The Verona Sextet develops fluid stream-of-consciousness improvised music of shifting textures, fractured rhythms, resonant percussion and electroacoustic detail, merging Sergio Armaroli's vibraphone, Tony Buck's drums, Francesca Gemmo and Magda Mayas on piano and prepared piano, Steve Piccolo's electronics and voice, and Elliott Sharp on guitar and soprano saxophone.
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Sample The Album:
Sergio Armaroli-vibraphone
Tony Buck-drums
Francesca Gemmo-piano
Magda Mayas-prepared piano
Steve Piccolo-electronics, vocals
Elliott Sharp-guitar, soprano saxophone
Click an artist name above to see in-stock items for that artist.
UPC: 752156107620
Label: ezz-thetics by Hat Hut Records Ltd
Catalog ID: ezz-thetics 1076
Squidco Product Code: 37720
Format: CD
Condition: New
Released: 2026
Country: Switzerland
Packaging: Cardboard Gatefold
Recorded at Sotto il Mare Recording Studio, in Verona, Italy, on October 14th and 15th, 2024, by Raffaele Stefani.
Bringing together six distinctive improvisers whose individual practices span free improvisation, contemporary composition, electronics, sound art and experimental song, the Verona Sextet creates a densely interconnected music shaped by constantly shifting relationships between acoustic and electronic sound. Vibraphonist Sergio Armaroli and drummer Tony Buck provide a broad palette of resonance and propulsion, while the contrasting keyboards of Francesca Gemmo and Magda Mayas - piano and prepared piano respectively - move between percussive attack, fragmented harmony and extended timbral exploration. Steve Piccolo contributes electronics and voice, adding both abstraction and a human, linguistic presence, while Elliott Sharp moves between guitar and soprano saxophone.
Recorded over two days in Verona in October 2024, Leaps And Bounds is largely collectively composed, with additional individual compositions by Sharp and Gemmo. Rather than settling into fixed roles, the sextet operates through accumulation, interruption and sudden redirection: piano sonorities collide with metallic vibraphone resonance, Buck's percussion can suggest pulse before dissolving into texture, electronics infiltrate the acoustic instruments, and Piccolo's vocal interventions introduce another stream of information into the ensemble conversation. Sharp's guitar and soprano saxophone further extend the music's range from finely articulated detail to abrasive or sharply gestural exchanges.
Mark Corroto's liner notes compare the music to literary stream of consciousness, an apt description for performances in which ideas seem to arise, overlap and disappear before they can fully settle. The result is spontaneous music that feels less like a sequence of statements and responses than a continuously evolving field of thought, with six independent musical personalities maintaining their individuality while collectively shaping an unpredictable and unusually colorful electroacoustic language.
"What is the origin of music? Where does composition arise, and more mysteriously, where does improvisation come from? For both questions, we are led to the same place: consciousness.
At this very moment, as you read these liner notes, your mind is not singular. Yes, your eyes move across the page, but other thoughts intrude and recede: a fragment of a song, an image of a place, a fleeting worry, a memory, a distraction. This constant stream, part deliberate, part involuntary, is what we call consciousness. And beneath it lies something even more powerful: the unconscious, an endless reservoir of impressions, associations, and impulses that shape our perceptions without our awareness.
Music, especially improvised music, lives at the intersection of these two realms. Composition reflects intention, structure, and design - the conscious mind at work. Improvisation, however, draws from deeper currents. It emerges from intuition, memory, reflex, and sensation, often before thought can intervene. The Verona Sextet explores this terrain with remarkable sensitivity, navigating between the known and the unknown, the planned and the spontaneous.
The ensemble brings together a core group - Elliott Sharp, Steve Piccolo, Sergio Armaroli, and Francesca Gemmo, augmented here by Magda Mayas and Tony Buck. Each musician contributes a distinct voice, yet the group functions less as a collection of individuals than as a shared field of awareness. Their music unfolds as a dialogue between minds, and perhaps more significantly, between states of mind.
To consider consciousness in music is to enter a long and unresolved conversation. As far back as the 17th century, Galileo Galilei helped shape the way we think about knowledge itself. By insisting on measurement, observation, and mathematical description, he laid the groundwork for modern science. In doing so, however, he also helped separate the study of the external world from the inner life of the mind. Questions of consciousness, once intertwined with philosophy and theology, were set aside in favor of what could be quantified.
