, Gesampeltes, mit dem Mikrophon aufgenommenes. Die 12 Musiker, allesamt freie Improvisateure wie Marsh, bekamen das Band mit der Aufforderung, diese 8 Minuten als Basis für eigene Ideen zu nehmen und nach Herzenslust zu verarbeiten. Die Basis, Bob Marshs "Eight" ist als dreizehnter Track auf der CD enthalten. Die 12 dem zuvor kommenden Tracks stammen von den in verschiedenen Städten Amerikas und Europas (Chicago, Athen, Milano, Berlin, 2x Omaha, Barcelona, 2x Rom, New York, Riga, Paris) lebenden Soundkünstlern und alle Tracks sind so unterschiedlich, das zwar marginal das Original auszumachen ist, kein Stück dem anderen aber besonders ähnelt. Es bedarf einiger Geneigtheit, sich diesen lautmalerischen oder filmmusikalischen Sounds zu widmen, die in erster Linie und herkömmlich nicht als "Musik" als solche gehört und empfunden werden. Geräusche, wie das Fallen einer Eisenstange auf Beton, Fliegenschwärme, Stimmensamples, artfremde Gitarrensounds, gar mal "richtiges" Saxophon, Geflatter und Gewusel, geheimnisvolle Klänge oder nicht Einschätz- oder Erkennbares - die Vielfalt der Klänge ist überraschend und, einmal darauf eingelassen, witzig und unterhaltsam. Am besten hat meiner Meinung nach Zz Brr aus Paris seinen Track "Memoreight" "gebastelt" - die Klänge sind unbezwingbar, geheimnisvoll, wie ein Laut gewordener Krimi. Die anderen Stücke stehen dem wenig nach. Das Original ist am leisesten von allen Tracks. Hat die wenigsten Sounds, viel eindrucksvolle Leere und Stille. Als Basis, nachdem ich alle Stücke gehört habe, nachvollziehbar. Die müssen sich drauf gestützt haben. Nur welcher Subkultur gehören die hinter ihren Aufnahmen stehenden Jungs und Mädels an? Wie hat sich die Idee dieser Klanglandschaft in ihnen geprägt? Haben sie zuviel Fred Frith gehört? Ist der Sound aus Jazz gewachsen? Aus Überdruss vor der voll gestopften populären Musik?" VM, Ragazzi Music Erregende Musik, 2008.
"(...) Bob Marsh, improvisador oriundo de Detroit, há quase uma década fixado em na Bay Area de S. Francisco, depois de uma longa passagem por Chicago, tem-se ocupado com múltiplos projectos de criação musical, entre os quais avultam a String Theory, a Che Guevarra Memorial Marching (and Stationary) Accordion Band, os Robot Martians, a Out of the Blue Chamber Ensemble, e várias outros grupos com designações dentro do género, a par de colaborações com a fina-flor da família west coast experimental, como Rent Romus, Ernesto Diaz-Infante, Jim Ryan, Moe! Staiano, Jack Wright, etc. Em 2007, na sequência de uma série de projectos em que deu largas à sua iconoclastia sonora, Bob Marsh preparou um ficheiro com oito minutos de um composto sonoro à base de field recordings, voz e electrónica, produto que enviou a doze improvisadores localizados em pontos diferentes dos EUA e da Europa. Ao correio, Bob Marsh fez juntar um repto dirigido a cada um dos colaboradores: o de transformar o material sonoro de base pela via que cada um entendesse. O resultado final da dúzia de contribuições, mais a participação original, está coligida em Eight, A Project in International Collaboration, editado pela italiana Setola di Maiale, editora dedicada às músicas não convencionais. Participam, além de Marsh, Grant Strombeck (Chicago), Bellerophone (Atenas), Massimo Falascone (Milão), Boris Hauf (Berlim), Marina Hardy (Omaha), Earzumba (Barcelona), Renato Ciunfrini (Roma), Bryan Eubanks (Nova Iorque), Candy Covered Clown (Riga), Bryan Day (Omaha), Zz Brr (Paris) e Arg aka Graziano Lella (Roma). E há 'visões' para todos os gostos, com predominância para as tonalidades escuras, paisagens quase bucólicas e ilustrações sonoras arrepiantes, no melhor e no pior sentido do termo. Bob Marsh conseguiu dar coerência e homogeneidade à disparidade dos projectos oferecidos, preservando a individualidade das contribuições. Eight não serve como música de fundo." Eduardo Chagas, Jazz e Arredores 2008.
