1. (IKB1) - 18'53''
2. (IKB2) - 13'04''
3. (IKB3) - 10'55''
4. (IKB4) - 18'54''
2. (IKB2) - 13'04''
3. (IKB3) - 10'55''
4. (IKB4) - 18'54''
IKB ENSEMBLE
Ernesto Rodrigues – Harp, Inside Piano
Ernesto Rodrigues – Harp, Inside Piano
Guilherme Rodrigues – Cello
Miguel Mira – Double Bass
Eduardo Chagas – Trombone
Bruno Parrinha – Clarinet, Alto Clarinet
Nuno Torres – Alto Saxophone
Pedro Sousa – Tenor Saxophone, Baritone Saxophone
Abdul Moimême – Prepared Electric Guitars
Carlos Santos – Computer
Ricardo Guerreiro – Computer
José Oliveira – Percussion
Nuno Morão – Percussion
Monsieur Trinité – Percussion
Recorded in March 2012, Lisbon
Cover design Carlos Santos
Reviews
Referencing the work of French artist and composer Yves Klein, this large group of Creative Sources regulars perform the 4 part Monochrome Bleu Sans Titre, a subtle and rich work of acoustic and electronic improvisation. Squidco
A cor International Klein Blue criada pelo artista plástico Yves Klein, serve de ponto de partida para a criação do ensemble IKB, como uma afirmação estética mais vasta da criação musical contemporânea. Esta formação composta por 14 músicos foi constituída por Ernesto Rodrigues, incansável dinamizador no tecido da música improvisada nacional, e responsável pela editora Creative Sources. Trata-se de um ensemble que privilegia o espaço arquitectónico, a escuta activa e o timbre. Através da disposição instrumental, da escolha das texturas e gestos musicais que os seus membros colocam em evidência durante a performance, a pausa e o silêncio criam contraponto com a produção sonora, mais, são parte vital da mesma. Com instrumentação mista, acústica e electrónica, utilizada de um modo eclético, explora a noção de espaço composicional numa perspectiva reducionista, partindo de linhas simples que se vão complexificando dando lugar a tensões e desenvolvimentos. Trem Azul
Inspirée par le peintre Yves Klein, la musique collective de l’IKB (orchestra ?) couronne avec succès les années d’activités musicales et d’édition des animateurs du label Creative Sources, Ernesto Rodrigues, son fils Guilherme, Carlos Santos, Ricardo Guerreiro et compagnie. Seize musiciens rassemblés pour une superbe création sonore. Une musique en suspension, apaisée où une multitude de sons se croisent, naissent et meurent lentement dans un sentiment du temps et de la durée qui tende à l’infini. Les souffles, grattements, frottements, grésillements, harmoniques, vibrations et chocs légers s’interpénètrent, émergent ou disparaissent dans un flux univoque et une couleur spécifique. On en oublie la source sonore, les instruments utilisés avec des techniques étendues, de manière réservée et dans une douceur quasi cérémonielle. C’est un des plus beaux enregistrements que j’ai pu entendre parmi ceux qui résultent de ces mouvances « New Silence », « réductionnisme », « soft noise », « drone », « eai », « post-industriel ». Plus qu’un paysage sonore, c’est un univers pluri-dimensionnel complexe et changeant où chacun apporte des sonorités toujours renouvelées avec un beau sens de la continuité. Citons les tous : Ernesto Rodrigues, harpe et intérieur du piano, Guilherme Rodrigues, violoncelle, Miguel Mira, contrebasse, Rogerio Silva, trompette, Eduardo Chagas, trombone, Bruno Parrinha, clarinette, Nuno Torres, sax alto, Pedro Sousa, sax tenor et baryton, Abdul Moimême, guitare électrique préparée, Carlos Santos, ordinateur et microphone, Ricardo Guerreiro, computer, Nuno Morao, percussion, Monsieur Trinité, percussion, José Oliveira, percussions. Une harmonie bruissante dans une entente parfaite. La suite des quatre morceaux (IKB 1, IKB 2, IKB 3, IKB 4) évoluent vers la diminution de l’activité sonore de la fin. La qualité de l’enregistrement et le fait que chaque instrument est à distance égale dans l’espace font de cette belle expérience d’écoute, une aventure réellement fascinante. Un véritable événement dans l’évolution de la musique improvisée et de l’art sonore que je réécoute avec grand plaisir. Jean-Michel Van Schouwburg (Orynx-improv'andsounds)
