Hoya

  CD – Creative Sources Recordings - CS 782, Lisbon 2023

1. Solo I (vlc) - 03'49''

2. Solo II (vla) - 03'32''

3. Solo III (db)  - 04'25''

4. Solo IV (vln) - 04'30''

5. Duo I (vln/vlc) - 01'36''

6. Duo II (vlc/db) - 01'51''

7. Duo III (vla/vlc) - 02'09''

8. Duo IV (vln/db) - 02'10''

9. Duo V (vln/vla) - 02'39''

10. Duo VI (vla/db) - 02'44''

11. Quartet I - 13'03''

12. Quartet II - 09'48''

Maria da Rocha - Violin

Ernesto Rodrigues - Viola

Daniel Levin - Cello

João Madeira - Double Bass

Recorded October 2022, Lisbon

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/hoya

Reviews

Perhaps there gets to be a sense of what to expect then, but also a tangible sense of a broader style developing.... And then regarding further collaborations with Madeira, which continue to appear frequently, let me note also the new "string quartet" album Hoya (from October 2022) specifically, bringing back Maria da Rocha (violin) & her distinctive scraping spiccato from Chiaroscuro..., but also adding Daniel Levin (cello, who made several albums for Clean Feed in an earlier era of this project...) for the first time to a Rodrigues ensemble — yielding an album typical of Madeira projects in building to more substantial later tracks, in this case to the full quartet formation via solos & duos.... Todd McComb's Jazz Thoughts

Ernesto Rodrigues est la cheville ouvrière – responsable du label portugais Creative Sources, lequel a publié un nombre record d’enregistrements d’un nombre exponentiel d’improvisateurs du monde entier (ici N° 782 du catalogue !!). Altiste (violon alto), Ernesto a à cœur de réunir un maximum de collègues portugais et étrangers dans de nombreuses formations qui vont du duo ou trio, du quintet au grand orchestre avec un sens du collectif très prononcé Se dessine particulièrement une prédilection relativement récente pour les ensembles de cordes frottées (famille du violon) comme ce très intéressant Hoya. Violon : Maria Da Rocha, alto : Ernesto Rodrigues, violoncelle : Daniel Levin, contrebasse João Madeira, lequel est un de ses collaborateurs les plus proches si on en juge par leur discographie commune. Daniel Levin a, par exemple, travaillé et enregistré avec le saxophoniste Rob Brown, un « poids lourd » de la scène free-jazz authentique (William Parker, Matt Shipp et cie). Cet album est divisé , disons en trois parties. Pour commencer quatre solos (très) improvisés de chaque instrumentiste (cello - alto- contrebasse - violon). Ensuite, six duos qui réunissent chaque instrumentiste avec un des trois autres, ce qui permet d’entendre chacun trois fois avec un instrument différent. Pour terminer deux Quartets. Cela paraît bien organisé et logique, même un peu bien propre sur soi. En fait, cette structure un peu figée autorise toutes les incartades, leurs spécificités personnelles à s’épanouir et finalement l’auditeur partage d’heureux moments de poésie sonore, de découvertes inopinées des curiosités inhérentes à chaque instrument. Bien des choses sont possibles avec ces instruments à cordes, boisés, résonnants, vibrants, gratouillants, percutés col legno… avec une solide technique, de l’imagination, un sens ludique, une vision inventive de formes et d’échanges spontanés. Une série détaillée de pièces « uniques », bien différenciées par l’ambiance, l’intensité, les intentions du moment, l’inspiration, les cohérences ou les contrastes qui finissent par tracer une œuvre collective où s’inscrit un sentiment intense d’écoute et de respect mutuel. Bien sûr, on trouve là les avancées de la musique contemporaine où s’intègre, s’insuffle une sorte de folie inhérente à la libre improvisation. Mais aussi l’apaisement ou des frictions soniques. Appelez cela comme vous voulez, composition instantanée, deep listening ou non idiomatique, on s’en moque en fait. Ce qui compte c’est la musique et là, je vous assure que le compte y est. Vraiment remarquable. Jean-Michel Van Schouwburg (Orynx)

I musicisti portoghesi dell’area impro incontrano questa volta un musicista americano, il violoncellista Daniel Levin, che qui fa da catalizzatore nei momenti in quartetto, quasi ventitrè minuti, e due brevi ma intensi momenti in duo insieme a Maria Da Rocha al violino e al noto contrabbassista João Madeira, a completare il quartetto Ernesto Rodrigues alla viola.

