CD Title Signs

Leader or group name Erika Dagnino Quartet

Names of musicians and the instruments they play.

Erika Dagnino poetry, voice

Ras Moshe flute, soprano sax, tenor sax

Ken Filiano doublebass, effects

John Pietaro vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker

Track details:

Running order

Track titles

Preludio

Prima Improvvisazione

Seconda Improvvisazione

Terza Improvvisazione

Quarta Improvvisazione

Intermezzo

Quinta Improvvisazione

Improvvisazione Finale

Track lengths

4.33

7.19

7.49

4.22

9.51

1.30

8.38

8.01

Composers

Erika Dagnino , Ras Moshe , Ken Filiano , John Pietaro

Recording details:

Date and place of recording.

19^th November 2012 at 17^th Frost Theatre of the Arts, Brooklyn, NY - USA

Name of sound engineer(s) for recording and mastering.

Recorded by Natalie Scarborough on 19^th November 2012 at 17^th Frost Theatre of the Arts, Brooklyn, NY- USA.

Editing, mixing and mastering by Stefano Pastor, Campo Ligure, Italy, December 2012

Many people know Erika Dagnino as a poet and a writer
But she is also recognised in many circles for he
Collaborations with musicians. ‘Signs' is a collection of 
well-crafted poems set to music that has plenty of room 
for improvisation. The opening track "Preludio" begins
with a powerful blues feeling before slowly sliding into 
esoteric , free improvisations. The musicians, and more
importantly their instrumentation, set the mood for Dagnino's 
voice. The pairing of her voice with vibraphone accompaniment
creates a nice, complimentary temperament before the other 
instruments swarm in. The music runs the gamut from sassy
to serious and the instrumentalists' accompaniment ranges
from the thunderous to hymn-like. Filiano's technical strength 
really shines through on "Quinta Improvvisazione" The listener
will get a larger benefit from Dagnino's poems by reading
them in the liner notes as well as hearing them on the recording.
It is easy to be swept into the emotionally charged reading
of the poems and forget about the care she took in writing the 
meaningful text.
Dustin Mallory. CadenCe Magazine | April May June 2014

This is a bilingual, music/poetry production in which the words are spoken
first of all in Italian then narrated again in English, all in an air of
free jazz dialogue.  The words are leached into the music, just as
the musical expression bleeds its way into the obdurate meaning of the
words: the whole is disquieting.  Even in the Italian, which I do not
speak, a sense of their dark meaning is evoked by Erika's
annunciation.  Both words and music are free-flowing, yet grave and
the balance between the voice-sound and use of instruments is inspired and sublime.
Erika Dagnino uses her words and voice as elegant tools with which to interrelate with the
musicians as an equal player in the quartet. This is not new, of course,
words and music, words and jazz have long been seen together, but it seems
less common (perhaps less acceptable) in Europe than in the
States.  I recall suggesting to friends that we go to a David Murray
concert in Birmingham. 
They were not aware until we got to the theatre that he was to be
accompanied by a poet and a whistler and they were horrified – until they
heard the performance. Europeans' minimal interest in such forms of free
expression in music and poetry possibly explains why such an obviously Italian Italian should find her artistic home in the US, where her
work was received with much enthusiasm.

The artist contributes regularly to arts journals such as New York First Literary
Review East, French/Italian Littéraire Quaderni d'Altri Tempi and Suona
Sonda.  She has worked with saxophonists Anthony Braxton and George
Haslam and in New York with The Dissident Arts Orchestra and The Front Extreme
Arts.  Erika writes and recites protracted, ingenious and inventive
passages, passionately describing emotions in words, which she declaims
plainly and stridently in her beautiful voice.

The album is beautifully recorded and all participants deliver a commanding and haunted
performance, an exceptionally gratifying experience.  Given the nature of
this artwork, I have heard nothing so good, so exciting, since Meredith
Monk in the 70s and 80s.
Reviewed by Ken Cheetham  http://jazzviewscdreviews.weebly.com/
 Feb 2014

SIGNS (SLAM CD546) 

Dagnino (poetry, v); Ras Moche (f, ss, ts) and others. NY, 2012

More often than not Dagnino seems to declaim or intone her Italian/English poetry in this no-holds barred set, 
but this has the effect of setting up an extraordinary tension between her and the trio of instrumentalists 
as they weave around her, as per Prima Improvvisazione; not for these guys the mannered tendencies of the 
jazz/poetry deal, as is proven on the opening Preludio where Moshe shows what an original tenor player he is, 
John Pietaro moves well beyond Bobby Hutcherson in his work and bassist Ken Filiano completes a trio which 
deserves a CD of its own.

