EA Orchestra | Likeidos | Amirani Records

Edition number twenty-eight of Amirani Records is LIKEIDOS, proudly co-produced with GRIMedia records.

Alessio Pisani – bassoon, contrabassoon | Mirio Cosottini – trumpet, flugelhorn | Mario Arcari – oboe, oboe amore | Diego Baroni – bass clarinet | Angelo Contini – trombone | Mirko Guerrini – tenor saxophone | Gianni Mimmo – soprano saxophone | Marco Tindiglia – electric guitar | Adriana Boschi – clarinet | Francesco Cigana – drums | Sergio Durante – flute, alto flute | Marcello Giannandrea – bassoon | Simone Marzocchi – trumpet | Andrea Tinacci – clarinet | Enrico Toffano – bassoon

Amazing interplay and brilliant skills are here the perfect medium to reach perfect result, in terms of complexity, fresh interpretations and emotional involvement. A breathtaking performance in a superbe recording session, featuring the most interesting voices of the italian avant-scene, here is an high level release with intriguing compositions by bassoonist Alessio Pisani and trumpetist Mirio Cosottini, founders of GRIM, artistic association that aims to promote improvisation and a fresher approach to modern composition.

Music – all compositions by Alessio Pisani and Mirio Cosottini except (*) by Sylvano Bussotti and Tono Zancanaro. Concept _Alessio Pisani, Mirio Cosottini. Recording – 2011, april 16, Oasi la Rizza, Bentivoglio, Bologna , Italy. Sound enginering, mixing, graphics – GRIM. Mastering – Maurizio Giannotti, New Mastering studio, Milano Italy. Booklet photos – Marco Betti. Production – Gianni Mimmo for Amirani Records and GRIMedia Records.

Special thanks to Mariangela Tedde of Cooperativa Arcobaleno and to Marco Zini, Mirko Guerrini and Diego Baroni for providing record equipments.

Tracklist: 1. Oscillazioni 2. 19.7.2001.2011 3. 20.7.2001.2011 4. 21.7.2001.2011 5. Back again 6. Autotono (*) 7. Likeidos 8. Point 9. Smooth Drop

eaorchestra | likeidos | amirani records

eaorchestra | likeidos | amirani records

Founded in 2005

by Mirio Cosottini and Alessio Pisani GRIM is an artistic association that aims to promote the musical culture with special attention on musical improvisation, both on teorical and practical sides, on performance aspects and didatical strategies as well. GRIM collaborates with public and private partners. Main activities: EASilence (Mirio Cosottini, trumpet | Alessio Pisani, bassoon and contrabassoon | Tonino Miano, piano). EAOrchestra (a variable electroacoustic ensemble). Laboratory of Improvisation Conservatory of Padova. GRIMedia Records. Published articles about improvisation.

eaorchestra | likeidos | amirani records


investigates the linear/non linear dichotomy in order to involve, with a fresher approach, graphic scores and visual symbols in the improvisational context.

eaorchestra | likeidos | amirani records

About  ‘Autotono’: our respectful journey through these amazing graphic-pictoral scores by painter Tono Zancanaro and seminal icpn composer Sylvano Bussotti. “These pages are drawn to push improvisation practices into more radical declinations (…) The musician prevents to project any ensemble, or single, organization, nor he will suggest any kept of interpretation (…) Of his eventual personal interpretation he will guard the secret jealously (…)” — Sylvano Bussotti

eaorchestra | likeidos | amirani records

Sound is the heart of our aesthetics. From Sound we leave and to Sound we return. All its linear and non-linear features are the basis of our inverstigation. Improvisation soaks through our idea of Sound and determines its development in time.

eaorchestra | likeidos | amirani records



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One thought on “EA Orchestra | Likeidos | Amirani Records

  1. The worlds of avant-garde classical music and avant-garde jazz mingle seamlessly on Likeidos, by Italy’s Electro Acoustic Orchestra. Also known as the EAOrchestra, the ensemble is co-led by trumpeter Mirio Cosottini – Tonino Miano and bassoonist Alessio Pisani (bassoon), who also composed most of the music. The preponderance of double reeds—an oboist and four bassoonists—is highly unusual, especially for improvised music of any kind, and gives the EAOrchestra some truly distinctive and unusual sonorities. Though Likeidos has a particularly strong emphasis on composition, there are a number of remarkable improvisations on this disc. In fact, this band brims with top-drawer improvisational talent. Soprano saxophonist Gianni Mimmo, for example, is one of the most inventive and virtuosic soprano saxophonists on the scene today. Mario Arcari is one of the finest improvising oboists around, best known for his work with trumpeter Franz Koglmann. Cosottini and Pisani also step out quite impressively—Pisani’s electronically modified bassoon on “Back Again” is a real attention-getter.

    Another unusual aspect of the music on Likeidos is its lack of a pulsing rhythm section. Instead of driving the pieces, percussionist Francesco Cigana plays sparingly, supplying color and texture. Guitarist Marco Tindiglia’s legato approach puts him in league with the winds and brass. The absence of a bassist is compensated by the presence of contrabassoon, bass clarinet, and trombone—but all three tend to play lines that complement or provide counterpoint to the actions of the higher-pitched instruments. Thankfully, there is no lack of rhythmic forward motion as a result—a further tribute to the ensemble’s vast musical skills. Though carefully arranged and highly scored, the music seems warm and organic, unlike the contemporary classical music that clearly influences Cosottini and Pisani. The shimmering guitar/soprano saxophone duet that opens “Oscillazioni” is gripping from the first utterance and intensifies its hold as Mirko Guerrini’s tenor sax joins the dance around a swaying ensemble figure. The music ebbs and flows—soloists fade in and out, alliances are formed and broken—as the piece turns and floats like a giant Calder mobile.

    Sylvano Bussotti’s “Autotono,” by contrast, is episodic, consisting of sharply defined sections of ensemble and solo passages based on a graphical score. Mimmo’s soprano work here is absolutely stunning—at times spitting out granules of sound like watermelon seeds. The title track is an avant-garde ballad of sorts. The piece derives its flow from its ever-shifting harmonic densities and constantly fluctuating dynamics. “Point” offers a little more of what might be expected when the phrase “contemporary classical” is uttered—randomly peeping brass, clarinets, and double reeds are offset by a malevolent theme played by low brass, low reeds, and contrabassoon. Tindiglia’s distorted, metallic guitar is particularly effective during the piece’s climax.

    Likeidos presents skillfully played, imaginative avant-garde music that transgresses musical boundaries as much as it transcends them. Not destined for across-the-board appeal, EAOrchestra nevertheless has created and filled a fascinating niche in the jazz/classical continuum. The warmth and beauty of the music on this disc is, by itself, a minor triumph.

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