ACCIAIo DOLCE FUSO, by Mario Gabola

ACCIAIo DOLCE FUSO

by Mario Gabola

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	1.	Hand tremolo 07:25
	2.	Tin cans and strings 05:01
	3.	Voice and feetback 09:14
	4.	Tin cans 04:08
	5.	Tin can and spring 03:18
	6.	Feat. O. Di Placido 04:55
	7.	Tin cans II 05:30
	8.	Feat. G. Nardi & L. Sole 07:12
	9.	Spring reverb 07:40
	10.	Un-sensor and feedback 03:34

about

Listening to Mario Gabola’s performance at the Cross Cities festival in Sant’ Agata de’ Goti was a reminder of how peripheral communities of the art world, far from canonical commercial centers, can be where we experience the most imaginative, and personal artistic practices, responding directly to the conditions of the artist's local reality as opposed to strictly following global trends.

In Mario's performance titled "Jitter Bug Sax solo" held in the beautiful open air patio of Cantine Storiche Mustilli, he played the alto saxophone, tin cans, guitar strings, assorted props, and feedback. His saxophone produced a procession of muted notes and multiphonics, which added an exquisite palette of timbral color. While Mario played the saxophone's mouthpiece in the traditional fashion, he covered the instrument's bell with tin cans and then proceeded to bow strings connecting multiple cans. All the while, Mario introduced gentle amounts of feedback, which took on a vocal-like quality as he moved cans and other objects over the saxophone's bell to modulate the feedback.

The concert was a mesmerizing, low-tech performance that showcased playfulness, virtuosity, and at times a comic approach, not unlike that of a master street musician performing as a "one-man band." At times, his performance felt like it was in conversation with the readymade sound sculptures of Brazilian sound artist Walter Smetak. At other times, his performance seemed to sonically extend the work of the conceptual Arte Povera movement, with its roots in the nearby city of Naples. In short, Mario's solo saxophone performance in Sant’ Agatha de’ Goti elegantly synthesized sound, performance, and sculpture in a way that is unlike anything I have ever heard.

Neil Leonard, November 2023

The Linear Notes are by Neil Leonard. Friend, saxophonist, sound artist, researcher about global marketing impacts on our listening, real music lover and artistic director of the Interdisciplinary Arts Institute at Berklee College of Music

credits

released November 19, 2023

STUDY ON EXTENDED SAX:
mIc, tIn cans, strIngs, springs and un-sensor

Recorded between June 2022 and September 2023 in Mario's Home Studio in Naples;
Track 4 is recorded live at Cross Cities Summer Festival held in the historic Mustilli wineries of Sant Agata de Goti(BN) in southItaly, organized by friend and collaborator Maurizio Chaintone;
Track 8 is with the multinstrumentalists Lucia Sole and Gianlorenzo Nardi aka Lac Of Observation, in this track they both play musical saw;
Track 9 is with Olivier Di Placido that plays a weird dismantled table top guitar with flying pick-up and arms and sound transmission based on a misuse of the electric ground and some motors;
Mixed and mastered by Mario Gabola

MARIO GABOLA:
acoustic alto sax extended by tin cans, springs, strings;
feedback sax, electrified sax by cheap (un)sensor;

Special thanks to: Christoph Erb, Piero Pala, Peppe Vietri, Paolo Godas, Maurizio Chiantone, Agostino Di Scipio, Raffaella Morra, Maurizio Argenziano, Tonino Taiuti, Don Malfon, Andy Guhl, Sean Baxter, Alexei Borisov, Yan Jun, Arnaud Riviere, Olivier Di Placido, Andy Bolus, Neil Leonard, Jack Wright, Crank Sturgeon, John Butcher, Chris Cogburn and all the people who inspired and supported me.

Artwork by Sonnenzimmer
veto/Exchange d004
Physical release soon on Viande Records

linktr.ee/mariogabola

Note by the author
This album is a collection of extended saxophone studies, some of the set-ups used are of my total invention but easy to reproduce having used very poor materials such as strings, tins and springs;
I hope that more than becoming practices of subservience to some technicalities and therefore encouraging dynamics of competition between musicians, they may help to broaden the expressive possibilities that the saxophone, by now a more than traditional instrument, carries with it, encouraging inclusion and openness!!!!! Mario Gabola

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