Wednesday, October 31, 2018

Peter and Will Anderson - Wind Power (GUT STRING RECORDS 2018)

Wind Power is the Anderson’s third album in the trio format, featuring the Parisian guitarist Felix Lemerle in his recording debut with Peter and Will. They’ve decided to showcase several iconic American works by their favorite composers, namely Richard Rodgers, George Gershwin and Duke Ellington. Rodgers’ “My Favorite Things,” from The Sound Of Music (1959), has, like many Rodgers’ hits, stood the test of time due to its singable diatonic melody, but Andersons drew inspiration from John Coltrane’s 1961 modal instrumental version, and fit it all into their trio. Also fitting well for the trio is their arrangement of George Gershwin’s “It Ain’t Necessarily So,” from one of the most groundbreaking musical productions in American history, Porgy and Bess.

Gershwin’s songs have been popular choices in jazz musicians’ repertoire for decades, but his most famous work, Rhapsody in Blue, is rarely performed in a jazz setting due to it’s complex form. The Andersons swinging trio version of the Gershwin masterpiece was partially influenced by Leroy Smith’s 1928 fox-trot version. Peter and Will depart from the Great American Songbook by offering their own rousing version of the classic piano piece, Clair de Lune by Claude Debussy, who’s music deeply influenced American composers; Ellington and Gershwin in particular. Horace Silver’s The Preacher is based on the chord structure of the 1925 English pop song “Show Me the Way to Go Home,” which Silver often used to end his concerts. Silver had a special ability to blend jazz, blues, R&B, and church hymns together seamlessly in his compositions. 

Peter, Will, and Felix were lucky to spend 10 weeks performing together during a cross-country USA tour, Spring of 2018, in preparation for this recording. They sincerely want to thank Zac and Brent at Night Train Studios for going above and beyond and making the recording process so enjoyable. Peter and Will also want to thank their family for all of the support: Jim, Kathy, Jane, Halim, Teo, Serra, Rachel, and Tooban. Peter and Will endorse D’Addario woodwind products and Selmer saxophones. For more information and tour dates, visit

Peter Anderson  tenor saxophone & clarinet
Will Anderson  alto saxophone, clarinet & flute
Felix Lemerle  guitar

1. My Favorite Things 5:06
2. It Ain't Necessarily So 4:23
3. Rhapsody in Blue 5:25
4. Purple Gazelle 5:02
5. Clair De Lune 5:36
6. Chega De Saudade 4:44
7. The Preacher 4:11
8. Mood Indigo 4:50
9. Caravan 4:09
10. The Surrey with the Fringe on Top 4:11
11. Jitterbug Waltz 5:44
12. Moonglow 3:50
13. I Can't Give You Anything but Love 4:58

Jamale Davis - Morse Codes from the Opposite Land (GUT STRING RECORDS 2018)

The title of this recording comes from a conversation I had with its dedicatee. M-Ferghu, a fine pianist-composer whom I count as one of my great mentors, apparently wasn’t feeling particularly up that day. He was going to quit playing as the effort of presenting excellence was wearing him down after a few decades. Needless to say I was, shall we say, nonplussed. A fine musician, who dedicated his life and love to the art of this music, should say such a thing? Something was very wrong here. An artist of his caliber should have a better reward than this from the American Jazz Community. Hence, OPPOSITE LAND.

Sacha Perry  piano
Jamale Davis  bass
Charles Goold  drums

1 Let’s Face The Music And Dance (I. Berlin)
2 Jump Little T (Sacha Perry)
3 Monkey Play Time (Perry)
4 Boo Bear Any Minute (Perry)
5 C Minor Rig (Perry)
6 Livin’ With Hobson’s (Perry)
7 The Far Shore (Perry)
8 Bee Hive (Perry)
9 Nobody (B. Williams)

Yoav Trifman - Nu Yo (GUT STRING RECORDS 2018)

Overcoming the challenges of the present has always been the artist’s charge. Today’s crop of emerging artists face a unique set of hurdles, but with enough talent and dedication, some fly above and achieve heights that sustain our cultural vibrancy. Exhibit A: Nu Yo.

