CD digisleeve 6 pagine

Giorgio Pacorig _ piano rhodes _ elettronica
Gabriele Cancelli _ tromba
Cene Resnik _ sax tenore
Stefano Giust _ batteria _ piatti

Secondo album del Mahakaruna Quartet (Maha Karuna significa grande compassione, in sanscrito), dopo il CD Inventum del 2017 (uscito per Nuovo Corso). Life Practice è stato registrato in concerto al Jazzmatec Festival, presso il Parco di Sant'Osvaldo, a Udine il 6 settembre 2020. Ѐ musica improvvisata, free jazz introverso, registrato e mixato da Michele Pegan che ha eseguito anche il mastering. Disegno originale di Riccardo Miotto.

"(...) Il Mahakaruna Quartet è un quartetto di improvvisatori che interpreta con efficacia un free jazz di cui ne vantano una linea di introversione: Giorgio Pacorig (al fender Rhodes piano), Gabriele Cancelli (tromba), Cene Resnik (sassofono tenore) e Stefano Giust (batteria e cimbali) propongono una sorta di allucinazione jazz che si fonda su un rivolo di quella maestosa direttiva che Miles Davis introdusse nel suo In a Silent Way. In quel famoso lavoro Davis fece di tutto per smarcarsi da un’etichetta o genere, per proporre una forma di espressione universale, non scevra da una posizione politicamente critica sulla comunità del jazz; aldilà dell’impronta musicale rivestita, In a Silent Way voleva affermare una costruzione libera e senza compromessi della musica e indicare che anche in una forma introspettiva di musica c’è una vita che bolle. Cogliere il messaggio di questi tempi significa appoggiare tutte quelle attività sociali che sono i parafulmini del diniego dei diritti e il Mahakaruna (che sta per “grande compassione” in sanscrito) l’ha fatto attraverso la musica e la liberazione dei dogmi.
Life Practice, il loro secondo album contenuto del concerto al Jazzmatec Festival nel 2020, non si riporta ai canti di lavoro o alle fasi della collettivizzazione del jazz degli anni settanta così come affrontato nel primo CD, ma tenta di offrire una visuale improvvisativa che raccoglie gli intenti dei quattro musicisti: musica intelligente, flussi di free jazz in cui l’obiettivo è l’espansione dei risultati, apertura delle menti attuabili con un piano d’azione in cui ognuno dei musicisti partecipa in maniera equivalente, dal fender rhodes che gioca un ruolo specifico per delineare gli scenari (molto differente dall’organo pompante di Corea, per intenderci) alla percussione che è invece un turbine; per la tromba e il sax tenore l’istinto è di muoversi rapidamente con assoli in sezioni che durano intense nello spazio di un respiro." Ettore Garzia, Percorsi Musicali, 2022.

"(...) Free improvisation ben calibrata: tre quarti d’ora di musica assai leggibile e mai pretestuosa." Alberto Bazzurro, L’Isola Della Musica Italiana, 2022.

"(...) Con passione grande. Appunto. Ci piace essere sorpresi. La serendipità della musica. Ancora, dopo quell’ “Inventum” del 2017 che brucia dentro di passioni mai sopite e (non illusioni ma) ciottoli di intenzioni. Là si chiudeva addirittura con L'Internazionale, ma se vi infastidisce tanta retorica struggetevi con Le 8 Ore. Di nuovo Gabriele Cancelli (tromba), Cene Resnik (sax tenore), Giorgio Pacorig (piano rhodes ed elettronica), Stefano Giust (percussioni) colti vivi al Jazzmatec Festival. Settembre 2020. Scorribande di compagni con furente allegria (Listen): muscolare l’ancia, invettiva la tromba, la batteria anarchica ma organizzata, per la causa e politicamente lisergiche le tastiere spiritate. C'è nella dimensione acida della “cosa”, nel cavalcare l'onda della rabbia (Sniff) un cuore blues che sanguina a nostra intercessione (Savor). Invidiamo la sintonia, la comunanza che porta al colloquiare leggero ed intenso di Touch e alle memorie condivise. Offer, che sentiamo fatta della stessa sostanza di noi, chiude. Ma è ora che si inizia. (8)" Dionisio Capuano, Blow Up, 2022.

