CD – Creative Sources Recordings – CS284, Lisbon 2014
1. 3+1 - 09'54''
2. 5-1 - 05'03''
3. 4 - 05'42''
4. 22 - 07'25''
5. 42 - 19'36''
Ernesto Rodrigues - Viola
Nuno Torres - Alto Saxophone
Gunnar Lettow - Prepared Bass Guitar, Electronics, Objects
Gregory Büttner - Computer, Loudspeakers, Objects, Fan
Recorded in April 2014, Hamburg
Reviews
A quartet of improvisers, and I am not entirely sure why it says 'Zwei Mal Zwei', meaning two times two. Maybe it's a reference to where these people are from? Two from Germany and two from Portugal? Or perhaps there is a regular duo for each of Büttner/Lettow and Rodrigues/Torres? I don't know.
The recordings were made on the 3rd of April 2014 in Hamburg and credits are thus: Ernesto Rodrigues (viola), Gunnar Lettow (prepared bass, guitar, electronics, objects), Nuno Torres (alto saxophone) and Gregory Büttner (computer, loudspeakers, objects fan). This is the department of careful improvisation and much of this works in the area of electro-acoustic sound treatments, even when it comes to playing the instruments as such. Each of these players consider his instrument(s) as a an object, a piece, an element that generates sound and together they craft some pretty intense stuff; they always listen closely to what the others are doing and respond and react when needed or simply do nothing when required. Quite intense at various times, due to the amount of sound information and sometimes because due to it's absence. That it perhaps contains all the usual things around such improvised matters, but in fact this is a great release. Intense, concentrated, but also playful and not entirely without humour. Quite a nice release indeed. Frans de Waard (Vital weekly)
Ein mikrotonaler Brückenschlag zwischen Hamburg und Lissabon, könnte man sagen, wenn Brücke nicht zu hoch und luftig klänge für dieses Gewurzel. Auch Viola und Altosaxophon wecken falsche Vorstellungen für das, was Rodrigues und Torres mit diesen Objekten tun, die ebenso (nur) Werkzeug sind wie der präparierte Bass und die Gitarre bei Lettow und der Computer bei Büttner, neben dem ausdrücklich Objects genannten Zeug, das sie sonst noch zur Klangerzeugung und -vermehrung benutzen. Die beiden Portugiesen predigten in Hamburg zu bereits Konvertierten, zu Kennern und Könnern der Ästhetik des +/- Null, die die Wurzel aus Onkyo, Berliner Echtzeit und Wandelweiserischem Weiß zu ziehen verstehen. Schabende, rauschende, zirpende, knarzende, prickelnde, pfeifende, R2-D2esk zwitschernde Laute, stichelige Impulse, mit Faden oder Draht geknarzt, spuckig am Mundstück geblasen, gebrodelt oder geschmaucht. Elektronische Drones mischen sich schwer unterscheidbar mit händischen, feinmechanischen oder motorischen zu bruitistisch delikaten Eintrübungen und leicht getönten Schattierungen des Audiotops. Saiten werden mit Ventilator betickelt, fingerspitz bekrabbelt, durch Anschlag in Schwingung versetzt. Nicht stille Einfalt ist das Ziel, eher die gegen Unendlich gehende Vielfalt bei näherer und nahester Aufmerksamkeit. Die in der brummigen oder hell schimmernden Welle die unterschiedlichen Teilchen wahrnimmt und wertschätzt, egal wie schäbig oder flatterhaft sie daher kommen mögen. Von Cage, Rowe und Malfatti als ihren Säulenheiligen längst losgelöst, hat sich diese als sanfte Pandemie grassierende Mikrophilie zum neuen Einmaleins entwickelt. Ich dagegen rechne nicht mit Zahlen, sondern mit dem Schlimmsten. Rigo Dittmann (Bad Alchemy)
Computer, prepared bass guitar, viola and alto saxophone, respectively. Soft improvisations, making nice use of resonant string qualities, skittering and slightly nervous, but never overcrowded. Büttner's electronics (I assume) project a gentle spray of thin tones with a particulate aspect while Torres quietly bubbles and burbles. The music can fall back into a squiggly kind of meandering (parts of "22") but by and large is well-contained and focussed, the sounds clearly articulated int heir microscopic world. Things really gel on the final, longest track, "42", where the combination of long held tones and fluttering ones meld perfectly, imparting a sense of drama and depth. A good, thoughtful session. Brian Olewnick (Just Outside)
Quando há assomos de energia como em “Zwei Mai Zwei”, com Gregory Buttner e Gunnar Letow a interagirem com os nossos Rodrigues e Torres, mais o dito silêncio se sente nos momentos em que impera. Neste enquadramento, a sua relevância é exactamente a mesma, senão maior. Trata-se de um silêncio grávido de implicações, intenso, ruidoso. Não é um vácuo que se abre, mas uma parte como outras da topografia sonora criada. Se o branco é a mistura de todas as cores, o silêncio encerra todos os sons. É um concentrado de possibilidades acústicas. Rui Eduardo Paes (Jazz.pt)
Computer, prepared bass guitar, viola and alto saxophone, respectively. Soft improvisations, making nice use of resonant string qualities, skittering and slightly nervous, but never overcrowded. Büttner's electronics (I assume) project a gentle spray of thin tones with a particulate aspect while Torres quietly bubbles and burbles. The music can fall back into a squiggly kind of meandering (parts of "22") but by and large is well-contained and focussed, the sounds clearly articulated int heir microscopic world. Things really gel on the final, longest track, "42", where the combination of long held tones and fluttering ones meld perfectly, imparting a sense of drama and depth. A good, thoughtful session. Brian Olewnick (Just Outside)
Quando há assomos de energia como em “Zwei Mai Zwei”, com Gregory Buttner e Gunnar Letow a interagirem com os nossos Rodrigues e Torres, mais o dito silêncio se sente nos momentos em que impera. Neste enquadramento, a sua relevância é exactamente a mesma, senão maior. Trata-se de um silêncio grávido de implicações, intenso, ruidoso. Não é um vácuo que se abre, mas uma parte como outras da topografia sonora criada. Se o branco é a mistura de todas as cores, o silêncio encerra todos os sons. É um concentrado de possibilidades acústicas. Rui Eduardo Paes (Jazz.pt)
A l’électronique, Büttner enregistrait en avril et juin 2014 avec Ernesto Rodrigues (violon), Nuno Torres (saxophone) et Gunnar Lettow (basse électrique). L’improvisation est tendue, qui commande parfois des réactions mécaniques, mais parvient rapidement à accorder agitations et délicatesses. Et puis, de gestes et de signaux que l’on ne soupçonne pas, naît une abstraction qui sans cesse tend à l’effacement. Guillaume Belhomme (Le Son du Grisli)
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