An exciting new entry to the composer/arranger/player category is trombonist Yoav Trifman. He presents to us a menu of nine songs featuring original works, innovative arrangements, top-level improvisation, and a groove that swings. The leader sees this set of world premieres recorded in New York City as a jazz message in a bottle: “I wanted to play my best so that I’d have an accurate memory of this specific time.”

At age 24, Trifman has acquired wisdoms both artistic and practical. He carries the player-leader duties with passion and urgency. His writing is compelling and intentional, evoking Dameron, Strayhorn, Monk, Mingus. But these are new sounds: 2018 sounds.

Unleashing a repertoire that stylistically combines new and old also requires skill in building a team. The core rhythm section provides the required energetic punch to drive the listener through these nine selections and want more. Guitar prodigy Félix Lemerle effortlessly switches between shining on his solos and returning to his supportive rhythmic and harmonic duties of comping. Jamale Davis is a powerhouse of pulse who skillfully evades cliché. Drummer Scott Lowrie could land smack in the middle of a vintage recording of the 1950s – if that were possible. However, this group isn’t in the business of looking backward. They are here to stay, with many more groundbreaking projects ahead of them.

Trifman’s front line balances today’s top emerging and veteran players. The young Italian tenor saxophonist Salvo Losappio, who memorized all of his music for the session, brings thoughtful and inspiring soloing. Also from Italy is Stefano Doglioni, an artist on a mission to retroactively include the bass clarinet as a defining component of the classic jazz sound. Journeymen John Mosca and Don Hahn complement the younger players on trombone and trumpet respectively. Each horn player is given a chance to shine, with tremendous results.

Yoav Trifman shows accelerated maturity in knowing what to control and what to allow to happen. His tightly-woven arrangements are unpredictably presented, but the group sound is defined by the nature of each individual.

Yoav Trifman  trombone & euphonium (#4 & 5)
Salvo Losappio  tenor sax (#1-3 & 5-9)
Stefano Doglioni  bass clarinet (#1-3, 6, 8 & 9) 
Felix Lemerle guitar
Jamale Davis  bass
Scott Lowrie  drums
Don Hahn  cornet (#4 & 5) 
John Mosca  trombone (#4 & 8)

1. Uws 4:33
2. Blues for Allison 5:24
3. Indefinite Plans 5:53
4. The Fruit 7:14
5. Melody for C 4:21
6. Mosca-Ism 3:22
7. Humble Hampton 3:19
8. Too Early 4:36
9. Luminescence 5:07

Doron Tirosh - Simply Because It's Winter (GUT STRING RECORDS 2018)

Many listeners eye even the gentlest-spirited drummer with suspicion, and they have reason.  Drummers HIT things while the band is playing.  But Doron is no musical bully-boy.  His melodic lyricism is the equal of heroes Michael and Neal.  If you want a gorgeous example of lyrical democracy in action, savor WRITTEN IN THE STARS.

Doron has a light touch — metaphorically as well as sonically.  He varies the sounds he gets from his kit with a deep intuitive intelligence, and he swings irresistibly: hear his solo introductions to PLENTY and W.B.  Like my percussive deities Jo Jones and Sidney Catlett, Doron dances in our heads.  His playing is crisp but never mechanical, delicate but never timid. And his originals come from the same place: they are blossoming interludes, not just chord changes tied up with twine.  In 2018, beauty is not always easy to find, but Doron, Michael, and Neal show us what it is, can be, and will continue to be. Michael Steinman, JAZZ LIVES

Doron Tirosh  drums
Michael Kanan  piano
Neal Miner  bass

1 Why Would You Treat Me That Way? 4:40
2 I Got Plenty o' Nuttin' 3:49
3 For W.B. 5:10
4 It Was Written in the Stars 4:57
5 Simply Because It's Winter 3:49
6 That Old Black Magic 3:55

Satoko Fujii CD/DVD "Weave" Blending Improvised Music & Dance

Satoko Fujii Turns 60!