"(...) Secondo album, dopo “Inventum” del 2017, per il Mahakaruna Quartet (Gabriele Cancelli, tromba, Cene Resnik, sax tenore, Giorgio Pacorig, piano Rhodes/elettronica, Stefano Giust, batteria/percussioni), anche questo, come il precedente, registrato dal vivo. L’esibizione in questione (Jazzmatec Festival del 6 Settembre 2020 ad Udine), si rilassa ed ingarbuglia, azzuffa ma non troppo, il giusto in quota afro, tra battito in continua frammentazione e liquide note di tasti, europea quel che basta. Più che attriti, sensibili avvicinamenti. Lo sfrigolante dialogo sottovoce, metalli/tasti/fiati della conclusiva Offer, su tutto. Voto: 7." Marco Carcasi, Kathodik, 2022.

"(...) From the Mahakaruna Quartet comes this substantive and thoroughly enjoyable set of jazz-based free improvisation. The group, consisting of Giorgio Pacorig (Fender Rhodes piano and electronics); Gabriele Cancelli (trumpet); Cene Resnik (tenor saxophone); and Stefano Giust (drums and cymbals), were recorded live at the Jazzmatec Festival in Udine in Northeast Italy in the covid-darkened days of September, 2020. The resulting music surely must count among the few positive things to emerge from that year.
Over the course of the set, which has been broken up into six tracks for the album, the quartet produces a cooperatively crafted improvisation notable for its vivid blending of color and intelligent use of variable dynamics. Pacorig’s Fender Rhodes and electronics play a particularly key but discreet role in weaving together the overall texture; integrating contemporary electronics into what is essentially an acoustic context can be difficult to do well, but Pacorig manages to do it with a light but sure touch. Cancelli and Resnik demonstrate themselves to be first-rate collective players, and Giust once again plays with a sensitivity and musicality virtually unequaled among improvising drummers." Daniel Barbiero, Avant Music News, 2022.

"(...) Recorded on September 6th 2020, at Jazzmatec 2020 in Udine, Italy, this set is the complete concert by the Mahakaruna Quartet, split into six tracks. All tracks, save the last one, have something to do with the five senses (See, Listen, Sniff, Savor and Touch). The quartet consists of Stefano Giust on drums, also the founder of the label that released the disc, Giorgio Pacorig on Fender Rhodes and various electronics to alter the sound of the Rhodes, Cene Resnik on tenor sax and Gabriele Cancelli.
The music presented here is very enjoyable with something for everyone: nice melodies, controlled cacophony, brooding atmospheres, spacious soundscapes, all presented with a drive and intent, willfulness if you will, to bring the expressive music across to the audience. Their previous effort was also a live recording: Inventum, released in 2017. The Rhodes has multiple functions in the sound spectrum: as there is no bass, the lower keys of the electric piano function as an instant electric bass, sometimes with the use of the electronics sounding like a heavily distorted guitar. In 'Savor', there's a phenomenal fuguelike section near the end. Quite infectious. The last track is quite the opposite: a brooding atmosphere with glockenspiel-like sounds from the Rhodes and long notes in the two wind instruments. A perfect closer for this highly enjoyable disc. Especially suited for people who like to dive into the world of free improvisation, to get a taste of what's possible when nothing is written down, but the melody is still key, whatever key is used." MDS, Vital Weekly, 2022.

"(...) Les notes de pochette indiquent : Free Improvised Quartet Music. À l’écoute, on pourrait qualifier cet enregistrement de « free » free-jazz où les deux souffleurs, Cene Resnik au sax ténor et Gabriele Cancelli, le trompettiste, alternent leurs interventions échevelées dans un dialogue constant, imbriquant leurs spirales brisées et leurs fragments mélodiques en échangeant idées et inspirations désarticulant comme un pantin, l’ordonnancement du phrasé jazz moderne. Le batteur, Stefano Giust fractionne et décale des tempi imaginaires en roulements / battements déconcertés et d’élastiques pulsations mouvantes, alors que le claviériste, Giorgio Pacorig, muni de son piano Rhodes (+ électronique) invoque – évoque le Zawinul psyché de chez Miles électrique et un Sun Ra énigmatique. Ce concert du 6 septembre 2020 au Jazzmatec Festival s’étale dans un territoire où l’expérimental rejoint le jazz libre et le désordre instigué trouve son point de gravité (listen – sniff)) au-delà d’une perception « normale », suggérant ainsi un équilibre précaire, un univers utopique où les forces centrifuges se rejoignent à travers une écoute aléatoire. Ces aléas impromptus se résolvent auditivement dans la paisible communion inventive de savor (10 :12) ou d'offer (6:10), point de départ vers une recherche plus aiguë, une présence spontanée, contradictoire et angulaire ou porte vers l'indéfini. Ce qui aurait pu aboutir à un album « free » de plus, devient petit à petit un testament onirique, un essai de débrouillardise, un sentiment marqué par l’improvisation… questions sans réponses, échappées vers l’inconnu, lointain ou proche. Le batteur se fait discret créant un espace pour les volutes insistantes des soufflants et les dérapages électrogènes raffinés et sauvages du claviériste tout en donnant le tournis déconstructeur avec ce drumming free particulier, constamment et sciemment déséquilibré. Une belle équipée comme souvent chez Setola di Maiale (oeuvre utopiste du génial Stefano Giust). Life Practice !" Jean-Michel Van Schouwburg, Orynx-Improv and Sounds, 2022.