Si comincia con dei brani in solitaria, in cui ciascuno dei musicisti si presenta improvvisando, poi seguono sei momenti in duo e i due lunghi brani in quartetto.

C’è un entusiasmo palpabile dai suoni di queste corde, fra pizzicato e momenti in cui si usa l’archetto, ovviamente improvvisati, e ciò si trasmette all’ascoltatore, con logica, con strutture create all’istante, a differenza dei colleghi che leggono le partiture dei compositori contemporanei.

Vale la pena ascoltare questi momenti improvvisati per archi, le idee sgorgano senza fine rendendo questo genere vitale, senza alcuna stanchezza mentre si crea qualcosa di nuovo ascoltandosi reciprocamente e scoprendo, che al di qua e al di là dell’Atlantico si usa un linguaggio comune. Vittorio Loconte (Kathodik)

Hoya documents a meeting of four experimental string improvisers – Portuguese violinist Maria da Rocha, prolific violist Ernesto Rodrigues (who released the album on his label Creative Sources) and one of the closest musical comrades of Rodrigues, double bass player João Madeira (who recorded, mixed and mastered the album) with American cellist Daniel Levin. These musicians recorded four solo pieces, six duets and two pieces as a quartet. The album was recorded in Lisbon in October 2022.

The first, four short and free improvised solo pieces introduce the personal, extended bowing techniques of Levin, Rodrigues, Madeira and da Rocha, exploring timbral details, overtones and multiphonics. Da Rocha’s «Solo IV» is the most beautiful, sensual and mysterious of the solo pieces and acts like an instant composition. The six improvised duet pieces are even shorter but charge the music with tension and restless and intense energy. The «Duo VI» of Rodrigues and Madeira is the most satisfying.

The two quartet pieces build on the already-established rapport of the previous duet pieces and deepen the open, conversational dynamics of the duet pieces. The music flows naturally, with its experimental bowing techniques and patient exchange of eccentric, challenging ideas but also deep listening. «Quartet I» suggests a mysterious, cinematic atmosphere while «Quartet II» is free-associative and offers totally free dynamics. Both quartet pieces blur the distinctions between free improvisation, instant composing and contemporary music. Eyal Hareuveni (Salt Peanuts)

Referencing the asian evergreen shrub "Hoya" through a series of solos, duos and quartets between Portuguese string players Maria da Rocha on violin, Ernesto Rodrigues on viola and Joao Madeira on double bass with visiting US bassist Daniel Levin on cello, first in four solo performances of remarkable technique, then permutations of duos, and finally two quartet improvisations. (Squidco)

