TESLA COILS
TESLA COILS (Blaise Siwula, Harvey Valdes, Gian Luigi Diana)
CD digisleeve 4 pagine
Blaise Siwula _ sax soprano _ sax alto_ sax tenore
Harvey Valdes _ chitarra elettrica
Gian Luigi Diana _ laptop/sampling in tempo reale _ manipolazione
Tesla Coils è un trio di libera improvvisazione elettro-acustica con sede a Brooklyn, attivo nella scena downtown di New York. Linee di sax elegante galleggiano sopra chitarre liquide e materiche, manipolati in un processo di 'orchestrazione elettronica', in tempo reale. Tutti improvvisatori veterani, il loro focus si sposta costantemente di tensione, nella loro interazione dinamica, i musicisti decostruiscono il loro suono finendo spesso insieme, in una lezione vertiginosa di un 'conflitto' cooperativo.
"(...) Quando si parla di futurismo spesso crediamo di imbatterci in qualcosa di irrimediabilmente trapassato dal tempo dimenticando che lo stesso ha creato le premesse di molta arte a venire: da Cage alla pop-art, dalle elucubrazioni chitarristiche di Jimi Hendrix e Jerry Garcia ai quadretti non sense di Zappa, dalla musica industriale fino alle intersezioni avanguardiste e ad un certo tipo di musica elettronica. Oltre a Marinetti, Russolo e tanti altri, il movimento potette contare su Fortunato Depero, che incarnò perfettamente le sfide del manifesto futurista, soprattutto puntando sul rinnovamento del linguaggio, una sorta di breaking point della cultura che era ancora immersa nelle pieghe romantiche. L'esaltazione dei contenuti sonori da attribuire a parole frammentate, onomatopee o a frasi reinventate nella loro composizione unitamente al cablaggio dei rumori artificiali o meccanici ne faceva una novità da assaporare alla luce di un rinnovamento culturale forte nei toni e nelle dinamiche espressive; soprattutto le liriche radiofoniche di Depero avevano un elevato potenziale di far breccia nelle abitudini e nella psicosi dell'audience, così come descritto dallo stesso autore..."L'ascoltatore non è più unicamente raccolto in un salotto silenzioso e romantico, ma si trova ovunque: per strada, nei caffè, in aeroplano, sui ponti di una nave, in mille atmosfere diverse... sulla realtà che circonda l'ascoltatore deve vibrare come un neon luminoso; come un'apparizione, un paesaggio e una visione cosmica medianica..." Oggi uno dei rischi maggiori nel porre un'operazione di questo genere è quello di non saper distinguere l'omaggio dall'operazione creativa, un problema che a ben vedere spesso non riguarda i musicisti coinvolti poichè insito nelle forme astratte determinate dagli standards del movimento del novecento. Le idee creative vengono splittate in campi paralleli, alla ricerca di integrazioni e cinquanta anni di esperimenti in tal senso dimostrano che non è difficile creare scenari alternativi.
Come accennato, esempi empirici che sviluppano elementi del futurismo musicale si possono acquisire anche con procedimenti indiretti, ma che di norma impegnano come sempre l'improvvisazione: nell'alveolo di tanti musicisti italiani esportati forzatamente a New York, Gian Luigi Diana si distingue per aver già trovato un suo carattere musicale e per aver registrato in Setola (tra gli altri) un ottimo lavoro sul digital signal processing, intitolato Cristalli. Ora l'attenzione si sposta su un trio con altri due newyorchesi, il sassofonista Blaise Siwula e il chitarrista Harvey Valdes. "Tesla coils" (riferito alle bobine create da Nikola Tesla nel 1891) è di altissimo livello; pretende il massimo della creatività dai tre musicisti e la ottiene. Di Valdes non conoscevo nulla, mentre Siwula è stato uno dei rappresentati della scena free jazz degli anni novanta; con uno stile diviso tra Sonny Rollins ed Ornette Coleman, Siwula è un maestro dell'incrocio tra melodia ed espressionismo astratto, spesso costruito a blocchi con momenti distensivi e virate energicamente eccentriche (il solo Live in London è ampiamente rappresentativo). In Tesla coils tutto funziona perfettamente con parti convulse ma di straordinaria efficacia sonora: in Primary coil, dall'undicesimo minuto circa, l'improvvisazione ruota vorticosamente intorno alla tensione creata dagli strumenti, con Diana che si insinua con sonorità e arrangiamenti che ricordano tempeste magnetiche e/o manutenzione dei circuiti elettrici, per terminare con poche note di sax ed una calma surreale. Nonostante l'apparente stridore, la musica resta godibilissima e parecchio invischiata in una rappresentazione che sta tra la jam e gli svuotamenti di energia elettrica delle frequenze dei circuiti di Tesla; Discharge terminal si costruisce magnificamente sulle "scariche" presentando però anche particolarissime combinazioni tra suono ed effetti che coinvolgono la nostra sensibilità in maniera descrittiva. Sta di fatto che Siwula sembra aver fiato in quantità industriali, Valdes trascina l'ascolto nei mondi melliflui dell'atonalità e Diana cesella questo patchwork con il suo laptop e la sua ricerca di suoni in quello che può essere considerato un modernissimo trattato sulle sorgenti ad alta frequenza, sulle simulazioni del circuit bending e la risonanza di fronte al jazz di Coleman e Bailey: al riguardo Primary tank capacitor è un compendio di tali principi che guarda molto avanti nel tempo, così come questo progetto che ci proietta in uno dei migliori prodotti di improvvisazione di quest'annata." Ettore Garzia, Percorsi Musicali, 2014.
