Giovanni di Domenico: piano, Fender Rhodes, synths, electronics, editing
Arve Henriksen: trumpet & electronics
Tatsuhiso Yamamoto: drums & percussion

1. Mlouk  (6:10)
2. Charivari  (7:06)
3. Alma Venus  (7:32)
4. Naked Skin Of Empty Spaces  (2:09)
5. Sahel Glacé  (10:53)
6. Sensire  (5:42)

The either/OAR series of and/OAR continues to take unexpected twists
and turns while slowly but surely unveiling the intended perimeter of it's
conceptual focus - this time a magic realism trip via the world of
atmospheric avant-jazz.
Distare Sonanti is the second album by the highly  
synergistic Di Domenico / Henriksen / Yamamoto trio whose first CD titled
"Clinamen" was released in 2010 by the Off label based in Belgium. Now,
in 2012 and/OAR is very pleased and honored to present this second
masterwork which should prove to be an absolutely essential addition to
the CD collection of not only the followers of all three artist's work, but
also many fans of European jazz.

Giovanni Di Domenico was born in Rome, Italy and has performed all over
the world in a wide variety of contexts and musical genres from modern
jazz to free improvisation and experimental pop. He has also had the
chance to play with some of the most talented musicians around, including
Arve Henriksen, Akira Sakata, Jim O'Rourke, Chris Corsano, Nate Wooley,
Darin Gray, Tetuzi Akiyama, Fred Lomberg-Holm, Tatsuya Nakamura,
Toshimaru Nakamura and Sanne Van Hek, just to name a few. He has
released a number of albums under his name and in collaboration with
others.

Arve Henriksen was born in Norway and by now is pretty well known in jazz
circles (especially in the realms of ECM and Rune Grammofon) and has
also been active with various other genres of music of which are often hard
to classify. Arve has collaborated with quite a few musicians over the
years, with well over 100 albums to his credit. Some of the groups and
artists Arve has collaborated with include David Sylvian, Supersilent, Food,
Motorpsycho, Jon Balke (and the Magnetic North Orchestra), Edward
Vesala, Jon Christensen, Nils Petter Molvær, Arild Andersen, Dhafer
Youssef, Hope Sanduval, Terje Isungset and many more.

Tatsuhisa Yamamoto was born in Yamaguchi, Japan and is a pure
acoustic drummer who plays primarily improvised music. Tatsuhisa has
collaborated with artists such as Otomo Yoshihide, Jim O'Rourke, Sachiko
M, Seiichi Yamamoto (ex Boredoms), Keiji Haino, Makoto Kawabata (Acid
Mothers Temple), Kahimi Karie, Yoshio Machida and Phew among others.
Recently Tatsuhisa has been performing regularly with Jim O'Rourke, who
started to play music again after seeing Tatsuhisa playing live.

-----------------------------------------------------------------------------
catalog number: either/7
artist: GIOVANNI DI DOMENICO, ARVE HENRIKSEN & TATSUHISA YAMAMOTO
title: Distare Sonanti
format: CD
status:
available
NORDISCHE MUSIK  (JUNE 2013)
Ende der Neunziger Jahre gab es ein phänomenales Album jenseits von
Stilgrenzen (als diese noch schärfer gezogen waren als heute), von einem
internationalen Trio aus dem japanischen Trompeter Toshinori Kondo,
dem hyperaktiven Bassisten Bill Laswell und dem Elektronik- und
Beat-Spezialistien Eraldo Bernocchi. Knapp fünfzehn Jahre später ist deren
»Charged« nur noch wenigen Eingeweihten ein Begriff - überaus schade,
denn die CD hätte es verdient als Klassiker zwischen den Genres
anerkannt zu werden.

Im Mai 2010 trafen sich in Brüssel im Studio: der Italiener Giovanni Di
Domenico an Piano, Fender Rhodes, Synthesizern und Elektronik, der
japanische Schlaginstrumentalist Tasuhisa Yamamoto und der uns wohl
bekannte Arve Henriksen, wie gewohnt mit Trompeten und Elektronik.
Irgendwer scheint zwischendurch auch zu singen, doch ist niemandes
Stimme in den Angaben vermerkt. Veröffentlicht hat das Ergebnis dieser
Session der Klang- und Grafikkünstler Dale Lloyd auf seinem Kleinstlabel
either/OAR in Seattle; der zuvor unter anderem bereits ein Album vom
vage künstlerisch verwandten Duo Kim Myhr und Jim Denley
herausbrachte. Alles deutet also drauf hin, dass »DISTARE SONANTI« ein
ähnliches Schicksal ereilt wie einst »Charged«, zumal heute kaum noch
jemand CDs kauft.

Die beiden Trioalben haben neben der multinationalen Besetzung
allerdings auch die radikale Genre-Ignoranz gemein. (Und die beiden
Coverdesigns scheinen ebenfalls eine ähnliche Sprache gefunden zu
haben.) Di Domenico kann man mit seinen flippigen Improvisationen auf
den Tasten des Flügels oder der Fender Rhodes noch am ehesten die
Rolle des Leaders zuschreiben, obgleich seine Melodien dafür meist zu
wenig greifbar und einfach zu schnell sind. In den besten Momenten - und
es gibt derer viele auf diesem Album - spielt er sich mit den rasanten
Schlagzeug- und Percussionpassagen imposante improvisatorische Bälle
zu. Doch wer hier eigentlich was spielt, lässt sich streckenweise nur mit
mühsamer Analyse auseinanderhalten, und da die Energie dieses Trios so
fasziniert, bleibt dafür schlichtweg nie die Ruhe. Die ungezügelten
Rhythmen dürften gleichermaßen von allen dreien stammen, und auch
Henriksens Trompete nimmt hier selten eine tragende Rolle ein. Vielmehr
erinnert diese CD an Ensemblehöhepunkte mit Veslefrekk oder
Supersilent, wobei Di Domenico, Henriksen und Yamamoto als Trio vom
ersten Moment an eine ganz eigene, beeindruckende gemeinsame
Sprache gefunden haben.
(Ingo J. Biermann)
MONSIEUR DÉLIRE  (APRIL 2013)
My continuing exploration of keyboardist Giovanni Di Domenico’s
catalogue brings me to this gorgeous trio session released last year. Di
Domenico plays piano (mostly), but also Rhodes, synth, and electronics.
Arve Henriksen (Supersilent) on trumpet & electronics; Tatsuhisa
Yamamoto on drums. Stylistically speaking, Distare Sonanti is halfway
between the delicateness of Sounds Good (a duo session with Oriol Roca)
and the avant-rock feel of the group Going. Five tracks out of six are
collective improvisations, while the final piece, “Sensire,” is a Di Domenico
composition. This CD is candy for the Supersilent fan that I am. Loads of
finesse from all three musicians.
(François Couture)
JUST OUTSIDE  (JANUARY 2013)
Di Domenico (piano, Fender Rhodes, synths, electronics, editing),
Henrikesn (trumpets, electronics), Yamamoto (drums, percussion). Leaps
into a post-60s Miles thing from the get go and attractively so, with
Henriksen (from Supersilent) veering toward a much more Jon Hassell-like
approach. It's almost unfair using a Fender Rhodes--those of us of a
certain age are cast directly back to the glory days of Corea and Jarrett
with Miles. The trio play so solidly and impart just enough of a new spin on
things that they manage to pull off what could easily have been a
pastiche. Listeners familiar with and enamored of that tract between Miles
of that period and Fourth World-era Hassell will find much to enjoy here.
And that includes me.  
(Brian Olewnick)