Referencing the work of French artist and composer Yves Klein, this large group of Creative Sources regulars perform the 4 part Monochrome Bleu Sans Titre, a subtle and rich work of acoustic and electronic improvisation. Squidco
A cor International Klein Blue criada pelo artista plástico Yves Klein, serve de ponto de partida para a criação do ensemble IKB, como uma afirmação estética mais vasta da criação musical contemporânea. Esta formação composta por 14 músicos foi constituída por Ernesto Rodrigues, incansável dinamizador no tecido da música improvisada nacional, e responsável pela editora Creative Sources. Trata-se de um ensemble que privilegia o espaço arquitectónico, a escuta activa e o timbre. Através da disposição instrumental, da escolha das texturas e gestos musicais que os seus membros colocam em evidência durante a performance, a pausa e o silêncio criam contraponto com a produção sonora, mais, são parte vital da mesma. Com instrumentação mista, acústica e electrónica, utilizada de um modo eclético, explora a noção de espaço composicional numa perspectiva reducionista, partindo de linhas simples que se vão complexificando dando lugar a tensões e desenvolvimentos. Trem Azul
Inspirée par le peintre Yves Klein, la musique collective de l’IKB (orchestra ?) couronne avec succès les années d’activités musicales et d’édition des animateurs du label Creative Sources, Ernesto Rodrigues, son fils Guilherme, Carlos Santos, Ricardo Guerreiro et compagnie. Seize musiciens rassemblés pour une superbe création sonore. Une musique en suspension, apaisée où une multitude de sons se croisent, naissent et meurent lentement dans un sentiment du temps et de la durée qui tende à l’infini. Les souffles, grattements, frottements, grésillements, harmoniques, vibrations et chocs légers s’interpénètrent, émergent ou disparaissent dans un flux univoque et une couleur spécifique. On en oublie la source sonore, les instruments utilisés avec des techniques étendues, de manière réservée et dans une douceur quasi cérémonielle. C’est un des plus beaux enregistrements que j’ai pu entendre parmi ceux qui résultent de ces mouvances « New Silence », « réductionnisme », « soft noise », « drone », « eai », « post-industriel ». Plus qu’un paysage sonore, c’est un univers pluri-dimensionnel complexe et changeant où chacun apporte des sonorités toujours renouvelées avec un beau sens de la continuité. Citons les tous : Ernesto Rodrigues, harpe et intérieur du piano, Guilherme Rodrigues, violoncelle, Miguel Mira, contrebasse, Rogerio Silva, trompette, Eduardo Chagas, trombone, Bruno Parrinha, clarinette, Nuno Torres, sax alto, Pedro Sousa, sax tenor et baryton, Abdul Moimême, guitare électrique préparée, Carlos Santos, ordinateur et microphone, Ricardo Guerreiro, computer, Nuno Morao, percussion, Monsieur Trinité, percussion, José Oliveira, percussions. Une harmonie bruissante dans une entente parfaite. La suite des quatre morceaux (IKB 1, IKB 2, IKB 3, IKB 4) évoluent vers la diminution de l’activité sonore de la fin. La qualité de l’enregistrement et le fait que chaque instrument est à distance égale dans l’espace font de cette belle expérience d’écoute, une aventure réellement fascinante. Un véritable événement dans l’évolution de la musique improvisée et de l’art sonore que je réécoute avec grand plaisir. Jean-Michel Van Schouwburg (Orynx-improv'andsounds)
IKB is a 14-piece improvising
ensemble organized by Ernesto Rodrigues. Monochrome
bleu sans titre (“untitled blue monochrome”) is a studio project recorded in
March 2012. Rodrigues plays harp and inside piano. His son Guilherme and
regular partners Miguel Mira, Carlos Santos, José Oliveira, Ricardo Guerreiro
and Abdul Moimême are among the players. The stereo separation of the musicians
is exemplary, and reproduced in the booklet, so you can localize each
contribution to this extremely delicate web of sonic interactions. Sensitive
electroacoustic improvisation, deliberately white-washed – or should that be
blue-washed. François Couture (Monsieur Délire)
