A sound collage of understated drama and almost tangible atmosphere, Mauro Sambo’s Quel mutamento era il primo di una serie infinita (“what change was the first in an infinite series”) is a perfectly symmetrical suite made up of twenty parts of two minutes and twenty-three seconds each. Sambo deftly combines and recombines a set of recurring sounds—tolling bells, bits of operatic recordings heard from a distance, hammered metallic sounds reminiscent of a foundry or factory, the low buzz of a bass clarinet—in layers suggesting extension in physical space. The recapitulation of sounds within the suite gives it the feel of an uncannily familiar dream made up of repeating and evolving soft-edged images.
“…non così lontano dal cuore”—not so far from the heart—is a long, uncluttered and atmospheric improvisation from the trio of Mauro Sambo (electronics, electric guitar, piano, shakuhachi and double bass), Marco Colonna (alto clarinet) and Ivano Nardi (percussion). Over the course of the forty-one minute-long piece Colonna supplies lithe, serpentine melodies that frequently echo or counterpoint themselves thanks to Sambo’s looping and electronic manipulation. The interplay between the two musicians largely centers on the timbral contrasts and overlaps of distorted electric guitar and thunderously resonant piano chords on the one side and the now rounded, now overblown and raw-edged sounds of the clarinet on the other. A high point is a brief duet for the buzzing, sustained notes of the reed instrument and the shakuhachi’s skittishly voice-like melodies. Throughout, Nardi provides sympathetic and sensitive support on percussion.