"(...) Nella seconda metà del 2007, il compositore/improvvisatore di San Francisco, Bob Marsh, invia, otto minuti di audio (voce, elettronica e field recordings), a 12 artisti affini, sparsi per gli Stati Uniti e l'Europa. Il risultato è questo. Dodici composizioni, più l'allegato originale, che, per addizione, sottrazione, stratificazione ed altre diavolerie varie, risultano essere, un gran lavoro, sorto quasi sul nulla, di un refolo evanescente di suono. Che poi, questo suono, strettamente correlato con il nulla, possieda colori, dimensioni ed odori, è cosa non da poco conto. Marsh è agitato ed agitatore (collaborazioni con Ernesto Diaz-Infante, il singolare quintetto The Quintessentials, specializzato nell'esecuzione di partiture grafiche sorte dall'alterazione della guida Michelin francese, gli alter cubisti, Doctor Bob e Mr. Mercury, altri, infiniti progetti, che tralascio per spazio...), logico dunque, che a rispondere alla sua chiamata, siano altrettanto scossi autori. Ed il progetto “Eight” (che vi consiglio in versione live se capita dalle vostre parti...avendo avuto occasione di testarlo personalmente in quel di Roma), diventa, piuttosto che un campionario di incomprensibili bestialità concettuali, un consigliato punto di vista dialettico, sullo stato di salute di una certa scena batterica impro/avant/radicale. Oddio, bisogna concepir il concetto suono, come qualcosa di terapeutico, dove i linguaggi, si confondono, la parola germina sul silenzio, il suono, scompare di fronte ad una sillaba, il corpo si rilascia, ed una suggestione nuova fluttua liberamente. Opera di spazi angusti, che sognano spazi aperti. Suggerisce più che proporre apertamente. Piccoli pensieri e piccoli mantra, che al contatto con l'aria si espandono sino a perder la forma originaria, resta solo un accenno di vibrazione, ed un buon sapore sulla punta della lingua. Cartoline sonore da: Chicago, Atene, Milano, Berlino, Omaha, Barcellona, Roma, Riga, New York, Parigi, San Francisco. Cartoline sonore da: Grant Strombeck, Bellerophone, Massimo Falascone, Boris Hauf, Marina Hardy, Earzumba, Renato Ciunfrini, Bryan Eubanks, Candy Covered Clown, Bryan Day, Zz Brr, Arg, Bob Marsh. Tutti bravissimi, ho i miei preferiti ma non ve li dico. Ora, cosa è questa? Post jazz? Elettroacustica? Impro? Elettronica? Tutto può essere, fondamentalmente, tredici bozzetti, che ci ricordano che il viaggio non è soltanto spostamento corporeo. Ed a noi piace viaggiare." M. Carcasi, Kathodik 2009.
"(...) Il lavoro di Bob Marsh mi piace molto. La musica elettronica spesso corre il rischio di 'gelare'. In questo caso ho apprezzato moltissimo. L’uso dei colori e della ripetizione come mezzi di composizione. L’intenzione da un punto di vista prettamente concettuale, la de-composizione, la de-strutturazione. E la ri-composizione attraverso una logica 'geografica', apolide, spersonalizzata. Molto bello il 3 di Falascone, ottimo davvero, forse il mio preferito per l’uso magistrale degli spazi e delle 'memorie': il cucù è fantastico...". M. De Mattia, musicista.
01 _ First in first out (with Grant Strombeck, Chicago) 4:26
02 _ Eta (with Bellerophone, Athenes) 8:02
03 _ Ottovolante (with Massimo Falascone, Milano) 6:59
04 _ Return of the 8 Bobs (with Boris Hauf, Berlin) 2:45
05 _ No bones (with Marina Hardy, Omaha) 5:10
06 _ Trotando riesgos (with Earzumba, Barcelona) 3:03
07 _ W-Eight (with Renato Ciunfrini, Roma) 3:57
08 _ Wanna wanna (with Bryan Eubanks, New York) 3:23
09 _ 8Eight (with Candy Covered Clown, Riga) 4:03
10 _ Cut up (with Bryan Day, Omaha) 7:37
11 _ Memoreight (with Zz Brr, Paris) 8:30
12 _ Jumping on eight (with Arg, Roma) 5:31
13 _ Eight (Bob Marsh, San Francisco) 8:01
(C) + (P) 2008
