CD digisleeve 4 pagine

Paolo Pascolo _ flauto traverso _ flauto traverso basso _ sax tenore _ electronics
Stefano Giust _ batteria _ piatti

Duo dedito alla musica improvvisata, free jazz dal Friuli-Venezia Giulia, già insieme nel quartetto Aghe Clope. Il dipinto della copertina e dell'interno sono di Arianna Ellero, pittrice anch'essa della regione e con la quale il duo condivide un trio – musica e l'action painting di Arianna – sotto il nome Pieno e Vuoto (Voll und Leer). Registrato e mixato da Michele Pegan al Dobialab, 2019.

"(...) Un action painting svolto da Paolo Pascolo, Stefano Giust e Arianna Ellero costituisce il contenuto di Haiku, un set improvvisativo particolarmente accattivante sin dalla copertina: ci sono due dipinti della Ellero, astratti che sembrano proporre immagini senza definizione in un’area selezionata da lunghe strisce di colore, visioni di sostegno ad un concetto vibratorio della vista che deve corrispondere a quello musicale. E a proposito di Haiku, si deve ammettere che questa vibrazione non si esaurisce nella brevità filosofica dei componimenti orientali; se volete è una trasposizione occidentale che dell’haiku ha solo la prestanza simbolica, dinamiti psicologiche del suono senza una precisa collocazione formale: Pascolo è qui apprezzabile anche al sax tenore, oltre che ai flauti (suo strumento primario), mentre Giust è instancabile cesellatore di polifonie percussive, che a tratti sono capaci di sviluppare delle fantastiche similitudini (ad un certo punto di Karumi si ascolta una sorta di meccanica che sembra rifarsi alle riparazioni di una bottegaio di scarpe). C’è una malleabilità incredibile in questa musica, una qualità che i due musicisti riescono a comunicare all’ascolto grazie alle provvidenze dell’improvvisazione libera, rifondata sull’agilità (le evoluzioni di Kireji sembrano impostare la partenza di Icaro), sul volteggio (il sax di Kigo è un tuffo nel free jazz americano dei settanta), sulla sorpresa del momento (Shiori è il pezzo più vicino al concetto letterario giapponese)." Ettore Garzia, Percorsi Musicali, 2020.

"(...) This is a duo-work by the two experienced Italian improvisers. Label-boss Stefano Giust (drums, cymbals) and Paolo Pascolo (flute, bass flute, tenor sax, electronics). Both know one other as members of the Aghe Clope quartet with Giorgio Pacorig and Andrea Gulli. An ensemble dedicated to free improvisation. In their duo collaboration, Giust and Pascolo also almost sound like a complete ensemble. Their rich vocabulary and technique make that their playful dialogues are full of details concerning dynamic, colour and timbre. I especially enjoyed the improvisations that have Pascolo playing the flute. And throughout, this CD is an excellent opportunity to enjoy Giust’s playing style. He plays in a very natural and organic way, using many percussive objects in all possible ways. Pascolo plays similarly, that is to say, in flowing movements and gestures. This makes their sensible textures very coherent. ‘Kana’ and ‘Yugen’ are two improvisations that have Pascolo playing electronics in his interaction with Giust. These improvisations make an intriguing contrast with the other improvisations that are all 100% acoustic. It is very satisfying and interesting how Pascolo uses electronics in improvisation. Hope to hear more of it one day." Dolf Mulder, Vital Weekly, 2020.

"(...) Haiku is a deceptively simple art form. Consisting of a handful of syllables, three lines and plainly direct language, these poems when successful imply an entire macrocosm in the microcosmic observation of detail. By the same token the improvising duo Haiku—Stefano Giust and Paolo Pascolo—take the smallest ensemble format and leverage it to improvise a rich world of sound color, texture, and line.
Giust is credited with drums and cymbals, but in practice he is a multi-instrumentalist in the way he approaches the various components of his set. Each individual drum is treated as a distinct instrument in its own right, with its own unique voice to be sounded alone or in chorus with the other voices. Giust plays for timbre and space rather than for pulse and leaves a good deal of open room for each element of his to resound to its fullest. The recording puts the listener right in the middle of these sounds where he or she can actually feel the vibrations—especially of the bass drum.
Pascolo complements Giust’s sound with flute, bass flute, tenor saxophone and electronics. Whether on flute or saxophone Pascolo plays with a liquid fluency. His lines cohere around thematic runs—downward cascades of notes shifted over different implicit keys, elongated tones slowly floating upward—that aggregate over the course of an improvisation into songlike arcs. On bass flute Pascolo unfolds a line with the gravitas appropriate to the instrument; his two contributions on electronics serve as abstract interludes in between acoustic flights." Daniel Barbiero, Avant Music News, 2020.