"(...) De potentiële luisteraar die de hoesinformatie leest, weet meteen hoe het er op ‘Life Practice’ aan toegaat. “Free improvised quartet music” staat daar namelijk vermeld.
Het gaat effectief om een concertregistratie waarbij Giorgio Pacorig (Rhodes, electronics), Gabriele Cancelli (trompet), Cene Resnik (tenorsaxofoon) en Stefano Giust (drums) op 6 september 2020 de mogelijke combinaties van hun instrumenten uitzochten.
De bijpassende titels duiden enigszins de richtingen aan: ‘See’, ‘Listen’, ‘Sniff’, ‘Savor’, ‘Touch’ en ‘Offer’. De verhalende opbouw zorgt voor een gepaste omkadering van de open structuren. Eerst worden de pionnen geplaatst en heeft er nog een lichte herschikking plaats. Geleidelijk aan komt iedereen aan zet en is experimenteren aan de orde van de dag.
Opvallend zijn sciencefiction electronics die al eens richting progimpro verschuiven. Regelmatig lijkt het wel of je verzeilde in een game arcade. Een geslaagde happening waarbij je verwacht dat Jozef Dumoulin en Laurent Blondiau elk moment als gastmuzikanten gaan opduiken." Georges Tonla Briquet, Jazz'halo, 2022.

"(...) Creating electro-acoustic interaction with vibrating space chords as prominent as acoustic techniques, artfully project the approach in live concert settings. A one-off meeting of improvisers who have distinguished themselves in other settings, Life Practice is an interaction among the voltages created by Italian Giorgio Pacorig’s electric piano and electronics plus acoustic stretches from fellow Italians Stefano Giust’s percussion and Gabriele Cancelli’s trumpet and Slovenian tenor saxophonist Cene Resnik.
More acoustic by design, Life Practice‘s one extended improvisation moves through an idiosyncratic variant of introduction, elaboration and conclusion, with the most compelling part of the program its second half. Beginning with gentle vibraharp-like clips from Pacorig, Giust’s irregular drum beat, Cancelli’s portamento trumpet lines and Resnik’s flutter tonguing, brassy triplet stops evolve contrapuntally with bent reed notes. Harmonized but maintaining individuality, the horns’ high-pitched smears are joined by electronic oscillations that introduce a piano interlude that precedes exposition toughening. Made up of intermittent saxophone multiphonics and trumpet triplets the group composition becomes more assertive as it moves up the scale. By the fourth sequence Resnik deconstructs his timbres as does Cancelli by French kissing his mouthpiece and blowing half-valve effects. Drum shakes and pitter-patter and electric piano slithers add to the polyphony. Further colored by vocalized glissandi from the saxophonist and brass smears ripples, broken chord advancement is joined by jiggling piano echoes. This means that three separate but parallel lines are projected at the same time. With voltage buzzing, muted brass tones and accented reed stops peppering the interaction, the penultimate section ends with an unfocused electronic drone. Buzzing and shaking strands that encompass cymbal rattles, strained saxophone bites and trumpet plunger tones are logically wrapped up in a concluding sequence that is restrained, grainy and straightforward.
Exposing unconventional dynamics, ensemble confirms that tomorrow’s freedom and today’s life practice create engrossing programs that adroitly blend novel and expected textures." Ken Waxman, Jazz Word, 2023.