Nick Jones Jazz Journal December 2013.

Another great indie improv effort from Erika (poetry & voice); Ras Moshe (flute, soprano/tenor sax); Ken Filiano 
(doublebass/effects), and John Pietaro (vibraphone, glockenspiel, snare drum, tom-tom, bells, cymbals). As you 
listen to "Prima Improvvisazione", you'll be as amazed as I was… this is the music dreams are made of, and this 
one will have you dreaming over & over again – the players are truly together on this one! It was the bass/bell/reed 
combo on "Intermezzo" that made it my favorite of the eight offered up… Erika's words are in another language, 
but I understood (clearly) everything she was saying – & you will too. I give Erika & crew a MOST HIGHLY RECOMMENDED, 
especially for listeners who crave adventure in their aural experiences. "EQ" (energy quotient) is 4.98. Get more 
information at theSLAM Productions website. Rotcod Zzaj

http://rotcodzzaj.com/wordpress/?page_id=4202

Italian poetErika Dagninoruns a transatlantic- bilingual career. In Europe she works with avant-garde and free 
jazz musicians as Italian violinistStefano Pastor. In the States she recorded with avant-garde composer and 
pianistChris Brownand leads her own New-York based free jazz quartet comprised of reed playerRas Moshe, double 
bassistKen Filianoand percussionistJohn Pietaro.
The setting of fiery free jazz fits the uncompromising temper of Dagnino's poetry and her bilingual delivery of 
lines, first in Italian, than reprised in English. As if only the intense and rough emotional turmoil of free 
jazz discourse and the musical flexibility of seasoned improvisers can envelope Dagnino's unsettling tales of 
fever, wounds and dry solitude. Her somber, almost militant reciting is part of the free-flowing musical texture,
 balancing the interplay, contributing to the suspense and leaving enough room for improvisations that add emotional 
depth to the suggestive spoken words.
Dagnino poems attempt to encompass momentary experiences of fleeting natural scenes, acknowledging its passing, 
the passing of time, of life. The chamber, free improvisation mirror these dark visions as both are sonic 
utterances of the moment. This bleak ambiance is best captured on "Terza Improvvisazione" and "Quinta 
Improvvisazione," with the recognition that: "Upward footprints of clouds. Downward wounded footprints...," 
abstracted with dissonant electronic sounds, fractured rhythms and tensed bowing on the double bass on the 
former, and a powerful, possessed performance on the latter by the quartet.
Dagnino poetry and music demand careful listening before the multifaceted images and sounds are grasped. 
Still this is a highly rewarding experience.
Track Listing: Preludio; Prima Improvvisazione; Seconda Improvvisazione; Terza Improvvisazione; 
Quarta Improvvisazione; Intermezzo; Quinta Improvvisazione; Improvvisazione Finale.
Personnel: Erika Dagnino: poetry, voice; Ras Moshe: flute, soprano sax, tenor sax; 
Ken Filiano: double bass, effects; 
John Pietaro: vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker. 
EYAL HAREUVENI,24/09/2013
http://www.allaboutjazz.com/php/article.php?id=45365#.UkIUQNK-rBhItalian poetErika Dagninoruns a transatlantic- bilingual career. In Europe she works with avant-garde and free 