Pianist Satoko Fujii and percussive dancer Mizuki Wildenhahn 
make music you can see and hear

New quartet Amu also features trumpeter Natsuki Tamura and percussionist Takashi Itani

“Satoko is truly one of the few great originals on the piano today.”  Luigi Santosuosso, All About Jazz Italia

“[Wildenhahn] weds visceral, heart pounding Flamenco-inspired dance to scintillating, thought-provoking 21st century music. … Finally!” — Dave Wayne, All About Jazz

Weave, a special CD/DVD set by multi-arts quartet Amu, blends dance and improvised music into a unique sensory experience. With sound and motion, pianist Satoko Fujii, trumpeter Natsuki Tamura, percussionist Takashi Itani, and percussive dancer Mizuki Wildenhahn make music so vivid and colorful you can practically see it and percussive footwork that adds a dimension to the dance that you can hear.  Weave will be released on October 26, 2018 via Libra Records

Amu is the latest project in a 17-year friendship and artistic collaboration between Wildenhahn, Fujii, and Tamura. Bassist Mark Dresser introduced them at an Orchestra Tokyo concert in Japan back in 2001 and they immediately clicked. They have since toured Germany, Japan and the U.S. in several different ensembles including Hakidame-ni-Tsuru with guitarist Yasuhiro Usui and percussionist Takaaki Masuko, and Dos Dos, a quartet that also featured percussionist and Radio Tarifa musical director Faín S. Dueñas. “It is hard to explain our chemistry,” Fujii says. “I can feel what she is dancing, even without looking, although I do watch her dance when we perform together, because I like her dancing. I think we are using a kind of sixth sense when we play.” Weave at last documents their extraordinary audio-visual magic. 

Amu, which means “to knit” in Japanese, is the perfect name for a quartet that so effortlessly interlaces melody, sound, rhythm, and motion into intricate and beautiful patterns. Each of the six completely improvised quartet tracks (the seventh, “Hajori” is by the instrumentalists alone) is a collective orchestration of a dazzling range of sound and motion.

The opening “Megosona” evolves from the subtle sounds of trumpet half valve squeaks, the quiet dragging of a foot along the floor, and nuanced piano chords into a high-energy climax highlighted by Fujii’s rapidly developing lines buoyed by Wildenhahn’s clearly articulated heel and toe rhythms and Itani’s percolating explorations of rhythm and timbre. There’s a similar conversational ebb and flow to “Ubega,” a beautifully shaped improvisation that opens with a multi-hued kaleidoscopic percussion solo, then moves into a collective improvisation blending flamenco-influenced footwork, soaring, whooshing trumpet, and Fujii’s short, flitting motifs and calm, stately chords. On each track the band seems to discover something new and beguiling to investigate. The bright, powerful “Bittagando” revels in speed and energy. “Gorondari” swings between sonic extremes, with Tamura’s slightly mad and frantic trumpet muttering giving way to a spacious dance and percussion duo.

The crackling conclusion features Fujii and Tamura freewheeling improvisations powered by Wildenhahn and Itani’s locked-in rhythms.

The artfully directed DVD gives viewers the fully immersive experience of the band in action, with Wildenhahn’s gestures and body movements integrated into the sound. Fujii conceives of the CD more as an invitation to the listener’s imagination. “A friend of mine said it was quite interesting to listen to the CD while imagining the dance,” Fujii says. “I think you can listen to the CD like that. In Japan we have a sense of beauty in which what is left unsaid is important. The artist doesn’t have to explain or express everything and you can enjoy reading between the lines. I really hope listener can enjoy the CD in this way.” 

