Before We Say Goodbye To 2012
Alessandro Bosetti finds the sound of music. Correction: Alessandro Bosetti finds the music of sounds. Like John Cage or Bern Porter before him, repetition of sound, be it noise, musical notes, or voice often become his compositions. Does he consider himself to be a collector of field recordings or a composer? Maybe both. His early recordings were minimalist free improvisations efforts, usually playing a soprano saxophone with the likes of Michel Doneda, Annette Kreb, and Bhob Rainey. He then moved into the exploration of speech loops and found sound, cutting himself from the randomness of improvisation by finding a distinct order from seemingly arbitrary sounds. What distinguishes his recent music is a strong performance aspect.
Alessandro Bosetti Der Italienische Manierismus Con-V 2012
Der Italienische Manierismus opens with "Rosso," and the seemingly randomness of minimalist improvisation where he draws from the breath blown (without notes) in a horn (is it Bosetti's soprano?). He then layers loops of voices into an ever increasing volume of 'noise.' Stops all with a dramatic pause, then returns with voice only. Bosetti guides listeners to consider the musicality of the noise through the vehicle of repetition. Such is the case with "Our Positions (for Corrado Costa)" where he repeatedly reads several sentences. The meanings of the words (the same words) morph with the redundancies. They express the same thought, yet intimate something else altogether. Then again, the same can be said for musical notes he chooses. "Dolce Stilnox" mixes a conversation by Valentina Picello over electronic beats and piano, generated not so much as accompaniment but interference. Often, he will merge two dissimilar events, a sampled baby, some dissonant piano, and low-end bass chords heard on "Proust." These collages or aggregations become something more than the sum of their parts, something new altogether. The disc ends with "It Is An Island (for Guiseppe Archiboldi)" Bosetti's now signature sound generation, where repeated text is accompanied by a matching harmonious notes. Instead of notes played on piano, he utilizes an assemblage of tuned crashing noise. Notes that eventually take over the text, as ocean surf pounding the shore.
Alessandro Bosetti/ Trophies A Color Photo Of A Horse DS al Coda 2012
Alessandro Bosetti is a master of sound assemblage, mixing samples and notes to create (or perhaps discover) a musical language. Sound collage, a discipline performed in one's own studio is one thing, taking those creations live, playing them with other musicians is quite another. With his trio Trophies, Bosetti realizes his creations with guitarist Kenta Nagai and drummers Tony Buck, and heard on A Color Of The Horse Ches Smith.
Perhaps the most accessible of his recent work, these six tracks follow up on Royals (Monotype, 2010). The trio covers Bosetti's now signature composition "Gloriously Repeating." With Bosetti speaking the lines, his electronics and Nagai's guitar imitate the words' pitch, rhyme, and meter. As with his knack for making music room conversation, adding a backing band validates his sound experiments. The title track reiterates the spoken words, but with Nagai and Smith there is an underlying commentary, as opposed to Bosetti's solo work, where the backing might be found sounds. Smith is a persistent and indefatigable presence supplying continuous motion and sound energy. Mostly eschewing groove, he does supply a constant beat in "Errepikatzen" (Basque for 'repeated') with Nagai freed to blend bits of rock and funk to Bosetti's spoken word and pin-ball machine electronics. The adrenalized "Istruzioni" (instructions), which could find itself one day covered by Tyondai Braxton or the Zs, finds Trophies in hyper-drive burning through Bosetti's muscular Italian tutelage, like John Cage punk rocker.
Alessandro Bosetti Stand up Comedy Weird Ear 2012