SOLD OUT

Blaise Siwula _ clarinetto_ clarinetto alto _ sax soprano _ sax alto _ flauti
Armando Merid Martin _ chitarra acustica
Edgar Caamal _ batteria _ percussione

Un bel trio con cui il newyorkese Blaise Siwula lavora a Merida Messico, insieme a due musicisti del posto. La musica si divide tra improvvisazione e composizione, con un risultato molto fruibile e mai banale. Questo album è stato registrato a Merida il 26 ottobre 2015.
Per maggiori informazioni: www.blaise siwula.com

"(...) Let the listeners are as free as the interpreters" (Christian Wolff). What is the mechanism of neuronal connection and nervous is exercised between the sound and the brain? What zones are activated, which are obscure, and even many reborn or are created at the time of the hearing? At the margin of the music as a rigid structure and static, making more in a term of 'weariness' than in a creative language, the free improvisation is subject to an imaginary axis that does not depend on the musician or listeners: it is their own decision of the sound that is taking on a life of its own as the characters ‘novelísticos’ that emerge from the author to decide its own course. And it is not a matter that they obey the whim. Is the fruit of the interpretative professionalism. Blaise Siwula reeds/flutes, Armando Martin acoustic guitar and Edgar Caamal percussion deployed with their instruments a sound tissue that provides 'events' unexpected, from beginning to end of the work. This is what I call "9 songs of powerlessness" because the sound is the single protagonist, in a state of defenselessness full, absolute. It is precisely the wealth of music that knows no bounds. Artistically this production has by name "Songs of deception", the group Merida Encuentro, under the singular stamp 'Setola di Maiale'. Both musicians and record house the I summarize in the words of Mathiew Saladin: "empty space that implies plurality indefinitely". This work begins with the ritualistic sound of the flute in a floating atmosphere. The ropes guitars are rubbed as disposing of your box of resonance and in its step is ‘ensortija’ with the clarinet, in an act of confrontation sound, almost suicidal, ‘enmarañándolo’, seizing him to then let fluír in its melodic murmur (beautiful 'concept' sound very present in this production) from here what songs will remain in the power of the daring improvisatorio. The guitar plays a role seductive: expands, wraps, seizes, frees, subject unfolds, enthrones a changing role, diverse, multiforme. In other moments of this cd the percussion and the clarinet whisper his desire and exploratory, flute, in their brief incursions, leads us to the voices of millenary ancestors in their splendour decoded, natural. On the other hand the battle between sax and guitar presents a duel ‘extasiante’, lucid in its delivery. This proximity verbale to improvisation free supports its precariousness, its deficiency, its ‘intrascendencia’, but contrary to what course, designates the poetic sound in his artistic manifestation. Says Derek Bayle that 'the intrinsic difficulty of improvisation free hinders their designation, leaving it in suspense'. But this work offers other readings: are nine songs, that of intentional way (i think) named new words, each one written with the fourth letter of the alphabet (D) as a strange and enigmatic alphabet whose meaning is strictly sonorous, and are, in order: Deceit, Desire, Design, Defense, Determination, Duplicity, Decoy, Dissention, Derivation. This is an idea which I applaud, as arising from a dadaist pen and could well be applied to a new dictionary that would have as the meaning of the words a musical theme, even as well as Rimbaud colored vowels, what color we would assign to this consonant? The answer is to listen to each one of these songs. Siwula, Martin and Caamal resonate in the night off rain in this thought of Cornelius Cardew: "We are looking for sounds and responses that are associated with them, instead of creating them from the thought, prepare and produce them. This search is carried out in the middle of the sound and the same musician is in the heart of the experiment". Gustavo Bustamante Mesam Jazz Tomes, 2016.