As Fujii’s 60th birthday bash draws to its conclusion, look for two more stunning releases. The year’s outpouring of musical riches will continue in November with Diary 2005–2015: Yuko Yamaoka Plays the Music of Satoko Fujii, a double CD featuring the renowned classical pianist performing more than 100 compositions selected from Fujii’s daily composition notebooks. The scores will be available separately for purchase on Fujii’s website. Fujii’s kanreki year ends with Kikoeru: Tribute to Masaya Kimura, the explosive fifth release from the Satoko Fujii Orchestra Tokyo. 

After studying in Madrid, Mizuki Wildenhahn worked as a flamenco dancer in Hamburg, but increasingly combined rhythmic and motor elements of flamenco with other genres such as jazz, rock, and free improvisation in her projects, thus developing her own kind of percussive dance. She has performed with a wide range of musicians around the world, including Grammy-nominated Spanish world music group Radio Tarifa, German improvisers pianist Aki Takase and reed player Silke Eberhard, and New York jazz percussionist Jeff Haynes and guitarist Marvin Sewell. She has been invited to South Korea several times, once as a member of percussionist Jechun Park’s project Drum on Drum with her New Flamenco Trio, and for performances with the renowned Samulnori Ensemble, Molgae.

In Germany, she regularly collaborates with Ge-Suk Yeo, a soprano singer and electro-acoustic video artist. Her project Double Kick is loosely based on flamenco music and includes percussionist Dueñas. Wildenhahn’s collaboration with Fujii “makes the case that ‘experimental’ music is as much ‘body music’ as that drawn from the flamenco tradition,” says music writer Jon Garelick.

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She’s “a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock, and Japanese folk music into an innovative music instantly recognizable as hers alone.

Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including her trio with bassist Mark Dresser and drummer Jim Black, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Her ongoing duet project with husband Natsuki Tamura released their sixth recording, Kisaragi, in 2017. “The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship,” says Karl Ackermann in All About Jazz. Aspiration, a CD by an ad hoc band featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released in 2017 to wide acclaim. “Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration,” writes S. Victor Aaron in Something Else. She records infrequently as an unaccompanied soloist, but Solo (Libra), the first of her projected 12 birthday-year albums, led Dan McClenaghan to enthuse in All About Jazz, that the album “more so than her other solo affairs—or any of her numerous ensembles for that matter—deals in beauty, delicacy of touch, graceful melodicism.”

As the leader of no less than five orchestras in the U.S., Germany, and Japan, Fujii has also established herself as one of the world’s leading composers for large jazz ensembles, leading Cadence magazine to call her, “the Ellington of free jazz.” 

Uncivilized Halloween Single: "Melted Candy STOMP" (October 31, 2018)

It's been almost exactly a year since Uncivilized's Twin Peaks-themed Halloween concert, which was later released as a live album ( This Halloween, in celebration, we’re releasing an “Outtake” from the album: a video single of Uncivilized performing its own “Melted Candy STOMP”, captured live at the album release show at a local Record Shop in Red Hook, Brooklyn, one of the few places you can purchase Uncivilized’s 2016 debut EP *Melted Candy* on limited edition clear 7" vinyl.

Recorded @ 360 Van Brunt Street by Joe Labate, 30 June 2018

Linton Smith (trumpet)
Rachel Housle (trap drums, percussion)
Nick Jozwiak (double bass)
Julian Cubillos (electric guitar)
Tom Csatari (electric guitar, slide guitar)
Levon Henry (alto saxophone)
Casey Berman (bass clarinet)
Tristan Cooley (flute)
Michael Sachs (clarinet)

Admiral - Cash On The Line (WANDERING EYE November 5, 2018)

Coasting into the nebula from parts unknown, Admiral takes the helm with a debut E.P release coming on Panoram's Wandering Eye Imprint. Omitting rhodes licks, cosmic lunar drones and warbled space-funk, it exists in an amoebic state between the past, future and present, distilling down ideas of genres and musical innovation once played in clubs across the 9th planet. Alien terms such as "jazz", "brazilian music", "boogie and "left-field pop" could be said to grace its bows - past ideas and innovations that would be eventually lost to glacial shifts, pacific waste dumps and rise of industrialised states.

