Battuto
RA 023
BATTUTO
John Corbett
guitar
Mats Gustafsson
tenorsax, flageolet fluteophone, flute,
Terri Kapsalis
violin
Fred Lonberg-Holm
cello
Recorded October 7, 1996 at AirWave Recording Studios, Chicago, US
| 1) | tagliatelle (I) | (5:39) |
| 2) | (II) | (2:29) |
| 3) | (III) | (2:26) |
| 4) | trenne d’abruzzo (I) | (4:17) |
| 5) | (II) | (2:32) |
| 6) | (III) | (1:32) |
| 7) | fusilli bucati lunghi (I) | (5:21) |
| 8) | (II) | (1:44) |
| 9) | (III) | (2:27) |
| 10) | (IV) | (5:12) |
| 11) | (V) | (5:39) |
| 12) | (VI) | (4:29) |
| 13) | (VII) | (1:42) |
| 14) | (VIII) | (4:04) |
| 15) | (IX) | (3:46) |
| 16) | tagliatelle (IV) | (5:40) |
| 17) | (V) | (4:37) |
| 18) | (VI) | (2:57) |
‘Clearly, much happens here in little space, unless one makes the mistake of assuming a merely whimsical juxtaposition of moods. The piece is very tight, not at all a fantasy or improvisation’ *
G. Cooper and L.B. Meyer: The Rhythmic Structure Of Music, Chicago 1960 (p.174)
The late 20th century has produced, among other curiosities, a type of musician that had been unprecedented in musical history : the highly educated performer who is completely incapable of playing more than one note without some composer-authorized paper (be it just a blank page) in front of him. Once held as one of the highest disciplines of the trade improvisational skill made its descent into the realms of aleatoric obscurity or therapeutic weekend gatherings. In turn, the 1970’s and 80’s saw the rise of ‘the improvisor’, a kind of cult hero who can’t do wrong, since he refuses to read.
Arnold Schoenberg has described composition as slowed-down improvisation. Perhaps a slow improvisor, but reportedly a fast composer, he also pointed out that it was the novelty of the musical idea, rather than the choice of material, which makes the difference between new and antiquated music.
I remember hearing this recording for the first time during a car ride thru Chicago in 1996. Since I wasn’t given any information beforehand, I listened very closely and I was immediately fascinated by the tightness of the musical text. Apart from the obvious James Brown-like quality of ‘getting down’, these 18 cuts have all the density, clarity and logic of some of the best scores from the heroic days of the ‘new music’ of the 1950’s. There are moods,too, and fantasy, and lots of improvisation, and, as I can assure you, all four of the performers are well read.
But, wait a minute, there used to be this thing called ‘Jazz’ – well, I know and if you know, too, so much the better É.
Georg Graewe
Berkeley,CA February 2000
* the quote refers to the fourth piece of Arnold Schoenberg: Sechs kleine Klavierstücke, op.19