01 _ Deceit 06:30
02 _ Desire 05:09
03 _ Design 05:19
04 _ Defence 03:01
05 _ Determination 04:15
06 _ Duplicity 05:26
07 _ Decoy 05:06
08 _ Dissention 13:10
09 _ Derivation 06:21

C) + (P) 2016

SOLD OUT

Blaise Siwula _ clarinet _ alto clarinet _ soprano sax _ alto sax _ wooden flutes
Armando Merid Martin _ acoustic guitar
Edgar Caamal _ drums _ percussion

A nice trio of New Yorker Blaise Siwula with mexican musicians that works primarily in Merida Mexico. There are improvisations and compositions and the music is enjoyable, in the right way. This album was recorded in Merida October 26th, 2015.
For more info: www.blaisesiwula.com

"(...) Let the listeners are as free as the interpreters" (Christian Wolff). What is the mechanism of neuronal connection and nervous is exercised between the sound and the brain? What zones are activated, which are obscure, and even many reborn or are created at the time of the hearing? At the margin of the music as a rigid structure and static, making more in a term of 'weariness' than in a creative language, the free improvisation is subject to an imaginary axis that does not depend on the musician or listeners: it is their own decision of the sound that is taking on a life of its own as the characters ‘novelísticos’ that emerge from the author to decide its own course. And it is not a matter that they obey the whim. Is the fruit of the interpretative professionalism. Blaise Siwula reeds/flutes, Armando Martin acoustic guitar and Edgar Caamal percussion deployed with their instruments a sound tissue that provides 'events' unexpected, from beginning to end of the work. This is what I call "9 songs of powerlessness" because the sound is the single protagonist, in a state of defenselessness full, absolute. It is precisely the wealth of music that knows no bounds. Artistically this production has by name "Songs of deception", the group Merida Encuentro, under the singular stamp 'Setola di Maiale'. Both musicians and record house the I summarize in the words of Mathiew Saladin: "empty space that implies plurality indefinitely". This work begins with the ritualistic sound of the flute in a floating atmosphere. The ropes guitars are rubbed as disposing of your box of resonance and in its step is ‘ensortija’ with the clarinet, in an act of confrontation sound, almost suicidal, ‘enmarañándolo’, seizing him to then let fluír in its melodic murmur (beautiful 'concept' sound very present in this production) from here what songs will remain in the power of the daring improvisatorio. The guitar plays a role seductive: expands, wraps, seizes, frees, subject unfolds, enthrones a changing role, diverse, multiforme. In other moments of this cd the percussion and the clarinet whisper his desire and exploratory, flute, in their brief incursions, leads us to the voices of millenary ancestors in their splendour decoded, natural. On the other hand the battle between sax and guitar presents a duel ‘extasiante’, lucid in its delivery. This proximity verbale to improvisation free supports its precariousness, its deficiency, its ‘intrascendencia’, but contrary to what course, designates the poetic sound in his artistic manifestation. Says Derek Bayle that 'the intrinsic difficulty of improvisation free hinders their designation, leaving it in suspense'. But this work offers other readings: are nine songs, that of intentional way (i think) named new words, each one written with the fourth letter of the alphabet (D) as a strange and enigmatic alphabet whose meaning is strictly sonorous, and are, in order: Deceit, Desire, Design, Defense, Determination, Duplicity, Decoy, Dissention, Derivation. This is an idea which I applaud, as arising from a dadaist pen and could well be applied to a new dictionary that would have as the meaning of the words a musical theme, even as well as Rimbaud colored vowels, what color we would assign to this consonant? The answer is to listen to each one of these songs. Siwula, Martin and Caamal resonate in the night off rain in this thought of Cornelius Cardew: "We are looking for sounds and responses that are associated with them, instead of creating them from the thought, prepare and produce them. This search is carried out in the middle of the sound and the same musician is in the heart of the experiment". Gustavo Bustamante Mesam Jazz Tomes, 2016.

01 _ Deceit 06:30
02 _ Desire 05:09
03 _ Design 05:19
04 _ Defence 03:01
05 _ Determination 04:15
06 _ Duplicity 05:26
07 _ Decoy 05:06
08 _ Dissention 13:10
09 _ Derivation 06:21

(C) + (P) 2016