LINER NOTES by Steve Day
REVIEWS
Sergio Armaroli is an Italian vibraphonist who plays both conventional and free jazz, but primarily the latter. In this new release, he is truly out on a limb in the latter style, simply trying to wring as much sheer sound as he can out of his instrument.
The performances on this album have a strong kinship to one of tenor saxist Ivo Perelman’s latest CDs, Tuning Forks, on which vibraphonist Matt Moran “leads” the saxist into timbral exchanges. The difference, of course, is that here Armaroli is working alone.
Within the 43 minutes and 30 seconds of music here, Armaroli explores the full timbral gamut of his instrument, opening with soft triplet figures played by both hands—or, rather, single played in the bass against triplets in the treble. Slowly but surely, he explores varying spatial relationships between notes while maintaining a generally low level of volume, although there are moments when he emphasizes certain repeated notes in the treble by playing with a harder attack on the metal plates of his instrument. One of the things I liked most about this remarkable recording was the way in which Armaroli maintains a pure legato sound on a percussion instrument, although, of course, the vibrato setting aids him considerably in this. (George Shearing, in his early-1950s group, was the pioneer in having the vibist turn the vibrato off when playing, which is how he created such an intimate if dry sound.)
The result of this approach is an almost continuous swirl of sound that varies itself incrementally, creating an hypnotic effect on the listener. Yes, it bears a strong resemblance to an extended warm-up session; the music never congeals into any recognizable pattern; yet the way in which Armaroli is able to maintain a steady rhythm that never wavers is in itself rather extraordinary. The music never congeals into any recognizable pattern; yet the way in which Armaroli is able to maintain a steady rhythm that never wavers is in itself rather extraordinary. Although I reviewed this CD by playing it through speakers, I recommend listening through headphones, which will give you a surround-sound effect that is quite extraordinary. Little by little, step by step, Armaroli varies the inner feeling of meter despite maintaining a steady pace, and this, too feeds into the overall impact.
Indeed, if you play it softly enough and just let the music wash over you, I think you will find this an excellent CD to accompany meditation. It is very much a one-off—I for one can’t imagine Armaroli recording a sequel, since he only made it to 43 minutes on this CD—but a fascinating one nonetheless.
—© 2023 Lynn René Bayley
One of the few labels that still has an identifiable sound, Leo Record brings form the free vibes of Sergio Armaroli in two settings.
The first is a trio of solo vibe performances, a three part “Density” suite lasting 43 ½ minutes. All sections have a graceful wind chime appeal, with Armaroli sustaining the roll of the mallets like a breeze rustling through a house by the ocean. There are a few changes in dynamics, but the overall mood is akin to ambience created by Waterford Crystal.
When he mixes and matches with trombonist Giancarlo Schiaffini or Harri Sjostrom on the soprano/sopranino saxes, things get a little frisky. The album is divided into ten “More” themes, ranging form a concise just under two minutes to a nineteen minute opus. It’s practically impossible to tell the difference between SJostrom’s soprano in altissimo or his sopranino in regular pitch, as both do a lot of squealing and squawking throughout. Schiaffini’s trombone plunges lower than Jane Mansfield’s neckline as on “More 1” with Sjostrom creating duck calls with the trombonist on “3”, “4” and “6”. The bops a bit on “ 2” and gets eerie on the shadowy “7”. Less is more.