The two improvisations on …camminava solo sotto le stelle find multi-instrumentalist Mauro Sambo paired with percussionist Marcello Magiolocchi, who also brings a number of instruments to the collaboration. The tracks were recorded a year apart, the first in December 2014 and the second in the following December.
One of the instruments Magliocchi is credited with playing is sounding sculptures by Andrea Dami, which may well provide the opening moves on these two substantial performances. Magliocchi has had prior experience with Dami’s sheet metal and steel sculptures, having recorded the album Music for Sounding Sculptures in Twenty-three Movements some ten years ago, and in fact sounds from Dami’s sculptures appear to be the continuo running throughout both tracks. Sambo’s electronics, bass clarinet, and bowed double bass join Magliocchi to add a layer of largely unpitched sounds to a collective sound that plays subtly with changes of density. In addition to percussion, Magliocchi contributes electric and acoustic guitars and Sambo adds soprano saxophone, further mixing colors in the overall weave of musical texture. Still, the predominant timbres come from the various percussion instruments, which provide both background context and foreground punctuation. What’s striking and strikingly consistent about both pieces is the way Sambo and Magliocchi create a truly cooperative sound, a polyphony of timbres melding into a purposeful unity.
Recorded in November 2019, Avoiding Sharks Attacks is a compact set of four improvisations by the trio of Luca Pissavini on five-string double bass (played both “clean” and with electronic distortion), Fabrizio Bozzi Fenu on electric guitar, and Emilio Bernè sampling drums on laptop—a surprisingly effective substitute for an organic drum kit in the context of the group’s close interactions. The three play in a style that alludes, often in an oblique way, to harmonic cycles and structured themes but still manages to flow freely with the unfolding logic of the moment, whether frantic, as on the opening track, or more reflective, as in Lose Obedience.