L'​â​ge de l​’​oreille

 CD – Creative Sources Recordings – CS 781, Lisbon 2023

1. I - 07'15''

2. II - 03'06''

3. III - 03'53''

4. IV - 06'03''

5. V - 02'27''

6. VI - 06'40''

7. VII - 04'05''

8. VIII - 03'35''

9. IX - 05'55''

Ernesto Rodrigues - Violin

Ute Wassermann - Voice, Bird Whistles, Objects

Guilherme Rodrigues - Cello

Recorded November 2022, Lisbon

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/l-ge-de-l-oreille

Reviews

Vocal music continues to be a focus for me: There's just something about the human voice & expression — obviously enough... — but also or especially so in our era of epochal changes, i.e. in relations among humanity, but also between humanity & the broader world. Moreover, what is "voice" in general? Is it simply a matter of individual expression? Or rather, contra neoliberal refrains, is voice always already embedded in a collective (or at its most authentic when embedded in a collective)? And music is indeed especially suited to interrogating such broadly meaningful questions, what with its senses of collective simultaneity, its (potentially) quick & far-flung relationality.... So our artistic era involves, in some sense, a turn to the ear (versus, perhaps, classical Western ocularcentrism, with its imperial gaze from on high...), and that's reflected in the title of a new vocal album from Ute Wassermann (voice, bird whistles, objects) & the Rodrigueses (viola, cello) on Creative Sources, L'âge de l'oreille (recorded in Berlin last November). Wassermann — whose vocal palette is enormous (while being executed precisely) — has attracted my attention for a while, especially since long-time favorite Natura venomous (both recorded & reviewed in 2015), but e.g. more recently (along with Phil Minton) with Speak Easy @Konfrontationen (reviewed here October 2019). And the latter isn't on CS — nor was her most recent release, Strange Songs, a solo album recorded (also) in 2015, yet appearing more recently (on Treader LP) — but L'âge de l'oreille is her fourth album for the label, following also the duo (with Birgit Ulher, trumpet), Radio Tweet (from 2015 again...), as well as the first Speak Easy album, Backchats (2009). Perhaps it's interesting then, but despite so many vocal albums on Creative Sources (which has surely been the most voluminous source for vocalization improv albums over the period...), and of course so many of his own releases in general, Ernesto Rodrigues hasn't played on many albums featuring a vocalist: Some of his large ensemble work, e.g. with VGO & IKB, includes a voice (mostly in the person of Maria Radich) as an instrument in broader textures, but the only smaller ensemble releases are Radical Flowers (from 2021, but not reviewed here, featuring Ligia Liberatori) & Yijing (a "digital only" release from 2018, featuring Liping Ting). Both are quartet albums, both include a brass instrument along with a second string player (also Guilherme for the former, but guitar for the earlier album...), and both are relatively sparse: There's generally a sense of "separate" sounds, i.e. positioned (relative to each other) in a spacious texture involving alternations, contrasts, extended silences, etc. That the voices are paired with brass also suggested a horn-like conception of voice, i.e. externalized as calls, whereas Wassermann's on L'âge de l'oreille comes off rather more like a string instrument: Sounds & timbres interpenetrate, often in close counterpoint between the instruments, yielding a much greater intimacy. There's thus a sense of "interior" conjured by the voice — perhaps even building upon the CS classic Light air still gets dark (with percussion instead of a second string instrument, and with vocalist Duthoit turning to clarinet, i.e. horn, in some significant moments...), i.e. internalizing & interrogating concepts of voice (together with problematizing inside-outside per se... as in "What is really the surface of her body?"). There's thus a close, sometimes intense, relationality conveyed moment-to-moment on L'âge de l'oreille — i.e. yielding a sort of "tightness" to the interaction, pace recent comments about Rune Kitchen (there with more of a "free jazz" vibe, with percussion, but also another great vocal album in this space this year...). And while that album might at times suggest a mythical past, L'âge de l'oreille seems generally more contemporary — despite e.g. a twittering naturalism (pace already Natura venomous itself, there often more metallic in sound...), e.g. a sense of being deep inside a forest.... (But by the end there's indeed a sort of starkness, an unusual feel for emergent landscape, continuing into the "bonus" track — & I don't know what the bonus is about... — such that the general sense of intimacy yields eventually to a sense of distance, and then to an echoing silence....) There's also a sort of timelessness conveyed overall, or at least until the ending (which implies its retroactive history...), i.e. along the lines of some of Ernesto's other recent work (e.g. Aeon & most recently The fleeting nature of time...), in the way that materials recur & cycle, here with a sort of delicate & intimate density. So an eerie dream world comes to be invoked, e.g. as senses of negation per se could be said to fall away from a more generally emergent relationality around the (deconstructed) voice. (One might thus compare to an earlier voice & two-strings trio, Birds Abide reviewed here in January 2014, there more figural & evocative of language per se, sexually suggestive at times, but with inconsistent formal momentum... less transformed, more searching, more collage.) Ernesto & Guilherme do thus "sound like themselves" here in terms of various string figures & sequences, but their trio with Wassermann also rises to another level in its interrogation of voice per se (including via prominent whistles...) together with its interior-exterior dual: I was captivated from the first moment by what can seem a very natural & lively interaction.... Moreover, Wassermann's development of technique & style seems to be reaching a new level of facility, such that given its general pitch flexibility & dynamism, L'âge de l'oreille might well be said to involve basically everything I've sought (i.e. the most compelling features from the other citations here...) in a postimperial voice-in-trio album.... Todd McComb's Jazz Thoughts