ERIKA DAGNINO QUARTET With RAS MOSHE/KEN FILIANO/JOHN PIETARO - Signs (Slam 546; UK) 
Featuring Erika Dagnino on poetry & voice, Ras Moshe on flute and saxes, John Pietaro on vibes and percussion and Ken Filiano on double bass.
Italian poet and teacher, Erika Dagnino, has played at DMG on several occasions and always chooses good musicians to work with. The last time 
she played here a few months ago she was backed by Red Microphone, two of whom (Moshe & Pietaro) are on this disc. This is a studio 
recording and the sound is warm and well-balanced. Whenever I've read Ms. Dagnino's poetry printed on the pages of CD booklets, I am 
impressed. The poems on this disc are printed in both Italian and English. The first track is all instrumental, free and mellow and 
sets the pace of things to come. Ms. Dagnino recites her words in Italian in a calm yet expressive voice. The sound of her voice and 
the words blend well with the somber, free-flowing and quietly unsettling music. Even without knowing what the words mean, a certain 
vibe is still apparent. In the second half of this piece, Erika recites in English so I have to listen more intently to hear what she 
is describing. It is rare for a poet to recite in two different languages within the same setting but it works well here. I like the music 
here since the balance and choice of instruments sounds carefully selected. The blend of tenor sax or flute, plucked or bowed bass and 
vibes or small percussion is consistently inspired and never overdone. The balance between the spoken word sections and instrumental 
passages is superbly balanced giving us a chance to consider the words more thoughtfully. There is a section of "Terza" where the words 
and music are both filled with suspense and mystery as if Erika is describing a rather disturbing dream. There is just enough breathing 
space here to allow us to recover from the occasionally dark moments which appear at unexpected intervals. - 
Bruce Lee Gallanter, DMG    http://mail.aol.com/37996-111/aol-6/en-gb/Suite.aspx

A palavra – não necessariamente cantada – está presente na história do jazz desde os seus alvores. Ou, porventura mesmo, até antes de se poder falar em jazz, quando os contadores de histórias afro-americanos combinavam a palavra dita com ritmos diversos e variações de entoação vocal imitando sons de animais e ruídos de comboios e outras máquinas.

Sustenta LeRoi Jones/ Amiri Baraka que os blues, antes de serem um género musical, são uma forma de poesia. Também a utilização do "scat", abordagem vocal tão típica do jazz, não é mais do que uma manipulação das palavras transformando-as em onomatopeias com intenso travo rítmico.

Aliás, o próprio conceito de "palavra" é multidimensional: nele coexistem significado, som, ritmo e timbre. A palavra tem sido, pois, ingrediente fundamental no jazz, predominantemente cantada, mas também declamada. Neste contexto particular, ganham relevância artística os desenvolvimentos que essa relação tem conhecido na cena nova-iorquina, com Amiri Baraka e um conjunto de importantes "diseurs", avultando o nome de Steve Dalachinsky. O panorama europeu parece, contudo, alheio a este tipo de simbiose música-palavra.

Uma das exceções é a escritora, poeta e artista "intermédia" italiana Erika Dagnino, que no entanto é mais conhecida nos Estados Unidos – em especial na fervilhante cena da Big Apple – do que do lado de cá do Atlântico, onde encontrou relativamente pouco espaço.

Dagnino tem um currículo recheado de contribuições para publicações literárias e musicais, sendo de destacar a nova-iorquina First Literary Review-East, a francesa Levure Littéraire e as italianas Quaderni d'Altri Tempi e SuonoSonda. No plano musical são de destacar as colaborações com o quarteto italiano de Anthony Braxton, para quem escreveu as notas de capa de "Standards" (2006), o violinista italiano Stefano Pastor, o saxofonista britânico George Haslam, o pianista e compositor norte-americano Chris Brown e o percussionista japonês Satoshi Takeishi (que integra o seu trio, juntamente com o contrabaixista Ken Filiano), entre outros. Em Nova Iorque integra ainda a Dissident Arts Orchestra e a Radical Arts Front.

Dagnino desenvolve uma abordagem muito própria, utilizando a voz e as palavras como um instrumento que interage em igualdade de circunstâncias com os outros. Acompanham-na o saxofonista Ras Moshe, o já mencionado Filiano (bem conhecido dos melómanos portugueses, sobretudo por via das suas várias gravações para a Clean Feed) e o percussionista John Pietaro.

Apesar dos seus versos estarem escritos (em italiano e em inglês), incorporam-se particularmente bem num contexto de improvisação, com os discursos musicais a contribuírem para acentuar a intensidade das palavras, tantas vezes de uma solidão crua e torturada («Saliva, eye, larva / Upward footprint of clouds. / Downward wounded footprints. / Saliva, puddle, dream. / Downward stripped feet / Upward nailed feet. / From bit to bit branches. / From bit to bit the seam splinters / Saliva. Eye. Larva. / Saliva. / Puddle. / Dream.»).