"(...) Blaise Siwula est un saxophoniste de première, un musicien improvisateur avec un savoir faire et une expérience impressionnante, même s’il reste peu connu dans le réseau européen. Ici on l’entend au sax soprano, alto et ténor avec un excellent guitariste, Harvey Valdes et Gian Luigi Diana qui le suit comme son ombre avec son portable et son Real Time Sampling Sound Manipulation. Dès l’ouverture (Primary Coil 17:57), les volutes du soprano crée un univers volatile, élégant et complexe avec une belle technique « traditionnelle ». Donc pas de techniques avancées à la John Butcher, ni de travail du son à la Lacy, plutôt Trevor Watts au soprano. Une phase de deux minutes où chacun reste sur ses gardes, un silence et deux coups de becs, et l’échange commence. Alors que Diana procède et transpose avec inventivité le jeu du saxophone en le miroitant et le contorsionnant, le guitariste propose des incartades atonales soniques maîtrisées ou un jeu mélodique subtil. Un solide guitariste, Harvey Valdes. Bonne écoute du trio et conception intelligente de l’improvisation où plusieurs champs d’investigation sont exploités tour à tour où simultanément avec logique et musicalité. Il est parfois difficile de distinguer le saxophone du processing de Diana. Vers la onzième minute, le ton change et ralentit vers le sonique exploratoire. Siwula démontre qu’il a de sérieux moyens. On passe rapidement d’une introspection rageuse vers un pandemonium électro saturé qui remplit tout le champ auditif, pour ensuite terminer sur quelques sons de guitare et des phrases de sax alto presque jazz. Secondary Coil 7:51, introduction au sax alto quasi jazz en rythme libre avec quelques piquetages de guitare qui évoluent vers des ostinatos décalés et alors le sax devient free et mâchouille / growle les sons. Un séduisant dialogue entre Siwula et Valdes se transforme en confrontation et Diana qui jouait sur le côté fait monter le ton. Passage étrange : deux sax se disputent l’espace : le réel et le virtuel. Il y a un peu de tout dans cette improvisation et aussi quelques trouvailles, les musiciens essayant plusieurs possibilités sans avoir peur de se planter. Discharge Terminal 6:58, commence noise à la guitare et le sax soprano répond dans un registre extrême. L’électronique est inventive et des sons peu usités montent à la surface. Le guitariste se bruitise (noisifie si vous voulez) en accélérant et les volutes du sax s’envolent pour ensuite danser sur des ostinati fortuits lancés par Diana. Le quatrième morceau Resonant Frequency of Secundary Circuit 6:16 me semble être un des improvisations la plus réussie du disque. L’électronique est inventive, le saxophoniste joue sans haleter des échelles tarabiscotées avec triple coup de langue, respiration circulaire et des harmoniques bien placées avec la guitare frénétique en partageant un motif fragmenté. Mais il continue sur sa lancée alors que la guitare bifurque en frictionnant le son, rivalisant avec les trouvailles électroniques. Un belle énergie organique. Primary Tank Capacitor 2:37 est une récréation lyrique du sax ténor avec un comping décalé du guitariste. Lorsqu’ils s’arrêtent, on entend l’électronique déjantée continuer un moment juste avant la fin. Spark Gap 6:43 contient quelques éclairs de lucidité, de rage et de folie et lorsque Siwula revient vers la mélodie, la guitare plonge dans un bain d’acide et le laptop est parvenu à son expression la plus convaincante comme s’il y a avait eu chez lui une maturation durant la session. En bref, c’est OK mais au vu et au su de tout ce qui s’est fait et se fait sous la bannière de l’improvisation libre, ce n’est pas un manifeste que je ferais écouter à des auditeurs en disant : l’improvisation libre c’est çà ! Est-ce un rencontre ponctuelle ou un groupe qui « tourne »? Cela dit Blaise Siwula est un saxophoniste très compétent qui a assimilé le challenge de liberté totale en relation avec les possibilités de son instrument, surtout à l’alto. Il a un sérieux bagage musical et tient à utiliser tout son spectre musical (du phrasé jazz aux