Ute Wassermann adds a unique expressiveness to this Berlin studio session, bringing her impressive talents as a free improvising vocalist along with her bird calls and objects, providing an unusual yet extremely complementary foil to the intertwined strings of the father/son collaboration of violist Ernesto Rodrigues and cellist Guilherme Rodrigues; idiosyncratically wonderful! (Squidco)

Conundrum

 CD – Creative Sources Recordings – CS 779, Lisbon 2023

1. Kuyata - 05'25''

2. Cila - 06'14''

3. Nesnás - 06'32''

4. Abut e Anet - 05'34''

5. Hipogrifo - 12'30''

6. Bahamut - 03'18''

7. Tao-T’ieh - 03'47''

8. Borametz - 02'24''

9. Kraken - 02'56''

Ernesto Rodrigues - Violin

Guilherme Rodrigues - Cello

Nuno Torres - Alto Saxophone

Alexander von Schlippenbach - Piano

Willi Kellers - Drums, Percussion

Recorded November 2022, Lisbon

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/conundrum

Reviews

Reconstituting their usual string-centric improvisations to encompass more vigorous instruments Portuguese violist Ernesto Rodrigues and his son, cellist Guilherme Rodrigues improvise throughout this disc alongside Portuguese reed player Gonçalo Mortágua and legendary German percussionist Gunter "Baby" Sommer. While Mortágua, who usually plays in an Afro-soul band, creates thin flute peeps and tenor sax split tones, and minimalist swipes are familiar from Rodrigues' literally hundreds of lower case sessions. Sommer, now 80, projects the power and playfulness he has excelled in since the early 1970s.

But the percussionist never dominates. His only extended solo is on the penultimate "Untitled", where his vocal whoops introduce a compendium of ruffs, ratamacues and cymbal smashes that abut string shrieks and altissimo reed squawks. That doesn't mean Sommer isn't busy augmenting textures on the other tracks though. If he isn't rubbing drum tops or smacking wooden blocks, he's adding paradiddles and rebounds, bell pealing or twanging a Jew's harp. That last interjection is heard on "Invocacao", where it breaks up a dense exposition with strings stretched and staccato rubbing across fingerboards and flute trills leading to layered evolution. The cellist later adds double bass-like pulses and Mortágua, on tenor, harsh split tones. This transformation from micro to macro ends with a single cymbal ping.

Strategies like that brighten most interactions. Extended techniques from the strings include stretching timbres to encompass spiccato squeaks, steadily thinning slices and forceful scrubs. At points they divide with Ernesto's playing approaching melodicism while Guilherme slaps rhythmically. With a full husky tone, the saxophonist honks, tongue stops and uses finger vibrations. Or he climaxes an introduction of lacerating string slices on "Seide, Samt Und Kashmir" with expanding spetrofluctuation and cuckoo-clock like echoes until drum shuffles neutralize the narrative.

