Erika’s trio (Erika on poetry/voice, Ken Filiano on doublebass/effects and Satoshi Takeishi on percussion) is a welcome addition to our huge collection of creative and improvised works; a PERFECT album to close out this issue with! Totally perceptive movements that (even though done in another language for a good part of the pieces) are completely intelligible to listeners who “dig down” into the music and let nothing escape their aural senses. I particularly enjoyed “Secondo Movimento“, with it’s combination of simple spoken-word against very presentable double bass and percussion; the fact that it clocks in at 8:31 just means that there is plenty of space for each player to shine – & shine they DO! Regular readers here will know that I listen to a lot of work from artists like this, and Erika always stands out as exceptional. I give Erika and her musical cohorts a MOST HIGHLY RECOMMENDED, especially for listeners who thrive on improvised music, and an “EQ” (energy quotient) rating of 4.98. Get more information at the SLAM Records page for this release.
Vocalist Erika Dagnino delivers poetry with Ken Filiano’s bass and effects along with Satoshi Takeishi/s percussion on a fascinatingly
free form collage and collision of sounds and moods.
Just 8 months after the recording of Signs, reviewed a year ago, the trio replaces the quartet and with only voice, double bass and percussion succeeds in producing an album, Sides, that is in no way diminished by the reduced input – if anything, it might even be considered more elegant, more motivated: more awe-inspiring. While Italian and English words are used to express the same ideas, so do the poetry and the music discuss the cultural implications of sounds upon words. There seems to be a sort of metamorphosis from the composite sounds into the new meanings of the contemplations directed towards the listener, or perhaps drawn by the listener from those deliberations.
Words and sounds arrange themselves against any notion of centre.There is no centre here that dictates form and symmetry:this is about the core,something more dense and subtle,connected to beginning and indeed connected to care.And this core is shaped as a constellation:the concentrated act of making words and sound opens up to dissipation of making sound happen,in listening,yet all its elements are held together.No prescribing narrative or anecdotes:a repertoire of aural gestures prompts my hearing and allows it to errin and out of its permeable boundaries into words.”Sides” is not just rhythm,not just poetry,it has no canonical function or meaning,it makes new meanings as I hear its sounds take form.
...un lavoro molto molto bello...
Ghighi Di Paola, Battiti rai radio3, gennaio 2015
This is Italian poet Erika Dagnino's fourth disc for Slam after having recorded in two quartets and a duo with violinist Stefano Pastor. This is her
NY-based trio and they have played here at DMG last year (2014). Ms. Dagnino is a fine poet and her words can be found in the enclosed booklet
both in English and Italian. She reads in both languages. Although her recitation is
often deadpan, her words and observations are fascinating to read and listen
to. She gives Mr. Filiano and Mr. Takeishi a good deal of room to stretch out and set up the vibe before she comes in. Their playing is consistently inspired and they seem to be
telling tales as they go. This disc is broken into five movements, a prelude, intermission and a finale.
Una dialettica singolare ed affascinante che fa pensare, a volte, alle parole di Elvin Jones sull'ultimo Coltrane. Parole («Solo i poeti oramai lo
capiscono») che sembrano alludere ad una certa incomunicabilità fra le due espressività.
L'ascolto dei readings di Erika Dagnino impone al fruitore una particolare morfologia già prima dell'inizio dell'esperienza musicale.
Grandioso, epico, sono solo degli aggettivi per descrivere questo disco in cui
la poetessa italiana Erika Dagnino declama le proprie liriche in compagnia di
due musicisti residenti a New York, il contrabbassista Ken Filiano e Satoshi
Takeishi, giapponese, alle percussioni. È un modo molto bello di presentare
delle liriche piuttosto forti, ricche di immaginazione e di un ritmo interno, di accenti che le fanno risuonare dando un senso alla parola che diventa
autonoma da quelle che potrebbero essere delle costrizioni legate a storie e
trame predefinite. Sono ombre, luci, oscurità, blocchi di suono che stanno in
contrapposizione o che si danno un significato reciproco. Questo aspetto della
poesia della Dagnino, forse più evidente nel Quarto Movimento in cui elenca
semplicemente dei numeri cercando il suono al di là del significato banale
delle cifre, la rende molto originale, sia in italiano che in inglese. Lei li
legge nelle due lingue mentre tutto intorno ci sono le improvvisazioni della
V. Loconte, Musicboom, dicembre 2014