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The Italian improvising music unit Jealousy Party, known for their spontaneous use of self-recycling through playback devices, is joined by Berlin-based artist and composer Nicolas Wiese in this studio recording.
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Label: Absinth Records
Catalog ID: 022
Squidco Product Code: 16340
Packaging: CD inside handmade 7" foldover, in hand stitched vellum sleeve
Recorded by Tom Wolke in studio and by Jealousy Party & Nicolas Wiese in their living room.
Mat Pogo-voice, recordings
WJ Meatball-live mixing
Nicolas Wiese-computer, sampler, percussion, objects, strings, final composition, mixing
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• Show Bio for Edoardo Ricci
"Edoardo Ricci is a key figure in the underground music panorama in Italy. He's an accomplished multi-instrumentalist, caustic illustrator and irreverent poet.From Avantgarde Jazz to free improvised music, from experimental rock to primitivist cabaret and noise exploration, his career delineates a unique personality in a forty-year long trip in music from the other side of the fence.
In the late sixties he concentrated on reed instruments. Even if he favors alto saxophone and bass clarinet, over the years Ricci developed his own personal technique on many other wind instruments including trombone.In the early seventies, he gained notice for playing in Guido Mazzon's Gruppo Contemporaneo. He became a revelation in the Italian avant-garde jazz scene and soon he became interested in radical improvisation and experimental music.In 1973 together with Francesco Donnini he founded the legendary pataphysical orchestra N.E.E.M. based in Florence. A large ensemble that blends composed and improvised music and theatre in its own idiosyncratic way. The Orchestra recorded one cult album in 1978, Come Eravamo Brutti da Piccini on the Materiali Sonori label and a second one, Lo Jodel del Segafanciullo in 2002 on Burp Publications under the moniker of e-N.E.E.M. Projekt. The group is still active.
In the late seventies and early eighties among the many artists he played with, were Tristan Honsinger and Sean Bergin and with Muzic Circo and Padouk. Also in the late seventies, Ricci started his collaboration with Eugenio Sanna, later documented by two albums on Burp Lo Scorfano Miracolato and Le Sette Premonizioni Ortofrutticole, that were recognized as representing a crucial moment in Italian creative music at that time.Since the nineties his musical path lead him to encounter a number of international figures among which the heterogenous Florence-based collective Burp Enterprise. In 1996, he joined Mat Pogo and WJ Meatball in Jealousy Party and founded Crap with trumpet player Roy Paci and drummer Jacopo Andreini. He also played with freeform heavy rockers Bron Y Aur and in 2001 recorded I Segnali della Ritirata with Eugenio Sanna and Roger Turner.
In 2013 he contributed to two Jealousy Party albums, Mercato Centrale, for Burp, and All Yours on Audition. Currently, he plays with the Florence-based new music collective Blutwurst and with the noise project Athanoi together with Stefano Bartolini. He plays on "Morire Per La Patria" the most recent album by the Milanese avant rock unit Fuzz Orchestra. Live In Pisa, a second album with Eugenio Sanna and Roger Turner is out now for Burp Publications."-Audition Records (https://www.auditionrecords.com/ar091.php)
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1. timeless / stuggle 19:56
2. relative memory 10:01
3. dentrophysics 7:41
4. more = more 9:13
sample the album:
Jealousy Party is one of the most significant creative music units in Italy, and the major act in the Burp Enterprise collective. The Florence-based ensemble, even though its members are spread all around the planet, is active since 1995. The JP core trio consists of Mat Pogo (performing actual and recorded voices), WJ Meatball (live mixing, cutting and recycling pre-recorded material of the whole group, a system she calls 'JP Set') and Edoardo Ricci on reed instruments. The merging of a vivid live performance with self-recycling through the spontaneous use of playback devices has become one of Jealousy Party's most crucial trademarks. For this album, Berlin based artist/composer Nicolas Wiese has joined the trio in a studio recording session, followed by a casual stereo-recorded meeting in Pogo's living room. Wiese's approach to electroacoustic performing adds a different take on self-recycling here: in the (mostly improvised) playing, he contributes samples of Pogo vocals and breath as well as pre-manipulated Ricci solo fragments - so his part clearly supports the techniques, timbres and philosophy of the group. His main part however, would begin after the recording sessions. In his studio, he takes apart and re-configurates mostly everything played, but with a clear focus on maintaining the JP characteristics of expression. He adds layer on layer of sound textures and spatial expansions; at some parts he would leave the improvised combination of vocals and saxophone exactly the way it happened, while completely reconstructing the electroacoustic accompaniment out of key moments in Meatball's and his own sample playing. Some other parts you hear in the final result, are rather a clash of several studio takes that were never intended to be brought together in the first place. In the title piece 'Relative Memory', the spatial distance of the living room recording is utilized as a communicative embedding for new vocal takes, in which Pogo recites his own lyrics - out of memory; and Wiese's mix and arrangement completes the focussed relativity of self-quotation in a musical frame that is never 100% improvised and never 100% fixed.
European Improvisation and Experimental Forms
Objects and Home-made Instruments
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