either/7

Giovanni di Domenico: piano, Fender Rhodes, synths, electronics, editing
Arve Henriksen: trumpet & electronics
Tatsuhiso Yamamoto: drums & percussion

1. Mlouk (6:10)
2. Charivari (7:06)
3. Alma Venus (7:32)
4. Naked Skin Of Empty Spaces (2:09)
5. Sahel Glacé (10:53)
6. Sensire (5:42)

The either/OAR series of and/OAR continues to take unexpected
twists and turns while slowly but surely unveiling the intended
perimeter of it's conceptual focus - this time a magic realism trip
via the world of atmospheric avant-jazz. Distare Sonanti is the
second album by the highly synergistic Di Domenico / Henriksen /
Yamamoto trio whose first CD titled "Clinamen" was released in
2010 by the Off label based in Belgium. Now, in 2012 and/OAR is
very pleased and honored to present this second masterwork
which should prove to be an absolutely essential addition to the
CD collection of not only the followers of all three artist's work,
but also many fans of European jazz.

Giovanni Di Domenico was born in Rome, Italy and has
performed all over the world in a wide variety of contexts and
musical genres from modern jazz to free improvisation and
experimental pop. He has also had the chance to play with some
of the most talented musicians around, including Arve Henriksen,
Akira Sakata, Jim O'Rourke, Chris Corsano, Nate Wooley, Darin
Gray, Tetuzi Akiyama, Fred Lomberg-Holm, Tatsuya Nakamura,
Toshimaru Nakamura and Sanne Van Hek, just to name a few. He
has released a number of albums under his name and in
collaboration with others.

Arve Henriksen was born in Norway and by now is pretty well
known in jazz circles (especially in the realms of ECM and Rune
Grammofon) and has also been active with various other genres
of music of which are often hard to classify. Arve has collaborated
with quite a few musicians over the years, with well over 100
albums to his credit. Some of the groups and artists Arve has
collaborated with include David Sylvian, Supersilent, Food,
Motorpsycho, Jon Balke (and the Magnetic North Orchestra),
Edward Vesala, Jon Christensen, Nils Petter Molvær, Arild
Andersen, Dhafer Youssef, Hope Sanduval, Terje Isungset and
many more.

Tatsuhisa Yamamoto was born in Yamaguchi, Japan and is a
pure acoustic drummer who plays primarily improvised music.
Tatsuhisa has collaborated with artists such as Otomo Yoshihide,
Jim O'Rourke, Sachiko M, Seiichi Yamamoto (ex Boredoms), Keiji
Haino, Makoto Kawabata (Acid Mothers Temple), Kahimi Karie,
Yoshio Machida and Phew among others. Recently Tatsuhisa has
been performing regularly with Jim O'Rourke, who started to play
music again after seeing Tatsuhisa playing live.

-----------------------------------------------------------------------------

NORDISCHE MUSIK (JUNE 2013)
Ende der Neunziger Jahre gab es ein phänomenales Album
jenseits von Stilgrenzen (als diese noch schärfer gezogen waren
als heute), von einem internationalen Trio aus dem japanischen
Trompeter Toshinori Kondo, dem hyperaktiven Bassisten Bill
Laswell und dem Elektronik- und Beat-Spezialistien Eraldo
Bernocchi. Knapp fünfzehn Jahre später ist deren »Charged« nur
noch wenigen Eingeweihten ein Begriff - überaus schade, denn
die CD hätte es verdient als Klassiker zwischen den Genres
anerkannt zu werden.

Im Mai 2010 trafen sich in Brüssel im Studio: der Italiener
Giovanni Di Domenico an Piano, Fender Rhodes, Synthesizern und
Elektronik, der japanische Schlaginstrumentalist Tasuhisa
Yamamoto und der uns wohl bekannte Arve Henriksen, wie
gewohnt mit Trompeten und Elektronik. Irgendwer scheint
zwischendurch auch zu singen, doch ist niemandes Stimme in den
Angaben vermerkt. Veröffentlicht hat das Ergebnis dieser Session
der Klang- und Grafikkünstler Dale Lloyd auf seinem Kleinstlabel
either/OAR in Seattle; der zuvor unter anderem bereits ein Album
vom vage künstlerisch verwandten Duo Kim Myhr und Jim Denley
herausbrachte. Alles deutet also drauf hin, dass »DISTARE
SONANTI« ein ähnliches Schicksal ereilt wie einst »Charged«,
zumal heute kaum noch jemand CDs kauft.

Die beiden Trioalben haben neben der multinationalen Besetzung
allerdings auch die radikale Genre-Ignoranz gemein. (Und die
beiden Coverdesigns scheinen ebenfalls eine ähnliche Sprache
gefunden zu haben.) Di Domenico kann man mit seinen flippigen
Improvisationen auf den Tasten des Flügels oder der Fender
Rhodes noch am ehesten die Rolle des Leaders zuschreiben,
obgleich seine Melodien dafür meist zu wenig greifbar und einfach
zu schnell sind. In den besten Momenten - und es gibt derer viele
auf diesem Album - spielt er sich mit den rasanten Schlagzeug-
und Percussionpassagen imposante improvisatorische Bälle zu.
Doch wer hier eigentlich was spielt, lässt sich streckenweise nur
mit mühsamer Analyse auseinanderhalten, und da die Energie
dieses Trios so fasziniert, bleibt dafür schlichtweg nie die Ruhe.
Die ungezügelten Rhythmen dürften gleichermaßen von allen
dreien stammen, und auch Henriksens Trompete nimmt hier
selten eine tragende Rolle ein. Vielmehr erinnert diese CD an
Ensemblehöhepunkte mit Veslefrekk oder Supersilent, wobei Di
Domenico, Henriksen und Yamamoto als Trio vom ersten Moment
an eine ganz eigene, beeindruckende gemeinsame Sprache
gefunden haben. (Ingo J. Biermann)

MONSIEUR DÉLIRE (APRIL 2013)
My continuing exploration of keyboardist Giovanni Di Domenico’s
catalogue brings me to this gorgeous trio session released last
year. Di Domenico plays piano (mostly), but also Rhodes, synth,
and electronics. Arve Henriksen (Supersilent) on trumpet &
electronics; Tatsuhisa Yamamoto on drums. Stylistically speaking,
Distare Sonanti is halfway between the delicateness of Sounds
Good (a duo session with Oriol Roca) and the avant-rock feel of
the group Going. Five tracks out of six are collective
improvisations, while the final piece, “Sensire,” is a Di Domenico
composition. This CD is candy for the Supersilent fan that I am.
Loads of finesse from all three musicians. (François Couture)

JUST OUTSIDE (JANUARY 2013)
Di Domenico (piano, Fender Rhodes, synths, electronics, editing),
Henrikesn (trumpets, electronics), Yamamoto (drums, percussion).
Leaps into a post-60s Miles thing from the get go and attractively
so, with Henriksen (from Supersilent) veering toward a much
more Jon Hassell-like approach. It's almost unfair using a Fender
Rhodes--those of us of a certain age are cast directly back to the
glory days of Corea and Jarrett with Miles. The trio play so solidly
and impart just enough of a new spin on things that they manage
to pull off what could easily have been a pastiche. Listeners
familiar with and enamored of that tract between Miles of that
period and Fourth World-era Hassell will find much to enjoy here.
And that includes me. (Brian Olewnick)