Segni, by Paolo Sanna Okra Percussion Project

Segni

by Paolo Sanna Okra Percussion Project

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Comes in an eco-friendly cardboard gatefold sleeve with artwork by Matt Atkins and Paolo Sanna.

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1.	Matt Atkins - Segni 09:44	buy track
2.	Quentin Conrate - Segni 08:30	buy track
3.	Kevin Corcoran - Segni 08:05	buy track
4.	Francesco Covarino - Segni 09:10	buy track
5.	Giacomo Salis - Segni 04:58	buy track
6.	Paolo Sanna - Segni 05:02	buy track

about

“Segni” (Signs in italian) began life as some random notes for a possible study in standard and extended techniques on a 33 cm, traditional chinese drum. With time I developed a series of possible combinations where gesture is at the centre of the research and the study on individual instruments. I have always thought free improvisation is the best way to approach research, but I also felt the need to organize sounds so as to have some kind of order and to fix ideas under study.
The result of all this is 4 pages full of notes and small drawings, something I always do when I am studying the sound possibility of a new instrument. It is only later that I chose to write a basic graphic score to send it to a small group of percussionists for them to play it with complete freedom, and after that I will be able to understand each musician’s different interpretations and approach. The choice of the musicians involved is not random, since I am working/have worked with some of them, and with others I have had exchanges of works, impressions, ideas.
I thought that opening the graphic score to any other single percussion instrument or set of percussion instruments could be a further step into developing the project, but I also felt is should not only be me playing, so I chose to involve other musicians, asking them to play what they feel with their percussion instrument(s) while following the minimal instructions in the score, which are nothing but a pretext to work with total freedom on each musican’s own energies and sensations.
“Segni” is not a score of my own, it becomes the score of whoever plays it, since I do not wish to give further instructions: I prefer to leave total freedom because what I care about is to study the possible variations which arise from every musician involved. The only “obligation” is to play acoustic and without excessive overdubs, with the possibility to choose the recording location which everyone prefers – even outdoors. In this case it is very important that all the surrounding sounds and noises become part of the recordings as another element of the whole. This is the third OKRA Project release, but this time the difference lays in the fact that the graphic score is meant to be played solo, and not with an ensemble like I did for the previous productions.

***Sections A B C D E can be playd in whatever order one wants, there is no obligation to follow the alphabetical order. Section F is the “fusion” of all the others, which are thereby freely combined. Total duration of the track is ideally 8/10 minutes.
The music presented here is dedicated to Milford Graves.

credits

released June 18, 2022

1# Segni - Matt Atkins 9" hand drum Wire drum brush Cardboard box Polystrene block Ping Pong Ball Small metal plate Metal table Wine glasses Rec. at home in North West London with open windows. Summer 2021
2# Segni - Quentin Conrate:
Snare drum
Objects.
Rec. at home In Lille. France. Summer 2021

3# Segni - Kevin Corcoran:
Paranku
Metal objects
Rec. at home in San Francisco. California. Summer 2021

4# Segni - Francesco Covarino:
Toy drum
Wood maracas
Toys
Rec. at home in San Valentino della Collina. Italy. Summer 2021

5# Segni - Giacomo Salis:
Frame drum Objects
Rec. at Cala Racky – Domus de Maria. Italy. Summer 2021

6# Segni - Paolo Sanna:
Chinese traditional drum
Objects
Rec. at P@SoundWorkshop. Sardàra. Italy. Winter 2020

MRM63

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about

Minimal Resource Manipulation London, UK

MRM is not currently accepting demos.

MRM is a DIY label for experimental music curated by Matt Atkins, a London based sound and visual artist whose principle interests are reductionism, chance, repetition and texture. He uses objects, percussion instruments, occasionally a laptop and cassette recorders to create sound collages in both the recorded medium and live. ... more

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