01 _ See 5:50
02 _ Listen 6:18
03 _ Sniff 7:50
04 _ Savor 10:12
05 _ Touch 8:06
06 _ Offer 6:10

(C) + (P) 2022

CD digisleeve 6 pages

Giorgio Pacorig _ piano rhodes _ electronics
Gabriele Cancelli _ trumpet
Cene Resnik _ tenor sax
Stefano Giust _ drums _ cymbals

Second album of the Mahakaruna Quartet (Maha Karuna means great compassion, in Sanskrit), after the 2017 CD Inventum (published by Nuovo Corso). Life Practice was recorded in concert at the Jazzmatec Festival (Parco di Sant'Osvaldo, Udine, September 6, 2020). Improvised music, introverted free jazz, recorded and mixed by Michele Pegan who also made the mastering. Original drawing by Riccardo Miotto.

"(...) From the Mahakaruna Quartet comes this substantive and thoroughly enjoyable set of jazz-based free improvisation. The group, consisting of Giorgio Pacorig (Fender Rhodes piano and electronics); Gabriele Cancelli (trumpet); Cene Resnik (tenor saxophone); and Stefano Giust (drums and cymbals), were recorded live at the Jazzmatec Festival in Udine in Northeast Italy in the covid-darkened days of September, 2020. The resulting music surely must count among the few positive things to emerge from that year.
Over the course of the set, which has been broken up into six tracks for the album, the quartet produces a cooperatively crafted improvisation notable for its vivid blending of color and intelligent use of variable dynamics. Pacorig’s Fender Rhodes and electronics play a particularly key but discreet role in weaving together the overall texture; integrating contemporary electronics into what is essentially an acoustic context can be difficult to do well, but Pacorig manages to do it with a light but sure touch. Cancelli and Resnik demonstrate themselves to be first-rate collective players, and Giust once again plays with a sensitivity and musicality virtually unequaled among improvising drummers." Daniel Barbiero, Avant Music News, 2022.

"(...) Recorded on September 6th 2020, at Jazzmatec 2020 in Udine, Italy, this set is the complete concert by the Mahakaruna Quartet, split into six tracks. All tracks, save the last one, have something to do with the five senses (See, Listen, Sniff, Savor and Touch). The quartet consists of Stefano Giust on drums, also the founder of the label that released the disc, Giorgio Pacorig on Fender Rhodes and various electronics to alter the sound of the Rhodes, Cene Resnik on tenor sax and Gabriele Cancelli.
The music presented here is very enjoyable with something for everyone: nice melodies, controlled cacophony, brooding atmospheres, spacious soundscapes, all presented with a drive and intent, willfulness if you will, to bring the expressive music across to the audience. Their previous effort was also a live recording: Inventum, released in 2017. The Rhodes has multiple functions in the sound spectrum: as there is no bass, the lower keys of the electric piano function as an instant electric bass, sometimes with the use of the electronics sounding like a heavily distorted guitar. In 'Savor', there's a phenomenal fuguelike section near the end. Quite infectious. The last track is quite the opposite: a brooding atmosphere with glockenspiel-like sounds from the Rhodes and long notes in the two wind instruments. A perfect closer for this highly enjoyable disc. Especially suited for people who like to dive into the world of free improvisation, to get a taste of what's possible when nothing is written down, but the melody is still key, whatever key is used." MDS, Vital Weekly, 2022.

"(...) Creating electro-acoustic interaction with vibrating space chords as prominent as acoustic techniques, artfully project the approach in live concert settings. A one-off meeting of improvisers who have distinguished themselves in other settings, Life Practice is an interaction among the voltages created by Italian Giorgio Pacorig’s electric piano and electronics plus acoustic stretches from fellow Italians Stefano Giust’s percussion and Gabriele Cancelli’s trumpet and Slovenian tenor saxophonist Cene Resnik.
More acoustic by design, Life Practice‘s one extended improvisation moves through an idiosyncratic variant of introduction, elaboration and conclusion, with the most compelling part of the program its second half. Beginning with gentle vibraharp-like clips from Pacorig, Giust’s irregular drum beat, Cancelli’s portamento trumpet lines and Resnik’s flutter tonguing, brassy triplet stops evolve contrapuntally with bent reed notes. Harmonized but maintaining individuality, the horns’ high-pitched smears are joined by electronic oscillations that introduce a piano interlude that precedes exposition toughening. Made up of intermittent saxophone multiphonics and trumpet triplets the group composition becomes more assertive as it moves up the scale. By the fourth sequence Resnik deconstructs his timbres as does Cancelli by French kissing his mouthpiece and blowing half-valve effects. Drum shakes and pitter-patter and electric piano slithers add to the polyphony. Further colored by vocalized glissandi from the saxophonist and brass smears ripples, broken chord advancement is joined by jiggling piano echoes. This means that three separate but parallel lines are projected at the same time. With voltage buzzing, muted brass tones and accented reed stops peppering the interaction, the penultimate section ends with an unfocused electronic drone. Buzzing and shaking strands that encompass cymbal rattles, strained saxophone bites and trumpet plunger tones are logically wrapped up in a concluding sequence that is restrained, grainy and straightforward.
Exposing unconventional dynamics, ensemble confirms that tomorrow’s freedom and today’s life practice create engrossing programs that adroitly blend novel and expected textures." Ken Waxman, Jazz Word, 2023.