techniques alternatives) dans une même improvisation. Gian Luigi Diana utilise avec brio son software de processing et cherche des sons originaux au risque de manquer de concision. Harvey Valdes est un très bon guitariste, mais plusieurs passages entendus ici voudraient qu’il utilise d’autres intervalles, d’autres pulsations. Schönberg? Mais cette musique est faite pour évoluer, se dépasser, se transformer, s’écouter, rencontrer, découvrir, changer et tout recommencer. Et dans ce sens ces Tesla Coils, enregistrés en hommage au plus méconnu des inventeurs de l’électricité, est un témoignage convaincant." Jean-Michel Van Schouwburg, Orynx-improvandsounds, 2014.
"(...) Featuring Blaise Siwula on soprano, alto & tenor saxes, Harvey Valdes on electric guitar and Gian Liugi Diana on laptop & sound manipulation. All three members of this locally-based trio have played here at DMG on different occasions. Mr. Diana has played here numerous times players like Ben Gerstein & Frederika Krier. Mr. Valdes was part of a large/free unit organized by Jeff Shurdut in the past year or so. Mr. Siwula has long run the ABC-No Rio free improv Sunday Series as well as working with a large number of international players: Alan Wilkinson, Nobu Stowe and Luther Thomas. This disc was recorded in a studio in Brooklyn almost a year ago on August 15th of 2013. The first piece is quiet and slowly evolves with playful soprano sax, spacious yet free-flowing guitar and selectively used laptop to sample certain sounds and manipulate them subtly. The sax and electric guitar do a swell job of weaving tightly around one another as some minimal electronic swirls float in the either. Things finally get intense later on with dense layers erupting together. What I find most interesting about this is that with most great improv, it draws from many genres or falls in between any regular categories. There is a great deal of quick and/or intense interaction between the guitar and the saxes with selective electronics adding different shades or manipulating the sounds of either or both of the other two instruments. The music often balances well between more somber and more eruptive sections. Consistently engaging no matter what direction they choose. Harvey Valdes will bring two different trios here to DMG to perform on Sunday, August 17th at 8pm. One of those trios is the one from this fine disc, so come on down and support free music for free." Bruce Lee Gallanter, Downtown Music Gallery 2014.
"(...) Tesla Coils is a trio exploring “real-time electronic orchestration.” My experience with records featuring real-time sampling/signal processing is mixed. At times I think it works really well, such as on Evan Parker & his Electro-Acoustic Ensemble’s The Moment’s Energy, and at times it’s used in an overly harsh way, putting a heavy layer on top of the music. Tesla Coils is one of the best examples of this type of digital manipulation that I’ve yet heard. The sampling adds to the dialogue and never seems arbitrary or random. Valdes has a spikey approach to his guitar that at certain points reminded me of Mary Halvorson, but he also mixes in other tactics including a crunching, metal-influenced component. He’s a good listener too. When I first encountered this CD my thought was, “Oh yeah Blaise Siwula, I see his name around, I’ve heard him on a couple of things.” At the end of the first track I was thinking, “Wow, I had no idea this guy was such a great soprano sax player!” And as it turns out, he’s not too shabby on alto or tenor either. Siwula plays his reeds “straight” for the most part, with a full tone on soprano and an at times luxurious, almost Hodges-ian tone on alto. Unlike a lot of these types of records, things never get to the point where you can’t tell who’s playing what, and that’s actually refreshing. The tension between the jazz-influenced saxophone and the edgy contributions from the other two musicians ends up being fertile ground to explore. This is my sleeper album of the year so far; don’t sleep on it." Craig Premo, Improvised, 2014.
