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here’s a radio interview I did in Radio Campus Paris on the ‘Jazz & Co’ program, thanks to Olivier Delaporte for the invitation!

https://www.radiocampusparis.org/jazzco-giovanni-di-domenico-04-12-17/

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radio show I did for NNWRadio (in Russia), with great tracks from Masayuki Takayanagi to Pak Yan Lau, Joao Lobo and Charlemagne Palestine:

https://www.mixcloud.com/nnwradio/giovanni-di-domenico-12th-october-2017/

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another great ‘diary’ about the BonJinTan Japan tour 2017, again thanks to the great Yusef Sayed!

https://yswriting.wordpress.com/2017/11/24/bonjintan-giovanni-di-domenico-interview-extra/

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here’s a great interview made by Yusef Sayed on Insalata Statica, happy reading!

https://yswriting.wordpress.com/2017/11/02/giovanni-di-domenico-interview/

…..and here the first batch of reviews…..

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happy to announce the release of Insalata Statica, on Silent Water

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With the great help of:

– Ananta Roosens: trumpet on part IIIa
– Joao Lobo: drum on parts II, IIIa, IV, V, VI
– Jordi Grognard: clarinets on parts Ia, II, IIIa, IIIc, IV
– Niles Van Heertum: euphonium on parts Ia, IIIa, IV, V – Vera Cavallin: harp on parts II, IIIa mastered and cut by Frédéric Alstadt
layout and design by Miquel Casaponsa

The new solo LP by Giovanni Di Domenico, Insalata Statica comprises a single album-length composition, initially a suite of six distinct parts that have been weaved together to form a kaleidoscopic whole.

Composed and performed almost in its entirety by Di Domenico himself, the music takes listeners from passages of melancholic introspection through to fuzz-laden melodic exuberance. The subtle, shifting harmonies, rhythms and textures are deftly arranged – often blurring lines between a wide variety of acoustic and electronic instrumentation – to form a coherent arc from beginning to end. Moving through delicate motifs for horns, woodwinds, percussions, harp, guitar and electronics into more stately piano-led choruses and even hectic, Hammond-led jazz sections, Insalata Statica will appeal to fans of O’Rourke’s The Visitor.

The material for the album originated in studio recordings composed for a separate band project five years previously.Through techniques of overdubbing and editing, Di Domenico searched to find a common musical frame in which the different ‘songs’ he had quickly laid down could exist – and by the same means, finding a way in which to fuse diverse influences. Although the result of meticulous editing, Insalata Statica nevertheless retains a sense of spontaneity and lightness that gives the music an organic quality.

Insalata Statica, which translates in English as ‘static salad’ derives from a joke – a friend’s playful description of Di Domenico’s music. As the pianist says: “I prepared the salad fairly quickly, then took five years to ‘dress’ it. I thought it was perfect to have this more static beginning that slowly unfolds into different twists and tricks, to reach a much less static end.”

While largely recorded in the studio in his current city of residence, Brussels, it seems only fitting that for a peripatetic musician such as Di Domenico the album should suggest the experience of travel throughout its ever shifting movements. Listening to Insalata Statica, one can easily imagine the character of different landscapes – and their effect on mood and energy. The music seems to convey the haze of early departure; the romance of new climates; sleepy intervals and the hectic rush of transit; the feeling of sudden inspiration and the lasting traces of memory.

In the album’s changing moods, colours and tempos there are evocations of the melancholy of Franco Battiato’s 70s albums, Brazilian folk flourishes, the spacious, harmonically rich jazz of ECM recordings and oddball pop. Ushering such influences into a vibrant whole, revealing a skilful ear and an ability to blend instrumental timbres and melodic lines in surprising ways, Insalata Statica has a compelling, melodic charm all its own. Yusef Sayed.

 

video teaser for Insalata Statica, first album under Giovanni Di Domenico’s name, out in november on Silent Water!

hte images are from Vegetable Thriller, by the great Loic Sturani

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this one is a must have!!!

Bonjintan is: Akira Sakata, Giovanni Di Domenico, Jim O’Rourke and Tatsuhisa Yamamoto. Their debut CD was released in june 2017 on Dapnhia (Sakata’s own label), here’s the only place you can get it except in Japan……

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get it while it lasts…..

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very excited to announce a new project and release!!!

Thanks To Roge @ El Negocito Records and to everyone involved in this LP!!!

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Giovanni Di Domenico & AbschattungenThe Ear Cannot Be Filled With Hearing

El Negocito Record

Abschattungen is the band Di Domenico formed to pay hommage to everything that goes under the name ‘funk‘. Strong grooves are laid under a forest of psychedelic textures and intense melodies, filling the auditory space with dense metaphysic dance movements.

Taking inspiration from albums as Sun Ra’s Lanquidity and Gruppo Di Improvvisazione Nuova Consonanza’s Feedback, black music inspired pulsations are fused with contemporary music’s sensibilities and the power of free jazz, resulting in a futuristic sound but still very indebited to the marvelous history of black musics.

Quentin Manfroy: flute, Jordi Grognard: clarinets/duduk/oboe, Laurent Blondiau: trumpet, Audrey Lauro: alt sax, Daniele Martini: tenor sax, Gregoire Tirtiaux: baritone sax, Marti Melia: bass sax, Giotis Damianidis: electric guitar, Axel Gilain: electric bass, Jakob Warmenbol: drums, Mathieu Calleja: drums, Giovanni Di Domennico: piano, fender rhodes, arp odissey, compositions & arrangements, producing engineering and mixing.

visit this bandcamp page to listen to 2 tracks of this record

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very proud to announce the release of JOMON!!

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Akira Sakata / Manuel Mota / Giovanni Di Domenico / Mathieu Calleja

JOMON

Holidays Records, 2017

Japanese saxophone transgressor Akira Sakata meets with his long-time collaborator and Fender Rhodes virtuoso Giovanni Di Domenico, Portuguese guitarist Manuel Mota, and drummer Mathieu Calleja for a session recorded at Les Ateliers Claus in Brussels.

Named after the Jomon period of the Japanese prehistory – when Japan was inhabited by a hunter-gatherer culture rich in tools, clay pottery, and jewelry made from bone and stone – the record features three tracks: Jomon (縄文), Kaen (火焔), and Dogu (土偶). The Dogu (literally: “clay figures”) were small humanoid and animal figurines made during the Jomon period for religious purpose: it may have been believed that illnesses could be transferred into the Dogu, then destroyed, clearing the illness, or any other misfortune. The record itself is a musical healing ritual invoking and unleashing a powerful demon with Sakata’s throat singing, then slowly hypnotizing it in the second half of the album, putting it back into its vault before it’s too late. Beautiful artwork made with Sakata’s hand-painted Kanji characters.

 

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