Centuries later, we are still grappling with that division. Neuroscience points to networks of neurons, electrical signals, and regions of the brain as the basis of conscious experience, yet no definitive explanation has emerged. Philosophers, meanwhile, have offered competing visions: René Descartes' assertion "I think, therefore I am," locating the self in rational awareness; religious traditions describing a soul; and more recent perspectives, from panpsychism, which suggests that consciousness pervades all matter, to Buddhist teachings that regard the self as an illusion.
In contemporary life, the question has taken on new urgency. Our attention, once anchored in direct experience, is increasingly mediated by technology. Notifications, algorithms, and endless streams of information compete for our awareness, fragmenting the very consciousness from which art emerges. In this environment, the act of listening, truly listening, becomes both rarer and more essential.
It is here that the Verona Sextet's music resonates most deeply. Their work can be heard as a reclamation of attention, an immersion in the present moment. The composed pieces, Elliott Sharp's "ZYMO" and Francesca Gemmo's "Open Spheres," provide points of entry, structures that orient the listener. Yet even within these frameworks, improvisation begins to blur boundaries, allowing the music to evolve beyond its initial design.
The remaining pieces are fully improvised, untethered from predetermined form. They arise in real time, shaped by listening, reaction, and collective intuition. In these moments, the distinction between conscious intention and unconscious impulse dissolves. Sound becomes a trace of thought in motion, a record of perception as it unfolds.
Writers such as Virginia Woolf, James Joyce, Marcel Proust, and here, Steve Piccolo, have sought to capture this stream of consciousness in language, tracing the flow of memory and sensation as it passes through the mind. The Verona Sextet achieves the same in sound. Their music does not describe thought; it enacts it.
In the end, perhaps the origin of music is neither purely conscious nor entirely unconscious, but a continual exchange between the two. A note is struck, a gesture made, a response follows, and meaning emerges in the space between. Listening to this recording, we are invited into that space: not to solve the mystery, but to experience it."-Mark Corroto, April 2026
Artist Biographies
• Show Bio for Sergio Armaroli "Sergio Armaroli is a composer, percussionist, vibraphonist, teacher and total artist. His actions resonate through various artistic and musical fields, that of jazz being, perhaps, his most practised. He declares himself to be a painter, concrete percussionist, fragmentary poet and sound artist as well as founding his work "within the language of jazz and improvisation" as an "extension of the concept of art"." ^ Hide Bio for Sergio Armaroli • Show Bio for Tony Buck "Born in Sydney in 1962, Tony is regarded as one of Australia's most creative and adventurous exports, with vast experience across the globe. He has been involved in a highly diverse array of projects. Apart from The Necks, he is probably best known as leader of hardcore/impro band PERIL. Early in his musical life, after having graduated from the New South Wales Conservatorium of Music, he became very involved in the jazz scene in Australia, often touring with visiting international artists such as Vincent Herring, Clifford Jordan, Mickey Tucker, Branford Marsalis and Ernie Watts, as well as Australians Mark Simmonds, Paul Grabowsky, The catholics, Sandy Evans and Dale Barlow. Following time spent in Japan, where he formed PERIL with Otomo Yoshihide and Kato Hideki, Tony moved to Europe, and has involved himself in many projects there, including the development of new "virtual" MIDI controllers at STEIM in Amsterdam. Tony has played, toured or recorded with, among others, Jon Rose, Nicolas Collins, Tenko, John Zorn, Tom Cora, Phil Minton, Haino, Switchbox, The Machine for Making Sense, Ne Zhdall, The EX, Peter Brotzmann, Hans Reichel, The Little Red Spiders, Subrito Roy Chowdury, Clifford Jordan, Kletka Red, Han Bennink, Shelley Hirsch, Wayne Horvitz, Palinckx, and Ground Zero." ^ Hide Bio for Tony Buck • Show Bio for Francesca Gemmo "Francesca Gemmo is a pianist, composer and teacher. She graduated in Piano at the "FE Dall'Abaco" Conservatory in Verona, her city of origin, and in