1.Pearl Diver
2.Halfraw Meat
3.Lonely Palms Couch Party
4.Magic Mentor
5.Soho Girl
6.You Left Me Empty

Kaidi Tatham - In My Life (2000BLACK 2018)

All instruments, vocals and music production by Kaidi Tatham 
except 'But You Bring It Up' features vocals performed by Nadine Charles 
vocal production by Mr Mensah lyrics D.Mcfarlane

1. Freddie Can't Run Away 04:25
2. But You Bring It Up 06:15
3. Is Crimbo Really Here 05:38
4. In My Life 05:49

Chris Molyneaux Jazz Trio - Closer To Home (October 31, 2018)

The Chris Molyneaux Jazz Trio is the latest project of Canadian saxophonist Chris Molyneaux. With his bandmates Wesley Collett-Taylor on bass, and Mark Athanasiadis on drums, this band has written and performed six original jazz songs influenced by R&B and funk music to create a unique experience only heard on their debut album, "Closer to Home".

Chris Molyneaux - tenor saxophone
Wesley Collett-Taylor - bass
Mark Athanasiadis - drums

1. Up For Grabs 07:38
2. Don't Pity The Fool 06:03
3. Someone's Husband 04:59
4. Begin Again 08:14
5. Restoration 08:10
6. Consider This 05:19

Produced and mixed by Mike McKyes of The Grove Productions
Mastered by Siegfried Meier of Beach Road Studios

All songs written by Chris Molyneaux except for "Someone's Husband", written by Wesley Collett-Taylor

I Hold the Lion's Paw - Live @ COMA (2018)

Fela Kuti meets Miles Davis, meets Karlheinz Stockhausen. Melbourne psychedelic jazz collective I Hold the Lion's Paw sounds familiar and, at the same time, like nothing else you’ve ever heard. 

Nominated for ‘Best Australian Jazz Ensemble’ in the 2018 “Jazz BELL Awards”, I Hold the Lion’s Paw (IHTLP) is led by Reuben Lewis and features some of Australia’s most exciting musicians. The music is born out of an organic cross-over of afro-beat, jazz and outré electronics. Expect to hear as much as electro-acoustic noise, slowly evolving soundtracks, afro-beat inspired grooves and psychedelic free jazz. 

“Is this exactly where jazz needed to have ended up in the year 2018? It is an exhilarating spirit that moves this collective, taking the best from the past, and from the future and grafting them to the present.”
- John Hardaker, Words About Music 

“Danceable, infectious, and the inevitable deconstructions are subtle - ★★★★
– Eric Myers, The Australian

Reuben Lewis

David Brown - electric bass
Ronny Ferella - drums
Fabian Hevia - percussion

Abstract Playgrounds 05:48 / 44:56

Recorded live by Marty Jones on 5th March, 2018
at the Wheatsheaf Hotel, Adelaide
Mixed by Jarrad Payne
Artwork by Loretta Wilde

Centazzo / Schiaffini / Armaroli - Trigonos (DODICILUNE / IRD 2018)

Prodotto dall'etichetta pugliese Dodicilune, esce mercoledì 31 ottobre - distribuito in Italia e all’estero da IRD e nei migliori store online da Believe Digital - "Trigonos", il nuovo lavoro discografico del trio composto da Andrea Centazzo (percussioni, malletkat, sampling), Giancarlo Schiaffini (trombone) e Sergio Armaroli (vibrafono), artisti protagonisti indiscussi della scena jazz sperimentale contemporanea italiana. Nei dieci brani originali, Trigonos è l’imperfetto equilibrio di tre artisti che «viaggiano, cercano insieme. Cercano il dettaglio, la bellezza non come valore estetico autocompiacente, ma moltiplicatore di energie creative, di visioni, di sguardi sulla vita. La trasgressione sta nella dilatazione del proprio Dna musicale per offrirlo agli altri come spazio d’indagine sonora, di idee da condividere. Ma anche nell’esporla con una poetica quasi sottovoce in un momento nel quale troppi urlano parole orrende», sottolinea Paolo Carradori nelle note di copertina.  

