15 (Quasi) Solo Improvisations
Preis / Price : 15.08 €
Bestell-Nr. / Purchase Order No. : TAKLA Rec. No.1
Massimo Falascone sopranino-, alto & baritone sax
primo prato (baritone sax) 03:03
lago verde (alto sax) 04:29
snowfall (4 baritone saxes) 04:22
la casina gialla (sopranino sax) 04:18
2 a 65 (alto sax) 03:17
lampo e lupo (alto & baritone saxes) 06:31
robadenebbia (3 sopranino saxes) 03:59
valle del drago (baritone sax) 03:55
tubi (4 tugombutos) 07:56
10. gemelli (2 alto saxes) 03:40
11. foppacava (baritone sax) 05:32
12. l´angela (sopranino sax) 02:50
13. little rocks (sopranino, alto & barione saxes) 04:58
14. couples (2 sopranino, 2 alto & 2 baritone saxes) 06:07
hale-bopp (duo with little Leonardo) (sopranino sax, tugombuto, objects, piano; drums, objects, pots (Leonardo)) 03:08
Total time:  68:14

All music by Massimo Falascone
Produced Takla Records (Italy)
Recorded and mixed by Paolo Falascone @ Mu Rec Studio, Milano between April 29 - July 5, 1997
Editing by Fabio Martini
Digital mastering by Umberto Signifredi
Artwork and design by Enzo De Grandi, Massimo Falascone
Photographs by Massimo Falascone, Anna Coffetti

…Die Takla Improvising Group ist ein Zusammenschluss von Musikern aus der Mailänder Gegend, die sich jetzt mit Takla Records ein eigenes Forum geschaffen hat. Das Debut sind die BORDOGNA betitelten 15 (Quasi) Solo Improvisationen von Massimo Falascone. Alt-, Bariton- & Sopraninosaximpromptus, teils pur, teils als overdubs, die sehr schön beschrieben werden als Schichtung von ´musikalischen´ Blättern, die vom selben Baum gefallen sind.
 Bad Alchemy 34
Excerpt from the booklet:
(…) The strange idea of recording a ´solitary´ CD had long since started rambling in my mind - and as soon as I realized the time was ripe, I could stop no longer.
I had already decided to divide my work into two sections: 7 solo pieces and 7 overdubs. Each of the overdubs consists of one or more improvisations, which were initially conceived and recorded as ´solos´ and subsequently superimposed/regenerated as the component elements of a whole unit. All of a sudden I was urged to solve some questions: i) upon improvisation it is impossible to remove the memory of the already done; ii) it is hard to decide which behaviours should be adopted in order to make sure the various parts can interweave consistently in the greatest independence, i.e. doing without listening. As a result, I thought it advisable to set the confines of the field of action by using modules or by establishing the courses, the times and the boundaries within which I would be operating - but I have never played ´over´ something.
The resulting improvisation counterpoints are ascribable to chance as well - a sort of layers made of musical ´leaves´ fallen from the same tree.
The presentation of the solo-pieces is far simpler as nothing has been pre-arranged in these improvisations; each piece has been played by letting it flow along the course it was bound to take. The last piece (“live”) is a short duo with little Leonardo, who has just become five years old.
Massimo Falascone
Translation: Anna Coffetti
About the Music (or how I would have answered the following questions if I had been asked)
How would you define and describe your music?
a) General features
Improvised/Structured • Simple/Complex • Regular/Irreglar • Motional/Monotonous • Aromatic/Malodorous • Controlled/Uncontrollable • Noisemaking/Melodic • Transparent/Impenetrable • Patient/Impulsive • Tasteful/Disgusting • Light/Thoughtful • Composed/Improvised • Alive
b) Main criteria
Once you´ve entered, you have no chances of return
c) Aspirations
Turn away the public, the critics, women and children • Deny the importance of money • Be persecuted • Stop playing
d) Specifications
(…) It requires a lot of work • It is not a ´job´ • (…) It aims at the essential
e) Influences (and correspondences)
My beloved ones; the musicians I have been playing with and: Bach/ Buñuel/ Satie/ Duchamp/ Cage/ Webern/ Braxton/ Zappa/ Burroughs/ Josquin/ Joyce/ Mingus/ FMP/ Beatles/ Simenon/ Jannacci/ Varèse/ Jarry/ Sellers/ Kandinsky/ DonaldDuck/ Dolphy/ Ornette/ Klee/ Fo/ Breton/ Monk/ Hitchcock/ EasyRider/ Stravinsky/ Céline/ Reiser/ Mitchell/ Kubrick/ Lacy/ MontyPython/ Woodstock/ Mengelberg/ Bosch/ Poe/ Beethoven/ Dracula/ Bailey/ Eco/ Miró/ Ionesco/ Woolrich/ Dada/ Battisti/Matthau/ Lyons/ Sherlock Holmes/ Coltrane/ Laurel & Hardy/ Frankenstein/ Kantor/ Weill/ Calvino/ Rollins/ Parker (both)/ Leone/ Wounded Knee/ Escher/ Rota/ (…)Ives/ Man Ray/ Fellini/ Ellington/ (…)Truffaut/ Scelsi/ Fuchs/ Kurosawa/ (…)Totò/ Berio/ Dr. Jekyll & Mr. Hide/ Mozart/ Hal 9000
Multi-reedist Falascone delves into the heart and soul of 15 of his compositions. (…)
Falascone is not a lyrical player by any means, yet his solos flow easily, particularly when he opts for the sopranino. (…)
The multiple instrumentation selections that Falascone performs with himself are quite intriguing. (…)
The entire album is a series of creative efforts that takes root outside the norm of conventionalism.
Falascone tests the outer limits of sound development on this very absorbing and demanding recording. (…)
Frank Rubolino, in: Cadence, March 2000
(…) If you enjoy solo Braxton, Evan Parker or Michel Doneda, BORDOGNA may be right up your alley. Falascone´s music serves as a fitting or prime example of the always inventive and forward moving Italien Jazz and/or Improvisational scene.
*** ½
Glenn Astarita, in: All About Jazz
(Falascone plays exactly as you would imagine, given the stated influences. (…) He is a big, charismatic voice which is hard at first to pin down; one minute blustering, and the next as delicate and controlled as Lacy (another influence in his extravagant long list). (…)
While his alto is perhaps the best example of his style, his sopranino playing is particularly praiseworthy. It has a Braxtonian quick-wittedness which, married to his taste for the dramatic gesture, surprises at regular intervals. (…)
Richard Cochrane, in: All About Jazz

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