"(...) Les notes de pochette indiquent : Free Improvised Quartet Music. À l’écoute, on pourrait qualifier cet enregistrement de « free » free-jazz où les deux souffleurs, Cene Resnik au sax ténor et Gabriele Cancelli, le trompettiste, alternent leurs interventions échevelées dans un dialogue constant, imbriquant leurs spirales brisées et leurs fragments mélodiques en échangeant idées et inspirations désarticulant comme un pantin, l’ordonnancement du phrasé jazz moderne. Le batteur, Stefano Giust fractionne et décale des tempi imaginaires en roulements / battements déconcertés et d’élastiques pulsations mouvantes, alors que le claviériste, Giorgio Pacorig, muni de son piano Rhodes (+ électronique) invoque – évoque le Zawinul psyché de chez Miles électrique et un Sun Ra énigmatique. Ce concert du 6 septembre 2020 au Jazzmatec Festival s’étale dans un territoire où l’expérimental rejoint le jazz libre et le désordre instigué trouve son point de gravité (listen – sniff)) au-delà d’une perception « normale », suggérant ainsi un équilibre précaire, un univers utopique où les forces centrifuges se rejoignent à travers une écoute aléatoire. Ces aléas impromptus se résolvent auditivement dans la paisible communion inventive de savor (10 :12) ou d'offer (6:10), point de départ vers une recherche plus aiguë, une présence spontanée, contradictoire et angulaire ou porte vers l'indéfini. Ce qui aurait pu aboutir à un album « free » de plus, devient petit à petit un testament onirique, un essai de débrouillardise, un sentiment marqué par l’improvisation… questions sans réponses, échappées vers l’inconnu, lointain ou proche. Le batteur se fait discret créant un espace pour les volutes insistantes des soufflants et les dérapages électrogènes raffinés et sauvages du claviériste tout en donnant le tournis déconstructeur avec ce drumming free particulier, constamment et sciemment déséquilibré. Une belle équipée comme souvent chez Setola di Maiale (oeuvre utopiste du génial Stefano Giust). Life Practice !" Jean-Michel Van Schouwburg, Orynx-Improv and Sounds, 2022.

"(...) De potentiële luisteraar die de hoesinformatie leest, weet meteen hoe het er op ‘Life Practice’ aan toegaat. “Free improvised quartet music” staat daar namelijk vermeld.
Het gaat effectief om een concertregistratie waarbij Giorgio Pacorig (Rhodes, electronics), Gabriele Cancelli (trompet), Cene Resnik (tenorsaxofoon) en Stefano Giust (drums) op 6 september 2020 de mogelijke combinaties van hun instrumenten uitzochten.
De bijpassende titels duiden enigszins de richtingen aan: ‘See’, ‘Listen’, ‘Sniff’, ‘Savor’, ‘Touch’ en ‘Offer’. De verhalende opbouw zorgt voor een gepaste omkadering van de open structuren. Eerst worden de pionnen geplaatst en heeft er nog een lichte herschikking plaats. Geleidelijk aan komt iedereen aan zet en is experimenteren aan de orde van de dag.
Opvallend zijn sciencefiction electronics die al eens richting progimpro verschuiven. Regelmatig lijkt het wel of je verzeilde in een game arcade. Een geslaagde happening waarbij je verwacht dat Jozef Dumoulin en Laurent Blondiau elk moment als gastmuzikanten gaan opduiken." Georges Tonla Briquet, Jazz'halo, 2022.

