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Identity
Maurizio is one of the most creative and versatile percussionists active in the UK today. During a career spanning across over three decades he has explored musical expressions as diverse as funk, rock, 20th century composition, Hispano-American and Brazilian music, free-form improvisation, contemporary jazz and the post-war “experimental music” legacy.
His eclecticism and versatility as a percussionist is probably best revealed by a list of some of the people he has toured and recorded over the years: Jamiroquai, Paul McCartney, Jesus Alemani, Snowboy, Alex Wilson, Dennis Rollins, Greg Osby, Kaidi Tatham, Dego McFarland Paul Young, Finn Peters, Dele Sosimi, John Edwards, Steve Beresford, Oren Marshall, Shabaka Huchkins, Andrea Parkins, Phaedra Ensemble and the choreographers Lea Anderson, Bill T.Jones, Maja Garcìa, Jane Turner and Laura Simi.
He has released 11 albums of his own projects, and appeared in over 40 full-length releases by other artists.
His most recent projects are his solo percussion act (see discography), the pan-European trio Fiium Shaarrk (one of BBC3 Late Junction’s 12 best albums of 2017) and “The Loud Atlas”, a one-hour duet for one dancer and one percussionist, created with the French company SIlenda and premiered in Paris in 2021.
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One of the finest avant-garde percussionists in the world. Maurizio Ravalico is incredible to watch and hear. Catch him live somewhere soon!Jean-Claude Thompson, IfMusic.co.uk
Creative, deep and intriguing. Percussion avant-garde at its best.Vince Vella, Dj, producer, Havana Cultura
When I grow up I want to be like Maurizio Ravalico.Axel Drioli, soundingwild.com
Roger Turner would have been much more fun.Dan Warburton, ParisTransatlantic.com
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Maurizio Ravalico
Maurizio Ravalico's first full-length album as an unaided solo percussion artist; in his own words "“the most eloquent synthesis to date of my lifelong love affair with percussion music”. The music on “Nobody’s Husband, Nobody’s Dad” is entirely acoustic and live played, with no overdubs added to the initial takes. These have all been slightly edited to different degrees, mainly to fit them into the time limitations of vinyl; but other than that all tracks are faithful reproductions of single, uninterrupted one-man performances. Another distinctive musical trait of the album is its persistent denial of metric recurrence. Maurizio’s solo music is focusing on sounds, often generated by unexpected combinations of conventional instruments and found objects, both played using a mix of orthodox and extended techniques, and often on top of a big drum, which augments dramatically their timbrical and tonal range. The finished pieces recall thus the aesthetics of both contemporary and improvised music, despite them being neither strictly composed nor at all improvised.
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Maurizio Ravalico
The 12” EP “A Momentary Convergence of Differently Paced Trajectories” is a prelude and companion of Maurizio Ravalico’s first solo percussion album “Nobody’s Husband, Nobody’s Dad”, and it comes in a numbered run of 300 individually screen printed 320gsm manilla card sleeve. The EP's B side contains a shortened version of one of the album’s tracks, a remix of the same by irredeemable d’n’b veteran Enjoy, while on side A there are two personal percussion-heavy takes on two illustrious collaborations from 2017: the London/Berlin trio Fiium Shaarrk and Tamar Osborn’s Collocutor.
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Maurizio Ravalico
Second full-length release of Fiium Shaarrk, the trio of Rudi Fischerlehner (drums), Maurizio Ravalico (percussion) and Isambard Khroustaliov (electronics). The album documents various stages in the latter life of this continent-scattered ensemble, and was written and recorded in different studios between Berlin, London and various other European cities that have hosted the band for festivals and concerts. On the release of their first album, “No Fiction Now!”, the group were described as sounding “Like famished animals whipped onwards by drum and hi-hat, processed electronically but gripping onto materiality by their fingernails” (The Wire), and provoking the sensation of being “(...) essentially blind in a fighting circle of beats” (DIY magazine). With “We Are Astonishingly Lifelike”, Fiium Shaarrk expand on these attributes across 7 compositions, each of which explores a different facet of the group’s vocabulary. As Neil Bennun alludes, in his liner notes for the album, there is a sense in which the results are perhaps best described as a kind of sonic architecture. To quote: “... the music erects its own interior, and we can walk inside to inspect it. It is a modernist edifice decorated with quadruple-time bass drums and ride cymbals and metallic percussion; the skirting boards, carpet and underlay are digital. (...) We have a very disciplined gale of percussion, sub and inscrutable arpeggios. Finally, the source tones peek through. It’s horns, or piano, or glass, or vibraphone. Or none of these.” The metaphor is further alluded to by the cover artwork, where Fiium Shaarrk articulate a sense in which they are perhaps best comprehended as storytellers in a palace of electroacoustic music, able to pick out and elaborate both micro and macro musical scales at will, whilst tracing paths that fuse, amongst others, the footprints of Karlheinz Stockhausen, Edgard Varese and Luciano Berio with reflections of Batucada, Dub, Post-Rock and Drum’n’Bass. “We Are Astonishingly Lifelike” renders an improbable symphony of influences into a uniquely compelling odyssey.