Obviously mis-titled, the improvisations and excitement engendered on this disc are more than Not Bad. Instead the description should be Very Good or perhaps Excellent. Ken Waxman (The Squid’s Ear)

Part of the 2022 trio tour of violinist Ernesto Rodrigues, cellist Guilherme Rodrigues and saxophonist Nuno Torres is this studio recording in Berlin with free jazz legendary pianist Alexander von Schlippenbach and drummer/percussionist Willi Kellers, each of the 9 improvisations named for mythical beasts, appropriate to the fearsome force of these five masterful players. (Squidco)

Turning to an album released earlier in the year, recorded (in Berlin) only last November (so still less than a year ago...), Conundrum presents a sophisticated quintet interaction between Ernesto Rodrigues (here on violin), Guilherme Rodrigues, Ernesto's longtime colleague Nuno Torres (on alto sax), and German masters Alexander von Schlippenbach & Willi Kellers. I didn't review the album when it appeared, in large part due to the fame of von Schlippenbach — & because of course I already write so often about Rodrigues. Besides that I'm always turning away from piano here then, particularly beyond equal temperament (& indeed a relatively traditional piano sound is involved...), I simply didn't believe that these well-established musicians "needed" my attention. But then I started to fret that Conundrum wasn't getting enough attention elsewhere, because I do find it to be a rather compelling synthesis... with substantially polyphonic interactions & various active allusions. So as I'd also alluded in the review of Hunt at the Brook Again from September, my own aesthetic narrative takes me back to various (productive) familiarities, styles & combos that I particularly enjoy (& in which I've invested time...), even as I might be telling myself that I want to diversify more.... And there's an authenticity to discussing what one enjoys, so it's not something I want to dismiss in any way, but there's also a drive toward exploration that familiarities can blunt.... In any case, not that I have the (supernatural) ability to speak for anyone else anyway, but I'm still no expert on Schlippenbach's extensive & impressive career as an improvising pianist. Nor was I an expert on Günter "Baby" Sommer when I had the opportunity to write the liner notes for the release of the Rodrigueses' quartet album with Sommer, Not Bad (recorded in June 2022 & released in January 2023), but I could talk there a bit about differing generations & continuing to build new worlds.... I also didn't do justice to horn player Gonçalo Mortágua for that discussion, who I came to realize was basically making his debut — in an album featuring the Rodrigues approach to extended string timbres & spectral harmonies, while evoking e.g. a "world vibe" (which can be said of jazz in general, I suppose...). It also involved a relatively linear presentation of musical ideas... unlike Conundrum, which tackles more in the way of vertical dimensions & modes of harmonic motion. (There're some real jazz evocations from members of the quintet briefly too, but also quite a bit of prickly polyphonic intensity amid shifting timbres.) Conundrum certainly doesn't involve anyone's debut either, as these are all very experienced improvising musicians. And while I don't have much experience myself e.g. with Schlippenbach's Globe Unity Orchestra, or really as much focus on Ernesto's larger ensembles either, the two obviously come with extensive experience in forging larger groups, surely part of what makes this quintet session almost immediately flow.... (Despite my disclaimers, I've actually mentioned Schlippenbach a few times here: He'd appeared with Red Dhal Sextet, as reviewed in February 2014, as well as was noted with the quintet Intricacies — along with Kellers — from May 2015.... And Kellers himself first appeared here with the Grid Mesh quartet, as reviewed in November 2013.) And then let me highlight Torres (b.1977) a little more: Appearing on a variety of Rodrigues releases, going back here e.g. to New Dynamics (recorded in 2016) or Setúbal (reviewed in May 2020), Torres is able to play low in textures (e.g. spectrally, i.e. with a sense of geometric acoustics), but also can conjure more soloistic jazzy expression when needed. (The harmonics relation is also a little different here, because Ernesto is on violin, i.e. often higher in the texture.) Conundrum then appears to be the first recording of a little tour that Torres did with the two Rodrigueses (who were maybe also taking up the "legends" theme from Not Bad...) last November, with Conspiratorial and fulminate things happen (reviewed this May) & Brecht (mentioned in a January review) already appearing here, but there's also e.g. the more distended Letters to Milena.... And finally the title, Conundrum (with tracks named e.g. for mythical monsters...), does seem (perhaps) to refer to the challenges of combining tempered keyboard with contemporary spectral-timbral string concerns: Some old-fashioned (or "classic...") qualities reappear, but the result is surprisingly taut yet fluid as well, generally with much assertive momentum. It almost seems as though they've been playing together for a long time (as the saying goes...). Todd McComb's Jazz Thoughts