"(...) Il Mahakaruna Quartet è un quartetto di improvvisatori che interpreta con efficacia un free jazz di cui ne vantano una linea di introversione: Giorgio Pacorig (al fender Rhodes piano), Gabriele Cancelli (tromba), Cene Resnik (sassofono tenore) e Stefano Giust (batteria e cimbali) propongono una sorta di allucinazione jazz che si fonda su un rivolo di quella maestosa direttiva che Miles Davis introdusse nel suo In a Silent Way. In quel famoso lavoro Davis fece di tutto per smarcarsi da un’etichetta o genere, per proporre una forma di espressione universale, non scevra da una posizione politicamente critica sulla comunità del jazz; aldilà dell’impronta musicale rivestita, In a Silent Way voleva affermare una costruzione libera e senza compromessi della musica e indicare che anche in una forma introspettiva di musica c’è una vita che bolle. Cogliere il messaggio di questi tempi significa appoggiare tutte quelle attività sociali che sono i parafulmini del diniego dei diritti e il Mahakaruna (che sta per “grande compassione” in sanscrito) l’ha fatto attraverso la musica e la liberazione dei dogmi.
Life Practice, il loro secondo album contenuto del concerto al Jazzmatec Festival nel 2020, non si riporta ai canti di lavoro o alle fasi della collettivizzazione del jazz degli anni settanta così come affrontato nel primo CD, ma tenta di offrire una visuale improvvisativa che raccoglie gli intenti dei quattro musicisti: musica intelligente, flussi di free jazz in cui l’obiettivo è l’espansione dei risultati, apertura delle menti attuabili con un piano d’azione in cui ognuno dei musicisti partecipa in maniera equivalente, dal fender rhodes che gioca un ruolo specifico per delineare gli scenari (molto differente dall’organo pompante di Corea, per intenderci) alla percussione che è invece un turbine; per la tromba e il sax tenore l’istinto è di muoversi rapidamente con assoli in sezioni che durano intense nello spazio di un respiro." Ettore Garzia, Percorsi Musicali, 2022.

"(...) Free improvisation ben calibrata: tre quarti d’ora di musica assai leggibile e mai pretestuosa." Alberto Bazzurro, L’Isola Della Musica Italiana, 2022.

"(...) Secondo album, dopo “Inventum” del 2017, per il Mahakaruna Quartet (Gabriele Cancelli, tromba, Cene Resnik, sax tenore, Giorgio Pacorig, piano Rhodes/elettronica, Stefano Giust, batteria/percussioni), anche questo, come il precedente, registrato dal vivo. L’esibizione in questione (Jazzmatec Festival del 6 Settembre 2020 ad Udine), si rilassa ed ingarbuglia, azzuffa ma non troppo, il giusto in quota afro, tra battito in continua frammentazione e liquide note di tasti, europea quel che basta. Più che attriti, sensibili avvicinamenti. Lo sfrigolante dialogo sottovoce, metalli/tasti/fiati della conclusiva Offer, su tutto. Voto: 7." Marco Carcasi, Kathodik, 2022.

"(...) Con passione grande. Appunto. Ci piace essere sorpresi. La serendipità della musica. Ancora, dopo quell’ “Inventum” del 2017 che brucia dentro di passioni mai sopite e (non illusioni ma) ciottoli di intenzioni. Là si chiudeva addirittura con L'Internazionale, ma se vi infastidisce tanta retorica struggetevi con Le 8 Ore. Di nuovo Gabriele Cancelli (tromba), Cene Resnik (sax tenore), Giorgio Pacorig (piano rhodes ed elettronica), Stefano Giust (percussioni) colti vivi al Jazzmatec Festival. Settembre 2020. Scorribande di compagni con furente allegria (Listen): muscolare l’ancia, invettiva la tromba, la batteria anarchica ma organizzata, per la causa e politicamente lisergiche le tastiere spiritate. C'è nella dimensione acida della “cosa”, nel cavalcare l'onda della rabbia (Sniff) un cuore blues che sanguina a nostra intercessione (Savor). Invidiamo la sintonia, la comunanza che porta al colloquiare leggero ed intenso di Touch e alle memorie condivise. Offer, che sentiamo fatta della stessa sostanza di noi, chiude. Ma è ora che si inizia. (8)" Dionisio Capuano, Blow Up, 2022.

01 _ See 5:50
02 _ Listen 6:18
03 _ Sniff 7:50
04 _ Savor 10:12
05 _ Touch 8:06
06 _ Offer 6:10

(C) + (P) 2022