"Like what happened in Rios Encausurados (Seminal Records, 2015), in the compositions / improvisations of Marco Scarassatti, the recorded sounds of the sound landscape are again of special relevance. In this case, are the own recordings...
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Label: Creative Sources
Catalog ID: cs415
Squidco Product Code: 24763
Packaging: Cardboard Gatefold
Mastered at @N11.
Marco Scarassatti-baritone saxophone, viola, harp, objects
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• Show Bio for Marco Scarassatti
"Composer graduated by Universidade Estadual de Campinas - Unicamp, where have had the following professors:
Livio Tragtenberg; Almeida Prado; J.A.Mannis.
Also were student of composer Florivaldo Menezes in Winter Festival of Campos de Jordão 1994, Brasil.
Master in Multimeans, also by Unicamp, has researched the creative process of composer Walter Smetak, builder of hybrids objects that join plasticity and sonorous production. In Process of achieving Doctor Degree by Faculdade de Educação da Universidade Estadual de Campinas - Unicamp, researching alquemic representations in music and preparing publishing of "Smetak e Suas Plásticas Sonoras".
Cineast self-didactic, its short "A Terra do Silêncio" won 12 awards in 2002 and 2003.
At present, develops research, creation, and build of sonorous sculptures and environment, besides working as University Professor.
Trustee of exposition "Paisagens Plásticas e Sonoras", that got together works of several composers, that in searching new sonorities came to new forms of conventional musical instruments.
In this exposition, have participated:
Tom Zé, Livio Tragtenberg, Wilson Sukorski, Chelpa Ferro, Marco Guimarães, Fernando Sardo, Paulo Nenflídio, Carusto Camargo, Marcelo Petraglia, besides the participation of 14 Sonorous Plastics of Walter Smetak, and for the first time in Brasil, the work of French brothers - Bernard and François Baschet.
(Mostra Sesc de Artes/ 2005 - Sesc Pinheiros Brasil) "-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
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1. Breath 7:03
2. Between Dogs And Artifices 7:02
3. Viola De Cocho And Surrounding Sounds 6:42
4. Guiherme's Visit 14:49
5. Axexe For Ornette Coleman 10:33
6. How To Walk Around A House Blindfolded 5:00
7. Subdued Cocho Accompaniment To A Background Mass 3:05
8. Decomposing Panning 9:25
sample the album:
"Like what happened in Rios Encausurados (Seminal Records, 2015), in the compositions / improvisations of Marco Scarassatti, the recorded sounds of the sound landscape are again of special relevance. In this case, are the own recordings of the environment of the house where he lives, which serve as reference on the parts in which he plays in real time. In this acoustic house, Marco chose to record his improvisations with the windows open. In the attic of his house, he has a space where he has all his acoustic instruments, or as he calls them infra-instruments, with which he begins to improvise whenever he is inspired to do so. Sometimes accompanied by some musician who visits his house, as in the case of Mateus Dantas in the piece 2 "Between Dogs and Artifices". For this he leaves the windows open and puts the recorder, so that the soundscapes and sounds generated by him and his friends reach architectural dimensions where the soundscape and improvisation are allied. The highlightis the piece 5, "Axexe for Ornette Coleman", where Marco plays the baritone sax in what pretends to be a tribute to the great jazz master, who died precisely during the recording period of some of these pieces that, incidentally, were Registered between the years 2014-2016. Precisely during this time Marco has wandered from one place to another, collaborating with Brazilian artists and, above all from Portugal, who materialized in albums such as Rumor (2015), and Amoa-hi (2016), both edited also by the Lisbon publisher Directed by Ernesto Rodrigues, Creative Sources (see reviews by Rui Eduardo Paes in OM 42 and 43). Of the 18 pieces recorded by Marco in that period, his friend Hen- Rque Iwao (sonorous and visual artist -henriqueiwao.bandcamp.com), made a selection of 8 pieces in which Marco continues to explore the wealth of instruments inspired by master Smetak. These instruments or sound sculptures made by Scarassatti himself over the years have very contrasting timbralcharacteristics. Among the most prominent in this recording we find the viola de cocho (a traditional guitar from a region of Brazil that Marco modifies its microtonal tuning) is equipped with a resonator that Scarassatti amplifies through the contact microphones, just as it does with the Other instruments, precisely to be able to appreciate its timbre qualities for our ears. The emission of pulsating notes of the strings to the air or the strokes of bow on the same, make them adopt a meditative exercise close to the oriental cords, or even certain reminiscences with the way to play of John Fahey or Davy Grahan (part 4 ) In what is called American primitive, or raga music. At times, the collaboration of Guilherme Antonio, to the violin and Marco to the guitar of trough, manage to realize a piece with shades of spectral or twelve-tone music. Scales and arpeggios sound in a continuous release of string sounds. Although, we soon realize that the interests of the latter go through otherdirections that are related to the acoustic palette of instruments constructed from various materials and their relation to space. Well, the soundscapes and improvisations are happening in this Acoustic House acquiring new acoustic dimensions thanks to the resonance of the place where they have been recorded. We can say that Casa Acustica is a work where sound sculptures face the resonances of a sound recorded in a particular space. In these pieces we still perceive some divergence between contemporary music and new music, which takes us from Feldman to Takemitsu, from Cage to Smetak. We hope to continue listening to Marco in jam-session format, perhaps where his contribution is more remarkable with other instrumentalists that in their interaction give a renewed air to the timbral structures of their infra-instruments. Maybe, in the next album we have the pleasure of hearing one of those jams with collaborators. Until that happens, this Acoustic House is a good reason to inquire inthe search of the execution of the microtonos that Smetak particularly developed."-Rogelio Pereira, Ground Gold (translated on Google Translator)
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European Improv, Free Jazz & Related
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Objects and Home-made Instruments
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