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Tetterapadequ, an anagram of "De Patter Quartet (but with a missing 'R') is named after the De Pater Jazz Club in The Netherlands where this collective improv quartet was born.
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Label: Clean Feed
Catalog ID: Cf 120
Squidco Product Code: 10370
Recorded November 2007 by Giovanni Di Domenico at AK11.
Daniele Martini-tenor sax
Giovanni di Domenico-piano
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1. brain shower 2:25
2. futprinz 3:38
3. dopey* 1:36
4. screw the driver 5:42
5. it might as well be ciputraf 3:46
6. britney 2:05
7. truccu billu billu 5:06
8. monga 5:48
9. chorna 2:58
10. crocodile dandy** 1:53
11. é lava 5:34
12. sousa lareira lallá 5:26
13. la virtú dei forti 12:10
European Improv, Free Jazz & Related
Squidco's Clean Feed $12.00 Sale
sample the album:
"What does Tetterapadequ mean? Is it an obscure Italian or Portuguese term that reflects this ensemble's mix of two Italian and two Portuguese musicians? No it is not. It's an anagram of "De Patter Quartet, " which was named after the De Pater jazz club in Haia, The Netherlands. The club - one of the favorite venues for Gonçalo Almeida, Giovanni di Domenico, João Lobo, and Daniele Martini when they were attending the local conservatory - was where the project Tetterapadequ was born and began to develop. But something is missing from the anagram: it shoud have one more "r," hence the CD's title. R or no R, what you'll find in the music extends far beyond what is taught in European jazz courses. At De Pater the quartet explored the possibilities of a shared musical language developed through collective improvisation. It is clearly jazz, which is the root of the musical language used here, but there's much more to it than typical jazz-like rhythmic patterns and harmonic constructions. The four young musicians call their new musical lingo "confusionism" because their structured improvisations and spontaneous compositions surprise the listener, and often the musicians themselves, with unexpected and even bizarre outcomes."-Clean Feed
• Show Bio for Giovanni Di Domenico
"Giovanni Di Domenico, pianist, performer, composer, was born in Rome on the 20th July 1977, a significantly tempestuous period in socio-political terms, featuring hostile polarizations and an ostensive paramilitarism, mutinous ideological confrontations and bloody terrorist attacks, rendered infamous in the description 'Years of Lead'. In that particularly caustic summer, the so-called 'Movement of 1977', non-aligned, without any ties to the Parliament and non-violent, broke into the scene of prevalent conspiracy-steeped paranoia condemning the repressive, discriminatory and authoritarian tendencies of the Italian State and demanding equality for minorities and further civil rights. The coinciding liberalization of the media market, putting an end to RAI's monopoly, further defined this period as the prime moment for pirate radio, with the consequence of a libertarian fragmentation of youth culture, epitomised by punk.
One could argue that Giovanni, self-taught until the age of 24, inherited - in philosophy, politics and artistically - the most benign and affirmative traits of that period, diversifying his action in the context of a recently unified Europe, promoting improbable connections, exploring varied geographies, comfortably manoeuvring aesthetical fringes and making a commitment to live performance at its most liberating and engaging. Surprisingly, the path that lead him to that point had an unexpected detour: following his father's consecutive assignments as a civil engineer he actually lived out his first decade in Africa - until he was five in Libya, from then until his eight anniversary in the Cameroons and until ten in Algeria. His far off native country was not synonymous with civil unrest as much as with opera, whose arias he would memorize with his siblings in order to practice the language and provide some family entertainment. The condition of expatriate had a strong influence in his education - he clearly remembers the calls of the muezzin, the sound of exotic musical instruments in local markets, the ritualistic expression music took in the streets of Yaoundé, or the songs he heard from his nanny in the Cameroons.
When he finally enrolled in music school - majoring in 'jazz piano'- he further built on an encyclopedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis. A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, artists as different as Chris Corsano, Jim O'Rourke, Akira Sakata, Tetuzi Akiyama, Okkyung Lee, Balasz Pandi, Nate Wooley, Yan Jun, John Edwards, Darin Gray, Roger Turner, Steve Noble, DJ Sniff, Terrie Ex, David Maranha, Manuel Mota, Arve Henriksen, Norberto Lobo, Peter Jacquemyn, Alexandra Grimal, John Duncan, Tony Allen, Rafael Toral or Toshimaru Nakamura. Di Domenico has founded his own label, Silent Water, home of an eclectic and occasionally unclassifiable production. He lives in Brussels."-Giovanni Di Domenico Website (Giovanni Di Domenico)
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