Crafting a musically cohesive, uncongested free improvisation with a small group is hard enough. It become much more difficult the larger the ensemble. Some large groups—the Variable Geometry Orchestra comes to mind—have been able to manage this nicely. Add to their number the Setola di Maiale Unit, an ensemble headed by percussionist Stefano Giust.
The Setola di Maiale Unit is a free improvisation group whose membership isn’t fixed. Many of the players are artists on the Setola di Maiale label, which Giust heads. For their appearance at the 2018 AngelicA Festival in Bologna the group, in addition to Giust, consisted of Marco Colonna on clarinets; Martin Mayes on horn and alphorn; Patrizia Oliva on voice and electronics; Alberto Novello on analog electronics; Giorgio Pacorig on piano; and Michele Anelli on double bass. Special guest Evan Parker sat in on tenor and soprano saxophones, while composer Philip Corner and dancer Phoebe Neville dropped to play a brief introduction on gongs. The performance was in part a celebration of label’s twenty-fifth anniversary—an auspicious landmark, and a fittingly fine set to commemorate it.
The hour-long improvisation is tracked into five sections prefaced by Corner and Neville’s introduction. Each section highlights some aspect of the group’s work, usually on the basis of the many subgroupings that emerge over the course of the set. What’s remarkable is that there was no conducting or direction; the changes in dynamics and density and the frequent interludes for solos, duos, and trios were arrived at spontaneously. Each player has some time as a leading voice if not a soloist; there are beautiful soliloquies for piano and drums, and instances of impromptu polyphony breaking out among the horns. It’s exactly the kind of playing one would expect from some of Europe’s most sensitive improvisers, and a happy anniversary indeed.
Daniel Barbiero
The sound of the human voice in predominantly instrumental, freely improvised music is always arresting. Part of this may be because it isn’t often found there, but another—larger?—part may simply be that the warmth and directness of the voice naturally compels attention. Whatever the case, the 4! Quartet—Patrizia Oliva (voice, electronics, flute and objects); Carlo Mascolo (prepared trombone); Domenico Saccente (drums, Neapolitan cupo cupo drum, double bass and objects); and Felice Furioso (accordion and prepared piano)—artfully trade on the intimacy of the voice and its interplay with the challenging, finely honed sounds of instrumental experimentation. This interplay takes a variety of forms, whether Oliva’s voice floats dreamily over a restrained background of grey noise, or threads its way through the more skittish splatters of sound thrown out by trombone, accordion and percussion. The highlight of the recording is Sta per, which features a quite beautiful duet of Mascolo’s trombone and Oliva’s electronically delayed vocal line.
Mascolo also figures in Losca Mio Gulfos, a set of duets with baritone guitarist Andreas Fulgosi, who is credited with composition on all the tracks as well. As a general rule Fulgosi’s guitar structures the pieces with chords, rhythms or single lines; Mascolo reciprocates with gritty textures underneath or melodies above. At different points the two engage in call-and-response, parallel soloing, and irregular stop-time, giving the album an always inviting variety of ways to shape a duet.
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