A 14-piece ensemble in homage to Yves Klein--Ernesto Rodrigues (harp/inside piano), Guilherme Rodrigues (cello), Miguel Mira (double bass), Rogerio Silva (trumpet), Eduardo Chagas (trombone), Bruno Parrinha (clrinets), Nuno Torres (alto sax), Pedro Sousa (tenor and baritone sax), Abdu Moimeme (prepared electric guitar), Carlos Santos (computer, microphone), Ricardo Guerreiro (computer), Nuno Morao (percussion), Monsieur Trinite (percussion) and Jose Oliviera (percussion). Four tracks, the first a fine, quietly ringing piece with high, suspended harmonics hovring over delicately scurrying percussion and several strata between, an entirely enjoyable AMM-ish exercise for large group. The work slowly gains volume though the activity is never frantic, more a gradual awakening. But things never get above a good simmer, the ensemble demonstrating fine control, varying the colors widely but not excessively. I'm not sure if there was a guiding force behind the set or if it was more purely a group improv but, either way, the results make for excellent deep listening. Good job. Brian Olewnick (Just Outside)
In spite of the semicircle on the inlay artwork, which is similar to the typical graphical representation of the seating arrangement of different musicians of an orchestra, and so many improvisational musicians involved in the project, referring to IKB as an "orchestra" could be quite misleading. IKB could better be defined an ensemble with some specific and somewhat original features: its conceptual framework focuses on French painter Yves Klein, leading figure of the artistic movement he co-founded in 1960 with art critic Pierre Restany, the so-called "nouveau realisme" (new realism), as suggested by the fact this ensemble names after the bright and intense blue hue, International Klein Blue, that Monsieur Klein first mixed and widely used for a lot of installations and paintings. According to the Nouveau Realism Manifesto, whose members autographed on a rigorously IKB panel, and the artistic perspective of this group, the surrounding world could be observed as a sort of modular picture and any artist could take single parts as well as incorporate them into their works in order to "seal" a sort of bond between art and life and a return to concrete world in opposition to abstract art. Their aggregation/congregation was considered a sort of "collective singularity" as it derived from the awareness of their differences, whose "trait d'union" was mainly methodological and based on the grabbing of reality. Whereas that movement mostly unfolded itself in visual arts, IKB ensemble could be considered the missing link with sound art. On the four sonic canvasses, it seems that they apply their precepts by means of instrumental clips and sounds derived from objects, which sound like emulations of daily sounds or rubber-stamps or casts from concrete reality and while it seems they flow into tonal streams, listeners could have the impression of a choral mimicry. Ernesto Rodrigues and his crowd of talented collaborators (Guilherme Rodrigues on cello, Miguel Mira on double bass, Rogerio Silva on trumpet, Eduardo Chagas on trombone, Bruno Parrinha on alto clarinet, Nuno Torres on alto saxophone, Pedro Sousa on tenor and baritone saxophones, Abdul Moimeme on prepared electric guitar, Carlos Santos and Ricardo Guerreiro on computers, Monsieur Trinite', Nuno Morao and Jose Oliveira on percussions) presumptively invented a possible new direction for improvisational scene. Vito Camarretta (Chain D.L.K.)
L’IKB (nommé ainsi d'après la série de peinture d'Yves Klein - International Klein Blue) est un collectif portugais de quatorze musiciens, habitués pour la plupart du label CS et proche du cercle qui gravite autour d’Ernesto Rodrigues. Ce dernier quitte ici son alto pour explorer la harpe et l’intérieur du piano, et à ses côtés, on retrouve Guilherme Rodrigues (violoncelle), Miguel Mira (contrebasse), Rogério Silva (trompette), Eduardo Chagas (trombone), Bruno Parrinha (clarinette et clarinette alto), Nuno Torres (saxophone alto), Pedro Sousa (saxophones ténor et baryton), Abdul Moimême (guitare électrique préparée), Carlos Santos (ordinateur et microphone), Ricardo Guerreiro (ordinateur), Nuno Morão (percussion), Monsieur Trinité (percussions) et José Oliveira (percussion).