Composition at the "Giuseppe Verdi" Conservatory in Milan; in the same Conservatory he subsequently obtained the II level Academic Diploma for teaching Piano. She has obtained significant prizes and awards in national piano competitions and her repertoire ranges from Baroque to contemporary music. Her concert activity has led her to play in prestigious halls in Italy and abroad (Sale Apollinee in Venice, Center Le Phenix in Friborg, Konzerthaus in Weimar, Mudima Foundation in Milan, Museo del Novecento in Milan, Arsenale Theater in Milan , Seismic Area). The attention to paths of experimentation and improvisation has favored her collaboration with authoritative artists such as Sergio Armaroli, Alvin Curran, Brunhild Meyer-Ferrari, Steve Piccolo, Walter Prati, Giancarlo Schiaffini, Elliott Sharp, Fritz Hauser. As a composer she has to her credit several performances by important soloists and ensembles such as Irvine Arditti, Luca Avanzi, Sergio Scappini, Divertimento Ensemble, Trio Matisse; moreover, works have been commissioned from authoritative instrumentalists such as guitarist Magnus Andersson and saxophonist Daniel Kientzy." ^ Hide Bio for Francesca Gemmo • Show Bio for Magda Mayas "Magda Mayas, born 1979, is a pianist living in Berlin. Developing a vocabulary utilizing both the inside as well as the exterior parts of the piano, using preparations and objects, she explores textural, linear and fast moving sound collage. Alongside the piano, Mayas has recently been performing on a Clavinet/Pianet, an electric piano from the 60s with strings and metal chimes, where she engages with noise and more visceral sound material, equally extending the instrumental sound palette using extended techniques and devices.Mayas performs internationally solo and in collaboration with a large number of musicians and composers.Current projects are "Spill", a duo with drummer Tony Buck, a duo with Christine Abdelnour (sax) and "Great Waitress", a trio with Monika Brooks (acc) and Laura Altman (cl). She is currently undertaking Phd studies at the University of Gothenburg, Sweden and investigating extended instrumental techniques, spectral music and psychoacoustics in an improvised music context. Since 2013 she has also been producing radio pieces for ABC Australia and Deutschlandradio Kultur and has released 20 CDS to date. Magda Mayas has performed and toured in Europe, the USA, Australia, Mexico and Lebanon and collaborated with many leading figures in improvisation and composers such as John Butcher, Andy Moor, Zeena Parkins, Joelle Leandre, Paul Lovens, Ikue Mori, Phill Niblock, Peter Evans, Andrea Neumann and Axel Dörner. She has performed at festivals and exhibitions such as Maerz Musik (2012,2015), Documenta (2012) or the Berlin Biennale ( 2014)." ^ Hide Bio for Magda Mayas • Show Bio for Steve Piccolo "Steve Piccolo (USA, lives and works in Milan, Italy). After studying at Bard College and New York University, he began his career in the 1970s playing bass in jazz groups and doing sound/performance in New York art spaces. In 1979 he started the Lounge Lizards with the Lurie brothers, a project which continued for about five years. Active since the mid-1970s in music, theater, performance art, sound installations, video and film soundtracks. His activities as a musician, composer, artist, curator and teacher have become too numerous, frequent and varied to list them all here. He has exhibited/performed at the Kitchen, Franklin Furnace, Environ, Squat Theater, PASS, La Mama, Issue Project Room, The Stone (all in NYC, from 1979 to 2010), Zona Gallery Florence (1982), Galleria Peccolo Livorno (1982, 2006), Documenta 8 Kassel (1987), La Rada Locarno (1989, 2004), Japanese Institute of Culture Rome (2003), MAMCO Geneva (2003), Palazzo delle Papesse Siena (2003, 2005, 2007), Base Gallery Florence (2004), FRAC Bretagne (2004, 2014), Triennale Milan (2004-05-07-09), Villa Croce Genoa (2005, 2012), Berlin Jazz Festival (1981 and 2005), Technical Breakdown Copenhagen (2005-06), Swiss Cultural Center Milan (2005), Venice Art Biennale (with WPS1, 2005, and with performances in Belgian and Greek pavilions, 2015), Sant'Arcangelo Festival (2005), Itinerario Festival Cesena (2005, 2007, 2014), Galleria Mazzoli Modena (2006), Turchin Center for the Arts Boone NC (2006, with residency), Trinity College Wales (2006), Venice Music Biennial (2006), ArtBasel Miami (2006), Kettle's Yard Cambridge (2006), Babel Festival Bellinzona (2006), Moscow Biennial (2007), MiArt (2007), Swiss Cultural Institute Rome (2007), Spazio Mudima Milan (2007), SoundRes Lecce (2007), Experimenta Arts Festival Alberobello (2007), Performa New York (2007), Istanbul Biennial (2007), Body Process Arts Festival Istanbul (2007), Art Shakes Politics Messina (2007), Spazio Oberdan Milan (2008), Venice Film Festival (2008), Plektrum Festival Tallinn (2008), Venice Architecture Biennial (2008), GAM (now MAGA) Museum Gallarate (2008), City of Bergamo public art project (2008), Casino Luxembourg (2009), Metropolitan Museum New York (2009), City of Piacenza public art project (2009), Neon Bologna (2009, 2010), Parco d'Arte Vivente Turin (2010), Galleria Continua San Gimignano (2010), Loop Festival Barcelona (2010), Novara Jazz Festival (2010), (un)defined festival Merano (2010), Grrr Jamming Squeak Rotterdam (2011), TeatroStudio Scandicci (2011), group show I Miss My Enemies (collateral event Venice Art Biennial 2011), Festival of Imperial Gardens St. Petersburg Russia (2011) Isola Art Center Milan (exhibitions and local activism since 2002), Tirana Art Center (2011), Taller Seite Medellin (2011), Milano Film Festival (2011), Evento Bordeaux (2011), Auditorium Parco della Musica Rome (2012), Contemporary Locus Bergamo (2012), Festival della Filosofia, Modena (2012), MAAXI Rome (2014), Manifesta 10 St. Petersburg (2014), Vienna Secession (2014), Expo Milano (2015), Italian Cultural Institute Bratislava (2015), National Gallery of Arts Tirana, ONUFRI Prize (2016), Vienna Kunsthall (sounds for Nathalie Du Pasquier, 2016), Innsbruck International (with LF Nagler, 2016), Palazzo Reale Milan (VR project in exhibition by A. Pomodoro, with Oliver Pavicevic). Many of these projects were done in ongoing collaboration with Japanese musician/sound artist Gak Sato. Piccolo was sound curator at ArtVerona in 2008 and for the exhibition "Club 21" during Frieze 2010 in London, and curator of the project Chinatown Temporary Art Museum for Undo.net's participation at InContemporanea Milan in 2008. His collaborations on art video/performance/installation soundtracks include works with Adrian Paci, Luca Pancrazzi (including sound art group DE-ABC with Gak Sato), A Constructed World, Giancarlo Norese, Alessandro Mendini, Nathalie Du Pasquier, Gabriele Di Matteo, Marc Vincent Kalinka, Marzia Migliora, VedovaMazzei and many others. He has published many records (see discography on this website). He has taught art courses at Accademia Carrara Bergamo (2002-2014), NABA Milan (2005-13), and Politecnico di Milano (Piacenza campus). His writings have been published in many international journals, magazines and books, including 4 years of a monthly column for the magazine InSound and curating of sound art pages at the Undo.Net website. Steve was one of the active members of Isola Art Center in Milan (2001-2013), and is currently part of the magazine-collective E IL TOPO (since 2009). Projects for 2017 include a workshop at Galleria Nazionale Rome and a performance at Museo Vincenzo Vela (Ticino). He has founded and curates, together with Sergio Armaroli, a space for sound art and poetry in Milan, ERRATUM, and he is a founding member of the cultural association Città Sonora." ^ Hide Bio for Steve Piccolo • Show Bio for Elliott Sharp "Elliott Sharp is an American multi-instrumentalist, composer, and performer. A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka. Sharp is a 2014 Guggenheim Fellow, and a 2014 Fellow at Parson's Center for Transformative Media. He received the 2015 Berlin Prize in Musical Composition from the American Academy in Berlin. He has composed scores for feature films and documentaries; created sound-design for interstitials on The Sundance Channel, MTV and Bravo networks; and has presented numerous sound installations in art galleries and museums. He is the subject of a new documentary "Doing The Don't" by filmmaker Bert Shapiro."-Elliott Sharp ^ Hide Bio for Elliott Sharp
8/10/2026
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8/10/2026
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Track Listing:
1. Whatever You Do, Don't 7:19
2. Department Of Interdictions 8:53
3. Zymo 7:38
4. Self-imposed And Self-regulated 5:35
5. Open Spheres 6:11
6. The More They Say It Or It Says 4:04
7. That We Are In An Increasingly Permissive Society 5:06
August 2026
Hat Art
Improvised Music
Free Improvisation
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