V THREE COLLABORATIVE PILLARS V.13 (Mo April 25) Flow (2)

1. V THREE COLLABORATIVE PILLARS V.13 (Mo April 25) Flow (2)

2. h g k Comprendre est attraper le geste et pouvoir continuer.

3. Experiment Scott Currie as, Guerino Mazzola (MIDI) p:Question: Can gestural communication be measured?

4. On Melodyne software piano sax

5. shift 2.2 sec piano -> sax

6. Cross Correlation calculation with Mathematica software Cr[f_, g_, d_, int_, t_] := NIntegrate[f[x]*g[x + d], {x, t, t + int}] d f g int t

7. 7 short free improvised pieces of around 2 minutes duration int = 2 sec = duration of compared segments

8. Exellent flow „resonance“ example“: Cecil Taylor group concert in Montreal, June 29, 1985: Aliocha (Song of the Trees) 54:03 Jimmy Lions as Frank Wright ts, bcl Cecil Taylor p William Parker b André Martinez d, perc Listen to Lions-Taylor interactions with similar delaysas Currie-Mazzola

9. Keith Sawyer / Guerino Mazzola The passionate group flow generates a distributed identity.

10. Lester Bowie tpJoseph Jarman tp Archie Shepp p, tsClifford Thornton tb (valve)Bobby Few pAlan Shorter flhDjibrill conga, d Bob Reid b Ostaine Blue Warner pcMohamed Ali d (brother of Rashid Ali) producd by Pierre Berjot for America Recordsrecorded in Paris, July 23, 1970Coral Rock (Al Shorter) 21:35I should care (Sammy Cahn et al.) 14:05

11. Brandon Burke, All Music Guide Coral Rock features an absolutely monster free jazz lineup. Fans of other releases on America or the BYG Actuel series should be familiar with a number of these sidemen: Bobby Few, Clifford Thornton, Muhammad Ali, Joseph Jarman. Particularly of interest, though, might be the under-recorded Alan Shorter, who contributed the title track. This piece is especially reminiscent of "Mephistopheles," a tune that appeared (in different capacities) on his brother Wayne's similarly great Blue Note LP The All Seeing Eye and certain reissue pressings of the self-titled Marion Brown record on ESP. Like "Mephistopheles," "Coral Rock" features a lumbering, march-like bassline and incredibly dissonant head. "Coral Rock," however, is much looser and, for this reason, it would be difficult to imagine it on a Blue Note release of any kind. This is free jazz straight out of the late-'60s/early-'70s Paris scene. Very serious stuff. (...) ...The armchair sociologists of the past often pointed out how jazz music reflected the Black situation, and now in its strident militancy, but above all, inner unity, jazz proudly proclaims its united front. (Valerie Wilmer, liner notes)

12. Federico Fellini’s Satyricon movie (1969, 129 min.) The Labyrinth scene as a free jazz trance/zone situation

13. Mat Maneri vlScott Fields e-gtGuerino Mazzola pHeinz Geisser pc producd by Flavio Bonandrini, Heinz Geisser, and Guerino Mazzola for Black Saint;recorded November 19, 2002 (The Studio, NYC) Get About 13:40Elevate 11:33Decode 06:43Chronotomy 27:18 One Final Note: Ken Waxman — UnAMERICAN ACTIVITIES #50 Heinz Geisser & Guerino Mazzola“Elevate”, on the other hand, is built on higher-pitched piano cadences and a snaky fiddle line, with drum rolls and short thumping guitar licks providing the differentiation. Sul ponticello violin squeaks and wiggling piano chording join in turn as Maneri’s repetitive jettes and Mazzola’s cross-chording is cut with an occasional plink from Fields. A swelling string line from the violinist ultimately encourages a variegated pulse from Geisser and different patterns from the pianist. Reverberations of various nodes move the four into uncommon interactions on the other tunes with an odd man out shifting to and fro, and with each bringing singular techniques to form a polyphonic whole. Signal to Noise: Bill BartonThere's a captivating, creatively charged tension between the techniques of late 20th century European art music and the fire and ice Sturm und Drang of post-Ayler free jazz on the quartet session that is wonderfully intricate, and pretty in the real sense of the word.

17. When Free Jazz Fails Personnel: Cecil Taylor- piano, voice; Italian Instabile Orchestra: Renato Geremia- violin, voice; Paolo Damiani- cello, voice; Eugenio Colombo- flute, sopranino saxophone, voice; Mario Schiano- soprano saxophone, alto saxophone, voice; Gianluigi Trovesi- alto saxophone, voice; Daniele Cavallanti- tenor saxophone, voice; Carlo Actis Dato- bass clarinet, voice; Luca Calabrese, Alberto Mandarini, Guido Mazzon- trumpet, voice; Lauro Rossi, Giancarlo Schiaffini, Sebi Tramontana- trombone, voice; Martin Mayes- French horn, voice; Umberto Petrin- piano, voice; Giovanni Maier- double bass, voice; Vincenzo Mazzone- drums, tympani, voice; Tiziano Tononi- drums, percussion, voice. Enja RecordsOct 2003

18. (Jim Santella, All About Jazz 2004)The single piece by Cecil Taylor lasts an hour. It was recorded during the second of two concerts given to celebrate the first ten years of the Italian Instabile Orchestra. This was part of the Talos Festival in Ruvo di Puglia, in Southern Italy, on September 10, 2000. From the sounds of an orchestra warming up, to a subdued conclusion that rumbles deeply and insignificantly, Taylor’s piece takes his audience on a journey through scenery that changes gradually and often. Indistinct human voices can be heard along the way; so can the sounds of trumpet valves clacking, saxophone keys tapping, reed mouthpieces chattering, brass mouthpieces kissing, and tympani rolling along. This is what Cecil Taylor does. His leadership at the piano gives the piece swirls and thrills. The other artists are encouraged to follow the paths that he’s charted for them. It’s not the usual musical notation, either. Taylor gives the orchestra a plan that’s sketched out on paper with symbols, words, shapes, and fragments to indicate his ideas. Basically, the musicians are on their own. This kind of collective improvisation gives his audience simultaneous themes that jump out at you in bunches. There are moments when a strong individual will take over. A saxophonist or a trumpeter will repeat some lyrical phrase loudly and Taylor will sidle to its presence. His form ofcommunication at the piano provides instant connection with the other artists. They “speak out” through their instruments and the leader replies. If it were that easy, then every little boy or girl could be a world-class musician. The veteran members of the Italian Instabile Orchestra—the ensemble was then ten years old—respond collectively with clarion tones and seamless phrases that knowingly communicate with musical sounds. Intonation is pure and tone quality is “proper.” All the rest is highly creative art that comes from the mind of Taylor, a pioneer and innovator of avant-garde fashion. playPart 1