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Marco Eneidi: Pallettes of Color & Sound

By Published: May 27, 2013
ME: The alphabet system uses the alphabet to designate the notes. The direction is visual up or down. No rhythm is given; it is done aurally. As opposed to a "song," with a long melody and harmony, etc. that is memorized and repeated over and over in some type of form, this new music is more about the "devouring of grid." Small cells of notes—maybe just a few—would be played and extrapolated upon before moving to the next group. The cell is the seed, the kernel, the grundgestalt, upon which one can imply many things from which to expand. They are the template, the smallest portion of which is as important as the larger portion. They are distinct objects that stand alone, and are manipulated and expanded upon through a menu of processes, and worked out until another cell/unit structure emerges or is given within the composition.

AAJ: How does your music change? After the Kosmos-Kosmos club concert, you said that your music is calmer now—more poetic, less "furious." Did you take a new direction or does music depend on circumstances and the people with whom you play?

ME: My approach to music has been always to try and become a musician—not just a saxophonist, but learning and taking from anything and everything that I can. This has also included working in theater and dance, writing poetry, painting, driving a New York City taxi, working in restaurants washing dishes, digging ditches. Just doing what it takes to try and somehow survive as a creative artist in America.

AAJ: What inspires you?

ME: I take my inspiration from everything. I believe one has to create one's own inspiration and find it in everything. I could go on and write a book but that would take up too much space.

AAJ: What is the most important thing to know, when it comes to improvising? What would you advise to a young musician who wants to play improvised music with other people?

ME: For young players—and to older, as well—I say: learn anything and everything you can. When you find/hear something you like, figure it out, transcribe it and imitate it. Write it down and analyze it to better understand it. It's like a painter with a pallet of colors. In the beginning you have only black and white, and then you add colors. But if you want red for example, first off you have to know that the color red even exists. And after you discover this new color you need to learn about it and how to use it. Slowly one builds up a palette of colors/sounds.

Another important thing is: listen, listen, listen and imitate. When playing with another person, one can try and play exactly the same thing and way, or one can play something that compliments and supports what the other person is playing, or you can play something that is the opposite.

When playing alone, play one note that you like, and then find another note that you like after that, and then again. In playing one note well, to quote Cecil Taylor: "How many ways are there to play one note? Timeless in the glare of a blade of obsidian traveling through the infinity of space."

Selected Discography

Vinny Golia/Marco Eneidi/Lisa Mezzacappa/Vijay Anderson, Hell-Bent In The Pacific (No Business, 2012)

Lisle Ellis/Marco Eneidi/Peter Valsamis, American Roadwork (CIMP, 2004)

Sound on Survival, Liverk (Henceforth, 2004)

Marco Eneidi/William Parker/Donald Robinson, Cherry Box (Eremite, 2001)

Photo Credit

Alphabet Notation System, Page 3: Marco Eneidi
Marco Eneidi
Marco Eneidi


All Other Photos: Krzysztof Machowina

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