A 14-piece ensemble in homage to Yves Klein--Ernesto Rodrigues (harp/inside piano), Guilherme Rodrigues (cello), Miguel Mira (double bass), Rogerio Silva (trumpet), Eduardo Chagas (trombone), Bruno Parrinha (clrinets), Nuno Torres (alto sax), Pedro Sousa (tenor and baritone sax), Abdu Moimeme (prepared electric guitar), Carlos Santos (computer, microphone), Ricardo Guerreiro (computer), Nuno Morao (percussion), Monsieur Trinite (percussion) and Jose Oliviera (percussion). Four tracks, the first a fine, quietly ringing piece with high, suspended harmonics hovring over delicately scurrying percussion and several strata between, an entirely enjoyable AMM-ish exercise for large group. The work slowly gains volume though the activity is never frantic, more a gradual awakening. But things never get above a good simmer, the ensemble demonstrating fine control, varying the colors widely but not excessively. I'm not sure if there was a guiding force behind the set or if it was more purely a group improv but, either way, the results make for excellent deep listening. Good job. Brian Olewnick (Just Outside)
In spite of the semicircle on the inlay artwork, which is similar to the typical graphical representation of the seating arrangement of different musicians of an orchestra, and so many improvisational musicians involved in the project, referring to IKB as an "orchestra" could be quite misleading. IKB could better be defined an ensemble with some specific and somewhat original features: its conceptual framework focuses on French painter Yves Klein, leading figure of the artistic movement he co-founded in 1960 with art critic Pierre Restany, the so-called "nouveau realisme" (new realism), as suggested by the fact this ensemble names after the bright and intense blue hue, International Klein Blue, that Monsieur Klein first mixed and widely used for a lot of installations and paintings. According to the Nouveau Realism Manifesto, whose members autographed on a rigorously IKB panel, and the artistic perspective of this group, the surrounding world could be observed as a sort of modular picture and any artist could take single parts as well as incorporate them into their works in order to "seal" a sort of bond between art and life and a return to concrete world in opposition to abstract art. Their aggregation/congregation was considered a sort of "collective singularity" as it derived from the awareness of their differences, whose "trait d'union" was mainly methodological and based on the grabbing of reality. Whereas that movement mostly unfolded itself in visual arts, IKB ensemble could be considered the missing link with sound art. On the four sonic canvasses, it seems that they apply their precepts by means of instrumental clips and sounds derived from objects, which sound like emulations of daily sounds or rubber-stamps or casts from concrete reality and while it seems they flow into tonal streams, listeners could have the impression of a choral mimicry. Ernesto Rodrigues and his crowd of talented collaborators (Guilherme Rodrigues on cello, Miguel Mira on double bass, Rogerio Silva on trumpet, Eduardo Chagas on trombone, Bruno Parrinha on alto clarinet, Nuno Torres on alto saxophone, Pedro Sousa on tenor and baritone saxophones, Abdul Moimeme on prepared electric guitar, Carlos Santos and Ricardo Guerreiro on computers, Monsieur Trinite', Nuno Morao and Jose Oliveira on percussions) presumptively invented a possible new direction for improvisational scene. Vito Camarretta (Chain D.L.K.)
L’IKB (nommé ainsi d'après la série de peinture d'Yves Klein - International Klein Blue) est un collectif portugais de quatorze musiciens, habitués pour la plupart du label CS et proche du cercle qui gravite autour d’Ernesto Rodrigues. Ce dernier quitte ici son alto pour explorer la harpe et l’intérieur du piano, et à ses côtés, on retrouve Guilherme Rodrigues (violoncelle), Miguel Mira (contrebasse), Rogério Silva (trompette), Eduardo Chagas (trombone), Bruno Parrinha (clarinette et clarinette alto), Nuno Torres (saxophone alto), Pedro Sousa (saxophones ténor et baryton), Abdul Moimême (guitare électrique préparée), Carlos Santos (ordinateur et microphone), Ricardo Guerreiro (ordinateur), Nuno Morão (percussion), Monsieur Trinité (percussions) et José Oliveira (percussion).