Moshe adota um discurso de matriz pós-colteaneana (nos saxofones e na flauta), Filiano é um contrabaixista com uma voz sempre interventiva (quer em pizzicato quer, sobretudo, no seu notável trabalho com arco), mas é Pietaro a maior surpresa, assumindo um papel central na construção de ambientes e texturas, seja no vibrafone ou nas percussões, sublinhando e contrapondo com critério e bom gosto.

Uma gravação pouco habitual e desafiante, que tresanda a Nova Iorque. António Branco http://jazz.pt/ponto-escuta/2013/11/26/erika-dagnino-quartet-signs-slam/

TRANSLATION The word - do not necessarily sung - is present in the history of jazz since its birth.Or perhaps even, even before one can speak of jazz, when the counters african-american stories combined the spoken word with different rhythms and variations of vocal intonation mimicking animal sounds and noises of trains and other machines.

Maintains LeRoi Jones / Amiri Baraka the blues, before a musical genre, are a form of poetry.Also the use of "scat", so typical of jazz vocal approach, is no more than a manipulation of words turning them into rhythmic onomatopoeia with intense aftertaste.

Indeed, the very concept of "word" is multidimensional: it coexist meaning, sound, rhythm, and timbre.The word has therefore been crucial ingredient in jazz, predominantly sung, but recited.In this particular context, gain artistic relevance developments that relationship is known in the New York scene, with Amiri Baraka and a set of important "diseurs" looming named Steve Dalachinsky.The European picture looks, however, oblivious to this kind of symbiosis-word song.

One exception is a writer, poet and Italian "intermediate" artist Erika Dagnino, which however is best known in the United States - especially in the Big Apple buzzing scene - than on this side of the Atlantic, where they found relatively little space .

Dagnino has a stuffed resume contributions to literary and musical publications, most notably the New York First Literary Review-East, the French and the Italian levure Littéraire Quaderni d'Altri Tempi and SuonoSonda.In the musical plan are to highlight collaborations with Italian quartet of Anthony Braxton, who wrote the liner notes of "Standards" (2006), the Italian violinist Stefano Pastor, the British saxophonist George Haslam, pianist and American composer Chris Brown and percussionist Satoshi Takeishi Japanese (which includes his trio, with bassist Ken Filiano), among others.New York also includes the Dissident Arts Orchestra and Front Extreme Arts.

Dagnino develops a very personal approach, using the voice and words as a tool to interact on an equal basis with others.Accompany the saxophonist Ras Moshe, the aforementioned Filiano (well known Portuguese music lovers, particularly via its several recordings for Clean Feed) and percussionist John Pietaro.

Despite his verses are written (in Italian and English), are incorporated particularly well in the context of improvisation, with the musical to contribute to accentuate the intensity of the words so many times in a raw and tortured loneliness ("Saliva, eye discourses larva / Upward footprint of clouds. / Downward wounded footprints. / Saliva, Puddle, dream. / stripped feet Downward / Upward nailed feet. / From bit to bit blank. / From bit to bit the seam splinters / Saliva. Maggot Eye . / Saliva. / Puddle. / Dream. ').

Moshe adopts a discourse of post-colteaneana array (on saxophones and flute), Filiano is a bassist with an ever interventional voice (both pizzicato and, above all, in his remarkable work with bow), but the biggest surprise is Pietaro, assuming a central role in building environments and textures, is the vibraphone or the percussions, underlining and contrasting with discretion and good taste.

An unusual and challenging record that reeks of New York.

L´arte poetica e quella musicale da tempo flirtano insieme con risultati spesso interessanti. Qualche volta è la poesia che subisce la trasformazione maggiore mutandosi nei versi di una pop song, oppure come qui, mantiene la propria identità ed i versi vengono recitati con ardore in mezzo alle improvvisazioni dei musicisti.Erika Dagninonon la scopriamo certo ora. La poetessa genovese da tempo scrive testi ricchi di immaginazione che raccontano di sensazioni in parole che si rincorrono a descrivere in modo inedito storie il cui svolgimento è imprevedibile. Ad accompagnarla in un club di New York ci sono tre improvvisatori: il sassofonista e flautistaRas Moshe,Ken Filianoal contrabbasso e il percussionista e vibrafonistaJohn Pietaro. In Europa manca un interesse reale per queste forme di improvvisazione, versi e musica, rap e free, mentre in USA la sua poesia, recitata così appassionatamente in italiano ed in inglese ha incontrato subito l´interesse del pubblico e della viva comunità di musicisti che risiede a New York. Lei, sul palco, improvvisa dei versi mentra il tutto prende forma con assoli del sassofonista o concitati momenti collettivi. Il percussionista e vibrafonista (ha studiato con Karl Berger) è molto interessante a creare momenti liquidi in cui la musica scorre senza remore. Se il bop era stato la colonna sonora dei romanzi di Jack Kerouac qui è la Dagnino a dare espressione e direzione vocale a quella che è la musica di tre improvvisatori della big apple. L´improvvisazione finale chiude un disco in cui le arti letteraria e musicale trovano un punto di incontro perfetto, eco della contemporaneità. Un eco che si spera arrivi di rimbalzo anche in Italia. Vittorio lo Conte http://www.musiczoom.it/?p=15381