"(...) When live electronics are well done the results are often unique and rewarding, which just so happens to be the case with exciting electro/acoustic trio Tesla Coils. Comprised of sax, electric guitar and laptop, these skilled and daring musicians bring to life the brilliant Tesla coil metaphor. Like cool blue lightening bolts trapped in a glass sphere - painless to touch but alarmingly responsive - the trio creates a contained tempest together. Between the freely improvised interactions of the trio, Blaise Siwula's melodic saxophone lines, Harvey Valdes' crackling textural guitar playing and Gian Luigi Diana's thoughtful live sampled remixing, the music grows in the most unusual ways. Listening alone to Siwula, you can imagine a classic free jazz blowing session, to Valdes you hear noise improv and rapid fire single note lines, but mix it in with the laptop and you have a new thing altogether. Highlights on the album abound but what is most interesting is how Diana creates a third instrument (or more!) through the juxtaposition the other two instruments. Listen closely in 'Secondary Coil' at how around the 5 and 1/2 second mark there now two saxophones bouncing off of each other, or the brittle crackle of the guitar at the beginning of “Discharge Terminal’. Through out the 3/4 hours of the album there is hardly a dull moment. If you get a chance to hear them live you won't be disappointed either - this is a crackling group." Paul Acquaro, Free Jazz Collective, 2014.
01 _ Primary Coil 15:47
02 _ Secondary Coil 7:51
03 _ Discharge Terminal 6:58
04 _ Resonant Frequancy of Secondary Circuit 6:16
05 _ Primary Tank Capacitor 2:37
06 _ Spark Gap 6:43
(C) + (P) 2014
CD digisleeve 4 pages
Blaise Siwula _ soprano sax _ alto sax _ tenor sax
Harvey Valdes _ electric guitar
Gian Luigi Diana _ laptop/real time sampling _ sound manipulation
Tesla Coils is a free improvised electro-acoustic trio based out of Brooklyn and actively performing in the NYC downtown scene. Elegant sax lines float over textural guitar stylings are manipulated in a process of real time electronic orchestration. Veteran improvisors emphasize real-time reactivity and a shifting focus of tension in their dynamic interplay. Though cast in the shape of a trio, the musicians deconstruct their sound often ending up together, tumbling hard but light through this dizzying lesson in cooperative 'conflict'.
"(...) When live electronics are well done the results are often unique and rewarding, which just so happens to be the case with exciting electro/acoustic trio Tesla Coils. Comprised of sax, electric guitar and laptop, these skilled and daring musicians bring to life the brilliant Tesla coil metaphor. Like cool blue lightening bolts trapped in a glass sphere - painless to touch but alarmingly responsive - the trio creates a contained tempest together. Between the freely improvised interactions of the trio, Blaise Siwula's melodic saxophone lines, Harvey Valdes' crackling textural guitar playing and Gian Luigi Diana's thoughtful live sampled remixing, the music grows in the most unusual ways. Listening alone to Siwula, you can imagine a classic free jazz blowing session, to Valdes you hear noise improv and rapid fire single note lines, but mix it in with the laptop and you have a new thing altogether. Highlights on the album abound but what is most interesting is how Diana creates a third instrument (or more!) through the juxtaposition the other two instruments. Listen closely in 'Secondary Coil' at how around the 5 and 1/2 second mark there now two saxophones bouncing off of each other, or the brittle crackle of the guitar at the beginning of “Discharge Terminal’. Through out the 3/4 hours of the album there is hardly a dull moment. If you get a chance to hear them live you won't be disappointed either - this is a crackling group." Paul Acquaro, Free Jazz Collective, 2014.
"(...) Tesla Coils is a trio exploring “real-time electronic orchestration.” My experience with records featuring real-time sampling/signal processing is mixed. At times I think it works really well, such as on Evan Parker & his Electro-Acoustic Ensemble’s The Moment’s Energy, and at times it’s used in an overly harsh way, putting a heavy layer on top of the music. Tesla Coils is one of the best examples of this type of digital manipulation that I’ve yet heard. The sampling adds to the dialogue and never seems arbitrary or random. Valdes has a spikey approach to his guitar that at certain points reminded me of Mary Halvorson, but he also mixes in other tactics including a crunching, metal-influenced component. He’s a good listener too. When I first encountered this CD my thought was, “Oh yeah Blaise Siwula, I see his name around, I’ve heard him on a couple of things.” At the end of the first track I was thinking, “Wow, I had no idea this guy was such a great soprano sax player!” And as it turns out, he’s not too shabby on alto or tenor either. Siwula plays his reeds “straight” for the most part, with a full tone on soprano and an at times luxurious, almost Hodges-ian tone on alto. Unlike a lot of these types of records, things never get to the point where you can’t tell who’s playing what, and that’s actually refreshing. The tension between the jazz-influenced saxophone and the edgy contributions from the other two musicians ends up being fertile ground to explore. This is my sleeper album of the year so far; don’t sleep on it." Craig Premo, Improvised, 2014.