Les quatre pièces proposent des versions différentes d’une musique identique à elle-même. Une musique lente, calme, posée et abstraite. Une musique qui glisse insensiblement d’une matière abstraite à une autre par micro-variations. Tout ici se joue ici à l’échelle microscopique, des écarts entre les notes et les sons à la présence des musiciens qui effacent leurs instruments derrière de la matière sonore pure. Les instruments se distinguent assez bien, mais ne se hiérarchisent pas, tous ont ici pour fonction de produire des textures sonores avant tout. Ordinateurs, instruments traditionnels et préparés ne se confondent pas mais plongent sans concession au plus profond du son, dans ses propriétés souvent les plus abstraites. D’où, comme vous pouvez vous en douter, une effervescence de registres extrêmes, de techniques étendues, de notes jouées de manière machinale et neutre, de sons abrasifs et longs qui vont des peaux raclées à l’émission de salive dans les cuivres et toutes sortes de souffles spectraux.
Je ne suis pas un grand fan des travaux d’Ernesto Rodrigues avec ce genre d’ensemble très large, mais quand même, il y a toujours quelque chose de très surprenant. Car avec des formations réduites, il peut produire une musique abstraite et minimale dans la veine d’un réductionnisme radical, une musique aérienne, légère, calme, posée, au niveau de l’atmosphère et de la durée; et abrasive ou corrosive, bruitiste en somme, mais aussi collective et cohérente, au niveau du son. Et toutes ces qualités se retrouvent dans les grands ensembles qui parviennent à produire une musique aussi calme et aérée – si ce n’est plus parfois – qu’un trio ou un quartet instrumental. Le résultat est donc tout de même toujours étonnant. Julien Héraud (ImprovSphere)
De la lente suspension proposée par Ernesto Rodrigues, Guilherme Rodrigues, Miguel Mira, Rogero Silva, Bruno Parrinha, Eduardo Chagas, Nuno Torres, Pedro Sousa, Abdul Moimême, Carlos Santos, Ricardo Guerreiro, Nuno Morao, Monsieur Trinité et José Oliveira, on n’oubliera pas de sitôt la lente suspension. Ici, chacun frôle son propre effacement sans jamais s’y résoudre. L’instrument s’oublie mais pas la douceur qui s’y déploie. Le temps s’arrête, n’a plus aucune prise avec la réalité. Le songe se révèle, intense et irradiant. Luc Bouquet (Le Son du Grisli)
“Monochrome Blue Sans Titre”, CD de tributo ao pintor Yves Klein proposto pelo ensemble IKB. O interessante deste trabalho, e deste agrupamento de 14 elementos dirigido por Ernesto Rodrigues com alguns dos nomes mais importantes da improvisação lusa, não reside propriamente num esforço de contenção colectiva, e sim de focagem, de concentração. De um ponto de vista malfattiano, há demasiados sons a acontecerem, demasiados cortes na superfície do silêncio. Mas são, precisamente, os jogos de timbres aquilo que mais agrada no disco, a forma como cooperativamente se vão construindo as situações, sem atropelamentos nem colagens, cada músico estando consciente do seu lugar e percebendo que é apenas uma parte do todo. A música surge em camadas e tem uma dimensão orquestral, mas é de uma transparência que não se julgaria possível com uma formação de grande número. Rui Eduardo Paes (Jazz.pt)