«Può risultare forse emblematico ma al primo approccio con Trigonos mi è sorta alla mente una riflessione, letta qualche tempo prima, di Salvatore Sciarrino, compositore apparentemente lontano da ciò che stavo ascoltando. Sono andato a ricercarla: ”Io sono convinto che l’evoluzione della musica consista nelle trasgressioni di singoli individui, rispetto ad un vocabolario comunemente accettato. Come dire che più è trasgressivo il linguaggio, di tanto diviene personale”. Devo dire che la connessione, l’interdipendenza trasgressione/evoluzione mi piacque subito», prosegue Carradori. «Anche se estrapolato da un contesto più ampio, un ragionamento quello di Sciarrino che rende bene l’idea su una musica in continuo movimento, in permanente negazione di estetiche consolidate, come rovesciamento di cliché noti. Il compositore non parla di nuovo, termine rischiosissimo e altamente ambiguo, ma di superamento di un vocabolario acquisito. Qui sta il nodo della questione, allora», continua. «Sergio Armaroli, Andrea Centazzo e Giancarlo Schiaffini in Trigonos lavorano, riflettono, creano insieme sulle loro storie musicali, intellettuali e umane. Li accomuna l’improvvisazione, come procedura, spazio mentale, immersione nei suoni, in se stessi. Artista irrequieto, emancipatore della percussione, affascinato dalla multimedialità, compositore, Centazzo svela lo scenario con un colpo di gong. Suono evocativo, spirituale. Il vibrafono di Armaroli, poeta, pittore, provocatore visuale, risponde e si muove come una farfalla colorata che svolazza elegante. I due viaggiano per un po' insieme senza scontrarsi, sfiorandosi, sognando. Il trombone di Schiaffini, forte di storie che vanno da New Orleans a Ornette Coleman, da Cage a Scelsi, irrompe con quel distacco concreto che modella, offre forma ai suoni. L’elettronica satura con discrezione, amplifica lo sfondo».

Compositore, percussionista e artista multimediale italiano, Andrea Centazzo è stato per 40 anni un audace esploratore dell'arte contemporanea. Nei primi anni '70 ha introdotto un nuovo concetto di percussione, migrando dal Free Jazz a una nuova forma di musica improvvisata. Alla fine degli anni '70, Centazzo fu uno dei fondatori della NY Downtown Music Scene con la sua collaborazione con John Zorn, Tom Corra, Eugene Chadbourne, Toshinori Kondo e altri, documentati in molti album. Nel 1976 fonda la ICTUS Records, una delle prime etichette gestite da musicisti, registrando con Steve Lacy, Evan Parker, Pierre Favre, Derek Bailey, John Zorn, Alvin Curran, Albert Mangelsdorff, Don Cherry e molti altri. Lasciò la scena musicale improvvisata nel 1986, spostandosi poco dopo a Los Angeles, CA e dedicandosi alla composizione e al video making, Centazzo realizzò 3 opere, 2 sinfonie e quasi 500 composizioni per tutti i tipi di ensemble, oltre a molti film pluripremiati.

Torna a esibirsi dal vivo nel 1998, ha creato concerti da solista e concerti solisti multimediali, suonando dal vivo in sincronia con i video che spara e modifica. Il suo ultimo progetto "Einstein's Cosmic Messengers" è stato prodotto da LIGO, Caltech e NASA. La Biblioteca dell'Università di Bologna al DAMS, recentemente dedicata al compositore Fondo Andrea Centazzo dove tutte le sue opere sono raccolte e messe a disposizione di studenti e studiosi.

