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MAHANADA



Friday, 11 June 2004 MAHANADA è il Grande Suono le cui vibrazioni hanno generato il cosmo. Il Progetto è proteso a creare un viaggio tra il finito e l'infinito. E’ un viaggio iniziatico che avvicina il viaggiatore al suo centro via via che da esso se ne allontana.In cui le impressioni si mescolano e riaffiorano in modalità sempre differenti, ed il Silenzio ha la stessa dignità del Suono.Nella musica del Progetto coesistono elementi diversi che si coagulano in combinazioni "irripetibili" grazie all'uso dell'improvvisazione collettiva. L'antichissimo valore magico-simbolico del Suono inteso come rimedio e nutrimento e mai come mero intrattenimento, è rappresentato dall'uso di strumenti della tradizione indiana, come le Tabla, il Sitar e il Mridangam, insieme agli strumenti degli Sciamani centro-asiatici e Tibetani, quali il Damaru e le Tibetan Bells e, soprattutto, il canto armonico, le cui vibrazioni hanno un effetto benefico sul corpo e sull'ambiente circostante.Questo mondo di suoni primordiali coesiste con l'uso di strumenti "europei" (Pianoforte, Clarinetto Basso, Sax e Flauto) e strumenti tradizionali dell'area mediterranea quali il violino arabo Rebab, il Bouzouki greco, il Tamburo a Cornice calabrese e il Darbouk , ma anche sintetizzatori ed altri strumenti d’alta tecnologia.Il tutto per creare una simbiosi che non vuole essere world music fine a sè stessa, ma al contrario è il risultato di una scelta artistica precisa, aperta a varie possibilità espressive, in cui l'esecuzione musicale diventa viaggio di conoscenza ed esperienza irripetibile di luoghi e volti nascosti nella coscienza. Mahanada is the Great Sound whose vibrations have generate the Cosmos. It is God’s voice that encloses within itself all possible languages heard simultaneously. Diversity is the need of expression, yet all diversities have the same root to hold them together: as all musics, the unexpressed has its roots in silence. The founding members are: Carlo Nicita(1975), who plays the flute, and is also the sound engineer; he has a conservatory degree and has followed international courses for classical perfectioning. His interests have brought him to work in pop, rock and ethnic music, cooperating with such reknowned artists as Leo Sayer and Piero Pelù. He has followed Berkelee school courses at Umbria Jazz, and recieved a scholarship from the Berklee college of Music, Boston.He is certainly one of the most original and promising sicilian flutists: making use of a strong classical formation he opens out with wisdom and a strong musical imagination into jazz and similar styles. Carmelo Coglitore(1975) is on clarinet and tenor sax, after recieving his conservatory degree in Clarinet, he has perfectioned his art with Fabrizio Meloni, first clarinet at Teatro La Scala in Milan. He has dedicated himself to the “global” study of music, has followed Berklee school courses at Umbria Jazz. In 2002 he has won 2nd prize at the VII national of Classical and Jazz music Prize “Città di Colleferro”, recieving a scholarship to study at the Siena Jazz Seminars, playing with Bruno Tommaso and Franco D’Andrea. He has studied self-taught arrangement and composition and is always looking for new musical sounds. Luciano Troja(1963) on piano, has studied at the Berklee music courses at umbria Jazz, taken part in the “We Love Jazz” Seminars in Genova with Shirley Scott and James Williams. He has taken part to the Jamey Aebersold Summer Schools in London, and has been invited to perform with the Richmond Workshop at the london jazz Club “The Bull’s Head”. Besides participating to several workshops(Franco D’Andrea, Roscoe Mitchell), since 1996 he has been organizer and pianist in the Laboratorio permanente di Musica Jazz, Messina, directed by Salvatore Bonafede, among whose projects there has been project on Kenny Wheeler’s music, which concluded with his own direction. Giancarlo Mazzù(1967) plays string instruments like the bouzoki, the Rebad(indian violin), the Sitar and percussions from indian and tibetan traditions, such as tablas, miridangam, dharbouka, tibetan bells, as well as the use of harmonic chant as sung in middle eastern and tibetan shamanic cultures. A Guitarist with a conservatory degree, he has also studied jazz arrangement and composition with Salvatore Bonafede. He has also followed several seminars and Master Classes of Classical Guitar, and won national and international prizes. He has played and perfectioned with Gianluigi Trovesi, S. Battaglia, R. Ottaviano, Piero Damiani, G. Tommaso, among ohers. In Perugia, he has recieved the Berklee school of jazz diploma. He has taken part to the Roccella Jonica Jazz Festival, Siena jazz seminars, he has composed music for theatre and documentaries. All musicians have participated in the composition and arrangement of the songs. MAHANADA is a travel between finite and infinity: an initiatory voyage which takes the traveller closer to his center as it moves away, where impressions mix and reappear in ever-changing modes, where silence has the same dignity as sound. In the project’s music different elements coexist in irripetible combinations thanks to a collective improvisation that arrives to absolute atonality, for not forgetting that the Cosmos has its birth from Chaos, which is none other than the cosmos unexpressed. The ancient magical and symbolical value of Sound meant as healing and nourishment, and never as banal entertainment, is represented with the use of instruments from the indian tradition, the middle-asian shamanic tradition and most of all the harmonic chant, whose vibrations have a benefic effect over the body and the surrounding environment. This world of primordial sounds, that indifferently evoke the movement of the cosmos and the vital rhythms of the human body, coexists with the use of “european” instruments(piano, clarinet, sax and flute) and traditional instruments such as the Rebab, the Bouzouki, he calabrian hand-drum and the Darbouk; all this for creating a symbiosis that is not self-entertaining world music, but the result of a precise artistical choice, open to several expressive choices, where the bounds between possible and impossible, between “us” and “them” is abolished and musical execuion becomes an irripetible experience of places and faces hidden in one’s conscience. www.mahanada.com
Last Updated ( Thursday, 02 September 2004 )