"(...) Featuring Blaise Siwula on soprano, alto & tenor saxes, Harvey Valdes on electric guitar and Gian Liugi Diana on laptop & sound manipulation. All three members of this locally-based trio have played here at DMG on different occasions. Mr. Diana has played here numerous times players like Ben Gerstein & Frederika Krier. Mr. Valdes was part of a large/free unit organized by Jeff Shurdut in the past year or so. Mr. Siwula has long run the ABC-No Rio free improv Sunday Series as well as working with a large number of international players: Alan Wilkinson, Nobu Stowe and Luther Thomas. This disc was recorded in a studio in Brooklyn almost a year ago on August 15th of 2013. The first piece is quiet and slowly evolves with playful soprano sax, spacious yet free-flowing guitar and selectively used laptop to sample certain sounds and manipulate them subtly. The sax and electric guitar do a swell job of weaving tightly around one another as some minimal electronic swirls float in the either. Things finally get intense later on with dense layers erupting together. What I find most interesting about this is that with most great improv, it draws from many genres or falls in between any regular categories. There is a great deal of quick and/or intense interaction between the guitar and the saxes with selective electronics adding different shades or manipulating the sounds of either or both of the other two instruments. The music often balances well between more somber and more eruptive sections. Consistently engaging no matter what direction they choose. Harvey Valdes will bring two different trios here to DMG to perform on Sunday, August 17th at 8pm. One of those trios is the one from this fine disc, so come on down and support free music for free." Bruce Lee Gallanter, Downtown Music Gallery 2014.
"(...) Empirical examples that develop elements of musical futurism can be acquired even with indirect methods that normally undertake always the process of improvisation: as many Italian musicians forcibly exported to New York, Gian Luigi Diana stands out for having already found its musical character and to have recorded in Setola (among others) a great job on digital signal processing , called Cristalli Sonori . Now the focus shifts to a trio with two other New Yorkers, the saxophonist Blaise Siwula and guitarist Harvey Valdes. "Tesla coils"(referring to the coils created by Nikola Tesla in 1891) is on the highest levels; it expects the maximum of creativity by the three musicians and it got it. I didn't know anything about Valdes, while Siwula was one of the representatives of the free jazz scene during the nineties. With a style between Sonny Rollins and Ornette Coleman, Siwula is a master of the intersection between melody and abstract expressionism, often build in blocks with moments of relaxation and powerful eccentric playing (the only Live in London is broadly representative). In Tesla coils everything works perfectly with convulsive parts and an extraordinarily effective sound: in Primary coil, from the eleventh minute on, the improvisation whirls around the tension created by the instruments, with Diana that creeps with sounds and arrangements reminiscent of magnetic storms and / or maintenance of electric circuits, to finish with a few notes of the sax and a surreal calm. Despite the apparent disparity, the music is highly enjoyable and a lot embroiled in a representation that lies between the jam and the emptying of electricity frequency circuits of Tesla; Discharge Terminal is built magnificently on the "shock" but also presenting very particular combinations of sound and effects that involve our feelings in a descriptive way. Siwula never stop blowing in his instruments, he is never tired; Valdes drag the listening to the mellifluous worlds of atonality and Diana carves this patchwork with his laptop and search for sounds in what can be considered a modern treatise on the sources to High-frequency simulations of circuit bending and resonance in front of the jazz of Coleman and Bailey and Primary tank capacitor is a compendium of those principles that look very forward in time, as well as this project that propels us into one of the best products of Improvisation of this year." Ettore Garzia, Percorsi Musicali, 2014.
