Original compositons by: Keiko Abe, Ney Rosauro, Phil Faini, Joseph Zawinul, Michael Camilo, John Beck, Johann Sebastian Bach, Giovanni Bonato, Lou Harrison, Edoardo Gioachin, Akira Nishimura.
Art Percussion Ensemble, Massimo Pastore conductor; special guests Art Mallet Duo & Massimo Malaguti.

The title “LIGHT & DARK” refers to the approach to different genres of music between “light & serious,” a multiform percussive abstract among folk music, ritual dance, myths of nature, and sonorous architecture from the time of J.S. Bach to today.

On the “LIGHT” side, you can appreciate the Wind Sketch II by the Japanese Keiko Abe, a marimbist very often inspired by natural events. Next is the music of the solo berimbao, an African percussion string instrument used in Brazil in the acrobatic dance Capoeira, composed by Ney Rosauro, followed by the deep roots of 6/8 African rhythms of the Yoruba tribe in Afro-Amero by Phil Faini. Then come the pleasant percussion arrangements of Birdland by Joseph Zawinul, ex-Weather Report player, and Why not! by Caribbean virtuoso pianist Michael Camilo. A deep insight into the Brazilian mysteries and legends of Mitos Brasileiros is then presented by Ney Rosauro, with narration of his amazing characters represented in a wide range of rhythms, sounds, and instruments. This disc concludes with a jazz Drum Concerto by John Beck with a small percussion orchestra.

On the “DARK” side a very classic and contemporary program is introduced. We begin with the sonor architecture of J. S. Bach presented in an atypic Prelude version for two marimbas, and continue with Mimesis, a new composition for sonor tubes, glasses and vibraphone written appositely for the Ensemble by Giovanni Bonato; Next comes a Suite for percussion written in 1942 by Lou Harrison through which listeners experience new sounds referring to Javanese music and using salvaged materials like metal pipes, a sink, disk brakes, watch and truck springs. Following is Metal-mente, another piece dedicated to the Ensemble, a composition using only metal instruments and vibraphone playing over serial sequences. After that is Kecak, the “Ape’s Dance” of Bali Island based on four sequences that intertwine like a rhythmical belt, accompanied by timpani and vibraphone which develop a dialogue similar to an Indian Raga. The disc ends with a live version of Ionisation for thirteen percussionists by Edgard Varése, defined by Curt Sachs as “the greater rhythmical inspiration never written.” It is a wonderful piece that was finished in 1932, and is characterized by an unremitting explosion of imagination and timbre creativity developed inside traditional constructive elements.