TRANSLATION The art of poetry and the music together for some time flirt with interesting results often.Sometimes it is the poetry that undergoes major transformation mutating in the verses of a pop song, or as here, retains its identity and the verses are recited with fervor in the midst of the musicians' improvisations.Erika Dagninonot find some time.The poet writes Genoese long imaginative texts that tell of feelings in words that run stories in new ways to describe the performance of which is unpredictable.To accompany her in a club in New York there are three improvisers: the saxophonist and flutistRas Moshe,Ken Filianoon bass and percussionist and vibraphonistJohn Pietaro.Europe lacks a real interest in these forms of improvisation, poetry and music, rap and free, while in the USA his poem, recited so passionately in Italian and English met immediately the interest of the public and the living community of musicians who resides in New York.She, on the stage, sudden verses Mentra everything takes shape with the saxophonist's solos or excited collective moments.The percussionist and vibraphonist (he studied with Karl Berger) is very interesting to create moments liquids into which the music flows without hesitation.If the bop was the soundtrack of the novels of Jack Kerouac Dagnino here is to give expression and voice direction to that which is the music of three improvisers of the big apple.The final improvisation closes a record in which the literary arts and music are a perfect meeting point, echo the contemporary.An echo that will hopefully bounce arrivals in Italy.

Una lucida e determinata urgenza, quella che anima "Signs". Opera che bissa ed espande, quanto di buono espresso dall'italiana Erika Dagnino, nel precedente (ottimo), "Narcéte". Dove il talento poetico dell'autrice, in quel di Brooklyn nel Novembre 2012, s'organizza e aziona, per una bollente performance in formula a quattro. Con voce bella, forte e chiara (come l'ha definita Peter Brötzmann), che in questa occasione pare si carichi di oscurità compressa. Un impatto testuale asciutto e intransigente, che si sviluppa in riuscita modalità bilingue (italiano/inglese), mentre Ras Moshe, Ken Filiano e John Pietaro, sminuzzano febbri afroamericane e ruggini avant. Immagini astratte, d'una natura aspra e squassata dal vento, dove il fattore tempo, è fonte d'angoscia sol per noi, di pelle e ossa.

Di spigoli nei fianchi, a ricordarne odori e colori, mentre la si osserva e ricorda, stretti fra pareti di cemento. Fiati, corde, legni e metalli, in urlante comunione impro. Di grumi, di grigi, di rosso e di pietra. Attrito e calore. Recensore: Marco Carcasi December 26th 2013 http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=5582

TRANSLATION: A clear and specific urgency, that soul "Signs" . Work that repeats and expands , the good expressed by the Italian Erika Dagnino , in the previous (great ) , " Narcéte ." Where the poetic talent of the author, in the Brooklyn in November 2012, triple nave and drives for a hot performance formula to four. With beautiful voice , loud and clear ( as he called Peter Brötzmann ) , it seems that on this occasion you loads of darkness tablet. An impact textual dry and uncompromising , which is developed in failed mode bilingual (Italian / English), while Ras Moshe , Ken Filiano and John Pietaro , chopped fevers African-American and avant rusts . Abstract , of a rough and buffeted by the wind , where the time factor is a source of anxiety for us only , skin and bones. Of edges on the sides , to remember smells and colors, while watching it , and remember, caught between concrete walls. Woodwinds , strings , wood and metal , screaming in communion impro . Lumps , gray , red and stone. Friction and heat. Reviewer: Mark Carcasi December 26th 2013 http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=5582