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Maurizio Ravalico
Fiium Shaarrk was a trio active between 2010 and 2018, uniting the improbably diverse backgrounds of Rudi Fischerlehner (drums) Maurizio Ravalico (percussion) and Isambard Khroustaliov (electronics). No Fiction Now! is their debut album, released in the autumn of 2012 via Not Applicable. Alternating freely between a jigsaw of unquantised proto-dance grooves, the luxuriant austerity of 20th century composed percussion music and the fertile landscape of live electronics, Fiium Shaarrk’s music is at once visceral, cerebral and visionary; at times joyfully naive and at others virtuosic and painstakingly scientific. Fiium Shaarrk draw openly from a diverse array of past musical influences; from Tortoise to King Crimson, Max Roach to Napalm Death, Autechre to Xenakis and Dubstep to Maracatu. However, their unreasonably unassuming explorative music is most unquestionably addressed to the men and women of today.
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Maurizio Ravalico
The Resurfacing of an Atavistic Trait is the second album from the Isambard Khroustaliov (electronics) / Maurizio Ravalico duo. It comes five years after the release of their first work, ‘Five Loose Plans‘, the album that marked the beginning of their friendship and artistic collaboration, and was in fact, the documentation of their very first recorded session; three days spent in a studio, interrogating techniques and sonic territories that, back then, were new to both of them. During the following five years, the seeds sown during those first sessions were to form the basis of an open-ended, ongoing dialog, the fruits of which are to be seen in many projects and collaborations where Isambard and Maurizio appear both together and individually in different and often wider contexts. Many of these are documented in the Not Applicable catalogue; others found their outlet elsewhere. With ‘The Resurfacing of an Atavistic Trait’, Maurizio Ravalico and Isambard Khroustaliov return to their initial format as a duo, to resurvey the material that sparked their curiosity in the first instance. The evolution of this material is clearly discernible, despite the fact that it traces new and very different paths, eschewing to a certain degree the idea of fusing so concretely the percussion and electronics and therefore allowing the music to be infused with a narrative and poetic element that was only hinted at in ‘Five Loose Plans‘. The two half-hour long tracks on ‘The Resurfacing of an Atavistic Trait’ were recorded over the course of two live concerts, held in Berlin during the Not Applicable Artists Festival 2011; they are not improvisations, but planned traverses that are nonetheless filled with the chance occurrences that populate performance environments. In keeping with the spirit of this circumstantial paradigm both the tableaux that function as titles for the two tracks and the artwork by Valentin Manz are not intended to be in any way either guides for the listener or impressions of the pieces. All three elements should be considered as separate but parallel entities, each entering into a related spirit of evocation whilst retaining an originality of purpose.
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Maurizio Ravalico
This recording is a document of the first meeting between Maurizio Ravalico and Isambard Khroustaliov; an exploration into the sonic potential of metric freed percussion and real-time electronics in the context of free improvisation. The duo take advantage of acoustic sound at its richest and most varied in terms of timbral expression with Maurizio’s set-up expanding the palette of percussion sound from a selection of normal instruments (two surdos, Tibetan bowls and cymbals) into the open-ended realm of found objects, employing various kitchen utensils, marbles, film tapes, magnolia leaves, and different components from industrial machines. Isambard’s sound construction runs in parallel to this real-world scenario and is on this occasion, non-generative. He picks up the sound created by the acoustic instruments, analyses and processes it in real time (using a series of hand crafted software tools) and plays it back to Maurizio as a mode of conversation, creating a structural dialogue between two vastly different worlds, one continuous by its very nature and the other a discreet manipulation of this reality. The duo’s approach to the music itself is therefore predominantly concrete, in that the two performers work at generating one single and undivided sound output. No one is accompanying anybody else; both performers occupy the same sound zone, and are, under all perspectives, playing one single four handed meta-instrument. The CD comes in a specially designed fold-out package made from one sheet of paper, with hand printed artwork.
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