Surgido das cinzas da Variable Geometry Orchestra (VGO), o IKB Ensemble é uma formação de grande dimensão que trabalha a improvisação sob direcção de Ernesto Rodrigues. Para este disco de estreia reuniu um grupo alargado de músicos improvisadores nacionais: Guilherme Rodrigues (violoncelo); Miguel Mira (contrabaixo); Rogério Silva (trompete); Eduardo Chagas (trombone); Bruno Parrinha (clarinete, clarinete alto); Nuno Torres (saxofone alto); Pedro Sousa (saxofones tenor e barítono); Abdul Moimême (guitarra eléctrica preparada); Carlos Santos e Ricardo Guerreiro (computador); Monsieur Trinité, Nuno Morão e José Oliveira (percussão); e Ernesto Rodrigues (harpa e piano – excepções ao instrumento habitual, a viola). Apesar da quantidade de músicos e da multiplicidade de recursos, a música gerada pelo colectivo é marcada pela moderação, sempre controlada, sem dar lugar à expansividade. Inspirado por Yves Klein, que criou a cor “International Klein Blue” (IKB), este ensemble trabalha uma música assente em fervilhantes pequenas ideias, mas sem nunca chegar a explodir. Nuno Catarino (Bodyspace.net)
Referencing the work of French artist and composer Yves Klein, this large group of Creative Sources regulars perform the 4 part Monochrome Bleu Sans Titre, a subtle and rich work of acoustic and electronic improvisation. (Squidco)
De la lente suspension proposée par Ernesto Rodrigues, Guilherme Rodrigues, Miguel Mira, Rogero Silva, Bruno Parrinha, Eduardo Chagas, Nuno Torres, Pedro Sousa, Abdul Moimême, Carlos Santos, Ricardo Guerreiro, Nuno Morao, Monsieur Trinité et José Oliveira, on n’oubliera pas de sitôt la lente suspension. Ici, chacun frôle son propre effacement sans jamais s’y résoudre. L’instrument s’oublie mais pas la douceur qui s’y déploie. Le temps s’arrête, n’a plus aucune prise avec la réalité. Le songe se révèle, intense et irradiant. Luc Bouquet (Le Son du Grisli)
“Monochrome Blue Sans Titre”, CD de tributo ao pintor Yves Klein proposto pelo ensemble IKB. O interessante deste trabalho, e deste agrupamento de 14 elementos dirigido por Ernesto Rodrigues com alguns dos nomes mais importantes da improvisação lusa, não reside propriamente num esforço de contenção colectiva, e sim de focagem, de concentração. De um ponto de vista malfattiano, há demasiados sons a acontecerem, demasiados cortes na superfície do silêncio. Mas são, precisamente, os jogos de timbres aquilo que mais agrada no disco, a forma como cooperativamente se vão construindo as situações, sem atropelamentos nem colagens, cada músico estando consciente do seu lugar e percebendo que é apenas uma parte do todo. A música surge em camadas e tem uma dimensão orquestral, mas é de uma transparência que não se julgaria possível com uma formação de grande número. Rui Eduardo Paes (Jazz.pt)
Surgido das cinzas da Variable Geometry Orchestra (VGO), o IKB Ensemble é uma formação de grande dimensão que trabalha a improvisação sob direcção de Ernesto Rodrigues. Para este disco de estreia reuniu um grupo alargado de músicos improvisadores nacionais: Guilherme Rodrigues (violoncelo); Miguel Mira (contrabaixo); Rogério Silva (trompete); Eduardo Chagas (trombone); Bruno Parrinha (clarinete, clarinete alto); Nuno Torres (saxofone alto); Pedro Sousa (saxofones tenor e barítono); Abdul Moimême (guitarra eléctrica preparada); Carlos Santos e Ricardo Guerreiro (computador); Monsieur Trinité, Nuno Morão e José Oliveira (percussão); e Ernesto Rodrigues (harpa e piano – excepções ao instrumento habitual, a viola). Apesar da quantidade de músicos e da multiplicidade de recursos, a música gerada pelo colectivo é marcada pela moderação, sempre controlada, sem dar lugar à expansividade. Inspirado por Yves Klein, que criou a cor “International Klein Blue” (IKB), este ensemble trabalha uma música assente em fervilhantes pequenas ideias, mas sem nunca chegar a explodir. Nuno Catarino (Bodyspace.net)
Referencing the work of French artist and composer Yves Klein, this large group of Creative Sources regulars perform the 4 part Monochrome Bleu Sans Titre, a subtle and rich work of acoustic and electronic improvisation. (Squidco)