Avançant inexorablement vers un grand âge, Alex von Schippenbach a sensiblement réduit ses cadences infernales, épuré son discours souvent torrentiel pour se consacrer à l’essentiel du jeu concerté au piano en se mettant au centre du dispositif instrumental (alto, violoncelle, sax alto, batterie et piano), devenant l’élément rotatif , le régulateur multidimensionnel des échanges interactifs au sein de cet orchestre pas comme les autres. Il faut souligner la pertinence des frappes, accents et pulsations actionnées par Willy Kellers du bout des baguettes rebondissantes, ses cymbales mouvantes ou cristallines et la précision colorée des rim-shots. Soit des frappes sur les bords des tambours, vagues légères de roulements inégaux sur les peaux, le tout réalisé avec discrétion et retenue pour ne pas couvrir ses collègues au piano et aux cordes frottées. Nuno Torres donne ici toute sa mesure sinueuse, articulant avec une belle agilité des timbres rares et des détachés à la fois feutrés et mordants, avec un jeu à la fois rude, souple et doux. Une belle finesse camouflée avec goût dans cette folle végétation iridescente de timbres, de secousses et tourbillons. Guilherme Rodrigues a un don inné pour introduire à l’instant rêvé des figures bienvenues, un riff momentané par-ci, un dérapage par-là, une fugue élégiaque, des dissonances accentuées , des pizzicatos puissants et déréglés et quelques ébouriffantes embardées avec son père, toujours à l’affut du bon coup à faire ajoutant ainsi un surcroit de crédibilité à ces neuf passionnantes improvisations collectives, certaines se résumant à de brèves bagatelles de trois minutes. Ernesto Rodrigues nous livre ici sa performance la plus endiablée et viscérale, striant les cordes et la tessiture de son instrument avec un archet endiablé, extrayant des suraigus extrêmes, produits d’harmoniques arrachées en un éclair à l’extrémité d’un agrégat de notes scratchées (NB : il s’agit de toucher une corde avec un doigt sans l’enfoncer sur la touche en frottant l’archet avec une grande précision juste avant de relâcher le doigt immédiatement – technique accessible pour tout un chacun mais très compliquée à maîtriser avec cette vitesse d’exécution et les infinies variations de l’intensité frénétique de son jeu ).

De fines correspondances dans les interactions croisées entre chacun des musiciens apparaissent et disparaissent polarisant des fragments de dialogues en orbite autour du champ auditif avec de multiples alternances dans plusieurs directions. Cette ultra- mobilité collective d’une étonnante lisibilité génère une force centrifuge et celle-ci transcende les équilibres entre les instruments doux et fragiles (l’alto d’Ernesto, le jeu poids plume de Nuno) et ceux dont le volume sonore potentiel pourraient couvrir les autres (le piano et la batterie). Alex ne s’impose pas comme soliste prépondérant propulsé par la batterie et le violoncelle, mais concentre plutôt son jeu dans une dimension éminemment collective faisant évoluer ses enchainements d’accords, de clusters et d’échappées atonales avec une fluidité qui épouse les changements constants au sein de cette constellation mouvante de formes fugaces et peu prévisibles. Bref , c’est une session étonnante et étonnamment cohérente et lisible déclinant de multiples aspects formels, options, trames et cheminements de la musique libre, instantanée et collective. Sans nul doute l’enregistrement le plus inhabituel et singulier d’Alex von Schlippenbach et d’Ernesto Rodrigues dans leurs discographies respectives, chacun des cinq musiciens apportant une contribution équivalente au niveau qualité de manière égalitaire. Chacun est ici à son avantage. La prise de son limpide distingue les moindres détails de la musique jouée avec une soufflante lisibilité. Exemplaire! Jean-Michel Van Schouwburg (Orynx) 

The second acquisition of 2023 is "Conundrum", a wonderful encounter of the core Rodrigues-Rodrigues-Torres trio with the legendary German pianist, Alexander von Schlippenbach. They are joined also by Willi Kellers, who

provides a great drumming and percussion background.

