Review of D'Onde by Aurora Curcio, Improvvisatore Involontario

What direction is music bringing? I try to explain myself better. I report myself neither to classical music neither to pop music, two categories from long time embalmed inside their own stylistic territories, both from the necessity to perpetuate for ever a rite of repetition required by their teams of followers. But try to stir in the territories of border, to realize something new again, belonging to avantgard or simply to the search of something of extremely personal and alive, what paths does they cross?

From what I am listening and I have listened in the last two years it seems to me that there are two directions interested by the musical creativeness: first, a sort of approach between composition and improvisation, more and more improvvisatoris devote themselves to the default structures created by the composers transforming themselves in eclectic and informal executives, more and more composers discover the joys and the risks of the improvisation becoming themselves “istant” composers. At the same time it seems to me that after one century of atonal search, the noise's discovery, abandonment of the melody, desire of a cerebral music as pure expression of an abstract artistic thought there is more and more a return to the emotions, to the desire of a music that expresses feelings and vibrations till now disdained and "relegated" to the popular music.

“D’Onde” is it possible that a composer wants to record her own ideas transcribed on scores through a musical label / collective with the name of Improvvisatore Involontario? Is it a paradox? As Mario Gamba wrote in the notes that they accompany the cd? Is it a musical nonsense or another joke from a collective that in the years has accumulated by now several examples of witty and intelligent humor?

For sure Aurora Curcio knows what she does, as they perfectly know Domenico Ammendola (clarinet), Carmelo Coglitore (tenor and soprano sax, low clarinet), Andrea Avena (bass) and Francesco Cusa (drums) perfectly relaxed among the notes of a score instead on unintentional improvisations (one of these days I will decide to face their sense of humor asking "but what means “Involontario” (Unintentional)”?. On everything, justly thanked in the cd’s booklet musically flutters the concrete ghost of Coltrane, but shortly who will stop the music? Is the air becoming electric? Are scores and composers turning themselves into nets of relationships? Very beautiful!