"(...) Blaise Siwula est un saxophoniste de première, un musicien improvisateur avec un savoir faire et une expérience impressionnante, même s’il reste peu connu dans le réseau européen. Ici on l’entend au sax soprano, alto et ténor avec un excellent guitariste, Harvey Valdes et Gian Luigi Diana qui le suit comme son ombre avec son portable et son Real Time Sampling Sound Manipulation. Dès l’ouverture (Primary Coil 17:57), les volutes du soprano crée un univers volatile, élégant et complexe avec une belle technique « traditionnelle ». Donc pas de techniques avancées à la John Butcher, ni de travail du son à la Lacy, plutôt Trevor Watts au soprano. Une phase de deux minutes où chacun reste sur ses gardes, un silence et deux coups de becs, et l’échange commence. Alors que Diana procède et transpose avec inventivité le jeu du saxophone en le miroitant et le contorsionnant, le guitariste propose des incartades atonales soniques maîtrisées ou un jeu mélodique subtil. Un solide guitariste, Harvey Valdes. Bonne écoute du trio et conception intelligente de l’improvisation où plusieurs champs d’investigation sont exploités tour à tour où simultanément avec logique et musicalité. Il est parfois difficile de distinguer le saxophone du processing de Diana. Vers la onzième minute, le ton change et ralentit vers le sonique exploratoire. Siwula démontre qu’il a de sérieux moyens. On passe rapidement d’une introspection rageuse vers un pandemonium électro saturé qui remplit tout le champ auditif, pour ensuite terminer sur quelques sons de guitare et des phrases de sax alto presque jazz. Secondary Coil 7:51, introduction au sax alto quasi jazz en rythme libre avec quelques piquetages de guitare qui évoluent vers des ostinatos décalés et alors le sax devient free et mâchouille / growle les sons. Un séduisant dialogue entre Siwula et Valdes se transforme en confrontation et Diana qui jouait sur le côté fait monter le ton. Passage étrange : deux sax se disputent l’espace : le réel et le virtuel. Il y a un peu de tout dans cette improvisation et aussi quelques trouvailles, les musiciens essayant plusieurs possibilités sans avoir peur de se planter. Discharge Terminal 6:58, commence noise à la guitare et le sax soprano répond dans un registre extrême. L’électronique est inventive et des sons peu usités montent à la surface. Le guitariste se bruitise (noisifie si vous voulez) en accélérant et les volutes du sax s’envolent pour ensuite danser sur des ostinati fortuits lancés par Diana. Le quatrième morceau Resonant Frequency of Secundary Circuit 6:16 me semble être un des improvisations la plus réussie du disque. L’électronique est inventive, le saxophoniste joue sans haleter des échelles tarabiscotées avec triple coup de langue, respiration circulaire et des harmoniques bien placées avec la guitare frénétique en partageant un motif fragmenté. Mais il continue sur sa lancée alors que la guitare bifurque en frictionnant le son, rivalisant avec les trouvailles électroniques. Un belle énergie organique. Primary Tank Capacitor 2:37 est une récréation lyrique du sax ténor avec un comping décalé du guitariste. Lorsqu’ils s’arrêtent, on entend l’électronique déjantée continuer un moment juste avant la fin. Spark Gap 6:43 contient quelques éclairs de lucidité, de rage et de folie et lorsque Siwula revient vers la mélodie, la guitare plonge dans un bain d’acide et le laptop est parvenu à son expression la plus convaincante comme s’il y a avait eu chez lui une maturation durant la session. En bref, c’est OK mais au vu et au su de tout ce qui s’est fait et se fait sous la bannière de l’improvisation libre, ce n’est pas un manifeste que je ferais écouter à des auditeurs en disant : l’improvisation libre c’est çà ! Est-ce un rencontre ponctuelle ou un groupe qui « tourne »? Cela dit Blaise Siwula est un saxophoniste très compétent qui a assimilé le challenge de liberté totale en relation avec les possibilités de son instrument, surtout à l’alto. Il a un sérieux bagage musical et tient à utiliser tout son spectre musical (du phrasé jazz aux techniques alternatives) dans une même improvisation. Gian Luigi Diana utilise avec brio son software de processing et cherche des sons originaux au risque de manquer de concision. Harvey Valdes est un très bon guitariste, mais plusieurs passages entendus ici voudraient qu’il utilise d’autres intervalles, d’autres pulsations. Schönberg? Mais cette musique est faite pour évoluer, se dépasser, se transformer, s’écouter, rencontrer, découvrir, changer et tout recommencer. Et dans ce sens ces Tesla Coils, enregistrés en hommage au plus méconnu des inventeurs de l’électricité, est un témoignage convaincant." Jean-Michel Van Schouwburg, Orynx-improvandsounds, 2014.
01 _ Primary Coil 15:47
02 _ Secondary Coil 7:51
03 _ Discharge Terminal 6:58
04 _ Resonant Frequancy of Secondary Circuit 6:16
05 _ Primary Tank Capacitor 2:37
06 _ Spark Gap 6:43
(C) + (P) 2014