Compositore, trombonista e tubista, Giancarlo Schiaffini è nato a Roma nel 1942. Laureato in fisica, studia musica da autodidatta e partecipa alle prime esperienze di free jazz in Italia negli anni ’60. In quel periodo comincia la sua attività di compositore ed esecutore nel campo della musica contemporanea e del jazz. Ha studiato a Darmstadt con Stockhausen, Ligeti e Globokar e ha fondato il gruppo strumentale da camera Nuove Forme Sonore. Fa parte della Italian Instabile Orchestra. Ha tenuto corsi e seminari in Italia e all’estero e insegnato presso i conservatori “G. Rossini” di Pesaro, “A. Casella” dell’Aquila e nei corsi estivi di Siena Jazz (strumento, improvvisazione, composizione). Ha collaborato con John Cage, Karole Armitage, Luigi Nono e Giacinto Scelsi. Ha partecipato, come compositore ed esecutore, a stagioni concertistiche e festival tra i più importanti del mondo. Sono state a lui dedicate composizioni da numerosi autori come Scelsi, Nono, Alandia, Amman, Castagnoli, Dashow, Guaccero, Laneri, Mencherini, Renosto, Ricci, Villa-Rojo. Ha inciso dischi per BMG, Curci, Cramps, Edipan, Horo, Hat Records, Pentaflowers, Pentaphon, Red Records, Ricordi, Vedette. Gli è stata dedicata una voce dalla Biographical Encyclopedia of Jazz (Oxford University Press) e dall’Enciclopedia della Musica (Utet/Garzanti).

La poetica di Sergio Armaroli abbraccia molteplici ambiti espressivi alla costante ricerca di un’unità dell'esperienza. Si dichiara pittore, percussionista concreto, poeta frammentario e artista sonoro oltre a fondare il proprio operare all'interno del "linguaggio del jazz" e dell'improvvisazione come "estensione del concetto di arte". Concentrato su una scrittura diffusa, consapevole di essere produttore "di-segni", dove l'invenzione verbale è "gesto poetico", nella vita è costretto ad uno sforzo pedagogico costante ( Svolge un’intensa attività artistica caratterizzata da un eclettismo stilistico accentuato con una tendenza alla dispersione linguistica come alla rinuncia e ad una forte predilizione per il "silenzio". Si è esibito in qualità di "attore musicale" e percussionista concreto in prestigiosi teatri e sale da concerto internazionali esponendo come artista in ambito off e sperimentale. Ha al proprio attivo numerose pubblicazioni in campo teorico musicale e poetico. 

L’etichetta Dodicilune è attiva dal 1996. Dispone di un catalogo di quasi 250 produzioni di artisti italiani e stranieri ed è distribuita in Itali a e all'estero da IRD in circa 400 punti vendita tra negozi di dischi e store. I dischi Dodicilune possono essere acquistati anche online, ascoltati e scaricati su una cinquantina tra le maggiori piattaforme del mondo.

Andrea Centazzo, percussion, malletkat, sampling
Giancarlo Schiaffini, trombone
Sergio Armaroli, vibraphone

1 - Deuterium #1
2 - Deuterium #2
3 - Metapenta #1
4 - Metapenta #2
5 - Reloaded Again
6 - The Real Vibone
7 - Trigonos #1
8 - Trigonos #2
9 - Trigonos #3
10 - Trigonos #4

Compositions by Andrea Centazzo/Giancarlo Schiaffini/Sergio Armaroli except 1, 2, 3, 4 by Andrea Centazzo/Sergio Armaroli, 5 by Andrea Centazzo/Giancarlo Schiaffini, 6 by Giancarlo Schiaffini/Sergio Armaroli

Production by Sergio Armaroli and Gabriele Rampino for Dodicilune edizioni, Italy
Label manager Maurizio Bizzochetti ( 
Recorded 8, 9 Dicember 2017 by Piergiorio Miotto at Il Pollaio, Ronco Biellese (Bi), Italy
Mixed and edited January 2018 by Andrea Centazzo at Ictus Records Studio, Long Beach, CA, USA
Mastered September 2018 by Piergiorgio Miotto at Il Pollaio, Ronco Biellese (Bi), Italy 
Covers and photos by Roberto Masotti