Quoting Squidco from Bandcamp: "Part of the 2022 trio tour of violinist Ernesto Rodrigues, cellist Guilherme Rodrigues and saxophonist Nuno Torres is this studio recording in Berlin with free jazz legendary pianist Alexander

von Schlippenbach and drummer/percussionist Willi Kellers, each of the 9 improvisations named for mythical beasts, appropriate to the fearsome force of these masterful players.". 

The presence of Alex makes the music sound more like free jazz and even gets some free jazz swing, as the opening "Kuyata" demonstrates. The strings and the alto create something like a "jungle" environment for the fantastic improvisations of Alex. The second "Cila" is very different: peaceful, even minimalist to some extent.

"Nesnác" is another amazing "swinging" free jazz track, while "Abut e Anet" returns to the minimal music concepts. The highlight of the album is "Hipogrifo", lasting 12 and a half minutes. I would not call it "swinging",

but it has a clear, although broken marching rhythm. The last four tracks are shorter but equally absorbing. I dig "Tao-T'ieh" with a particularly stunning interplay of the piano and the alto saxophone. For me masterpiece recording! Maciej Lewenstein

Uma característica dos labirintos que tem a maior relevância é o facto de os seus caminhos serem por si mesmos as delineações e as fronteiras, e não propriamente as sebes ou os muros que os afastam. Está neles a estrutura, o esqueleto, que os espaços ganham quando vistos por cima ou em mapa. Nesse sentido, tais caminhos-separações não poderiam proporcionar entradas, passagens e saídas: se o fazem, na prática dos passos, é como se tais percursos inexistissem, o que é a verdade última que um labirinto proporciona, seja na forma de um jogo para crianças ou o literário, de espelhos, de duplos, de simulacros, imaginado por Jorge Luis Borges.

Um dos discos das fornadas finais de 2023 da editora Creative Sources ostenta um labirinto quadrado na capa de “Conundrum”, tocado por Ernesto Rodrigues (violino), Guilherme Rodrigues (violoncelo) e Nuno Torres (saxofone alto) com os convidados Alexander von Schlippenbach (piano) e Willi Kellers (bateria). A música dentro é enigmática, confirmando o que é prometido visualmente e pelo título: estão nela a confusão e a dificuldade antecipadamente identificadas. Tem, no entanto, duas vertentes fundamentais, que podemos definir como as curvas para a direita ou para a esquerda de uma caminhada labiríntica: ora estamos em território pós-serialista (e neste aspecto é preciso ter em conta que Schlippenbach estabeleceu muita da sua arte pianística sobre o serialismo dodecafónico), ora entra-se em terrenos mais explicitamente free-jazzísticos (“Cila”, o segundo tema do álbum, chega-nos com uma pulsação fixa, introduzida por Kellers já numa altura da faixa em que julgamos que o rumo será outro). Quando sobressai um destes formatos, pensamos que o labirinto se resolve, que se encontrou o trajecto certo entre os obstáculos e deixamos de ser condicionados, podendo finalmente retomar a soberania das nossas pisadas.

Mas é um engano. Regra geral, pós-serialismo e free jazz coexistem nestas improvisações colectivas, numa transversalidade paradigmática que nos conduz por uma, ora divertida, ora angustiante, incerteza: pouco do que parece, é. Trata-se de uma música de divergências, de conflito, onde por vezes julgamos encontrar situações ou soluções comuns, ainda que sem termos confiança no que os ouvidos nos fazem perceber. Estabelece-se um labirinto dentro do labirinto, um labirinto perceptivo, apenas nosso, que não desde logo inscrito nos propósitos musicais. Quer isso dizer que é connosco, ouvintes, que a música de “Conundrum” se completa: um labirinto vai ao encontro de outro, melhor, proporciona o outro mais do que o predispõe, e precisamente pelos factores reconhecimento e estranheza. Rui Eduardo Paes (Passos na Floresta)