01 _ Hokku 3:07
02 _ Kigo 2:57
03 _ Kireji 2:09
04 _ Kiru 2:42
05 _ Karumi 6:11
06 _ Kana 2:21
07 _ Hajin 6:12
08 _ Shiori 2:32
09 _ Yugen 3:28

(C) + (P) 2019

CD digisleeve 4 pages

Paolo Pascolo _ flute _ bass flute _ tenor sax _ electronics
Stefano Giust _ drums _ cymbals

Duo involved in free jazz and free improvised music from Friuli-Venezia Giulia, already together in the Aghe Clope quartet. The painting of the cover is by Arianna Ellero, a painter with whom the duo shares a trio – music and the action painting of Arianna – under the name Pieno e Vuoto (Voll und Leer). Recorded and mixed by Michele Pegan at Dobialab, 2019.

"(...) This is a duo-work by the two experienced Italian improvisers. Label-boss Stefano Giust (drums, cymbals) and Paolo Pascolo (flute, bass flute, tenor sax, electronics). Both know one other as members of the Aghe Clope quartet with Giorgio Pacorig and Andrea Gulli. An ensemble dedicated to free improvisation. In their duo collaboration, Giust and Pascolo also almost sound like a complete ensemble. Their rich vocabulary and technique make that their playful dialogues are full of details concerning dynamic, colour and timbre. I especially enjoyed the improvisations that have Pascolo playing the flute. And throughout, this CD is an excellent opportunity to enjoy Giust’s playing style. He plays in a very natural and organic way, using many percussive objects in all possible ways. Pascolo plays similarly, that is to say, in flowing movements and gestures. This makes their sensible textures very coherent. ‘Kana’ and ‘Yugen’ are two improvisations that have Pascolo playing electronics in his interaction with Giust. These improvisations make an intriguing contrast with the other improvisations that are all 100% acoustic. It is very satisfying and interesting how Pascolo uses electronics in improvisation. Hope to hear more of it one day." Dolf Mulder, Vital Weekly, 2020.

"(...) Haiku is a deceptively simple art form. Consisting of a handful of syllables, three lines and plainly direct language, these poems when successful imply an entire macrocosm in the microcosmic observation of detail. By the same token the improvising duo Haiku—Stefano Giust and Paolo Pascolo—take the smallest ensemble format and leverage it to improvise a rich world of sound color, texture, and line.
Giust is credited with drums and cymbals, but in practice he is a multi-instrumentalist in the way he approaches the various components of his set. Each individual drum is treated as a distinct instrument in its own right, with its own unique voice to be sounded alone or in chorus with the other voices. Giust plays for timbre and space rather than for pulse and leaves a good deal of open room for each element of his to resound to its fullest. The recording puts the listener right in the middle of these sounds where he or she can actually feel the vibrations—especially of the bass drum.
Pascolo complements Giust’s sound with flute, bass flute, tenor saxophone and electronics. Whether on flute or saxophone Pascolo plays with a liquid fluency. His lines cohere around thematic runs—downward cascades of notes shifted over different implicit keys, elongated tones slowly floating upward—that aggregate over the course of an improvisation into songlike arcs. On bass flute Pascolo unfolds a line with the gravitas appropriate to the instrument; his two contributions on electronics serve as abstract interludes in between acoustic flights." Daniel Barbiero, Avant Music News, 2020.

"(...) Un action painting svolto da Paolo Pascolo, Stefano Giust e Arianna Ellero costituisce il contenuto di Haiku, un set improvvisativo particolarmente accattivante sin dalla copertina: ci sono due dipinti della Ellero, astratti che sembrano proporre immagini senza definizione in un’area selezionata da lunghe strisce di colore, visioni di sostegno ad un concetto vibratorio della vista che deve corrispondere a quello musicale. E a proposito di Haiku, si deve ammettere che questa vibrazione non si esaurisce nella brevità filosofica dei componimenti orientali; se volete è una trasposizione occidentale che dell’haiku ha solo la prestanza simbolica, dinamiti psicologiche del suono senza una precisa collocazione formale: Pascolo è qui apprezzabile anche al sax tenore, oltre che ai flauti (suo strumento primario), mentre Giust è instancabile cesellatore di polifonie percussive, che a tratti sono capaci di sviluppare delle fantastiche similitudini (ad un certo punto di Karumi si ascolta una sorta di meccanica che sembra rifarsi alle riparazioni di una bottegaio di scarpe). C’è una malleabilità incredibile in questa musica, una qualità che i due musicisti riescono a comunicare all’ascolto grazie alle provvidenze dell’improvvisazione libera, rifondata sull’agilità (le evoluzioni di Kireji sembrano impostare la partenza di Icaro), sul volteggio (il sax di Kigo è un tuffo nel free jazz americano dei settanta), sulla sorpresa del momento (Shiori è il pezzo più vicino al concetto letterario giapponese)." Ettore Garzia, Percorsi Musicali, 2020.

01 _ Hokku 3:07
02 _ Kigo 2:57
03 _ Kireji 2:09
04 _ Kiru 2:42
05 _ Karumi 6:11
06 _ Kana 2:21
07 _ Hajin 6:12
08 _ Shiori 2:32
09 _ Yugen 3:28

(C) + (P) 2019