Skiagraphía

CD – Creative Sources Recordings – CS424, Lisbon 2017

1. Skiagraphía - 32'13''

Thanos Chrysakis - Computer & Synthesizer

Kurt Liedwart - Computer

Nuno Torres - Alto Saxophone

Ernesto Rodrigues - Viola

Recorded in June 2016, Moscow

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/skiagraph-a

Reviews


When it comes to using electronics in improvisation (or as part of a compositional basis for improvising, à la Braxton's Diamond Curtain Wall Music), I've basically taken the attitude that if the result is engaging, I'll engage with it. I admit to something of a soft spot for acoustic albums, though, particularly as musicians develop some of the physical techniques for broadening their timbral pallets to include sonorities derived from electronic music. 
Of course, considering that I so often interact with music via recordings, there is usually some element of "electronics" already involved anyway in what I actually hear. That said, I'm still emphasizing the element of spontaneous group interaction, rather than some fully rendered composition or process. 
Within this "improvising with electronics" idiom, Thanos Chrysakis had already stood out to me for his sense of line & form, basically the way that he sculpts sounds & brings them to one's attention within a broad tapestry. This is true, once again, on Skiagraphía, a new improvising quartet release on Creative Sources, and a collaboration with Ernesto Rodrigues (with whom Chrysakis had collaborated most recently on Exaíphnes, a tightly conceived & brightly colored album, first discussed here in September 2015) & Kurt Liedwart of Moscow. 
Filling out the quartet is Nuno Torres (alto), who has appeared on many similar projects with Rodrigues, including the rather comparable Primary Envelopment, with Wade Matthews on electronics. The latter was recorded in the first half of 2014 (discussed here in March 2015), and features an especially wide pitch canvas, from growling to piercing tones, amid which the listener often finds themselves surrounded. Although it includes a range of pitches, including timbres from helicopters & foghorns (metaphorically speaking) to whistling teapots, Skiagraphía proceeds more from the middle (i.e. human ranges), and shows Chrysakis's talent for rendering "strange" sounds into a coherent foreground presence. In that quality, it's rather similar to Carved Water, recorded later in 2014 (and discussed here this past January): Although the latter album has a different emphasis, particularly around wind articulation, and a resulting liveliness, it features a remarkably similar ensemble of two electronics artists (including Chrysakis) with viola & saxophone.
It's an earlier recording, though, with Skiagraphía originating in Moscow only this past June. I had heard Kurt Liedwart (b.1977) in a couple of albums previously, including with AMM legend Keith Rowe, but they hadn't really spoken to me: In particular, his work often seems to remain rather atmospheric, exploring the edge of audibility & articulation. That isn't the case with Chrysakis involved, and following on the "sound installation" concerns of Carved Water, Skiagraphía ("silhouette") can really capture one's attention, sometimes with urgency. Although it's a short album, I've found it to be consistently potent, with a strongly interactive dynamic across a range of timbral combinations, as explored by these experienced improvisers. There is a sonic richness that is never overwhelming, yet is also difficult to qualify amidst many shifting resonances: It makes for a satisfying haunting (or interrogation of haunting), somehow. Todd McComb (medieval.org)

Three label leaders come together for an album of free electroacoustic improvisation--Thanos Chrysakis (Aural Terrains); Kurt Liedwart (Mikroton); Ernesto Rodrigues (Creative Sources), with Nuno Torres on sax--for an extended dialog built of exotic and microscopic sound, string aberrations, and reed abnormalities; exceptional. (Squidco)

Two albums recorded with a phenomenal Greek pianist, laptop and synthesizers virtuoso, Thanos Chrysakis. "Micrographia was recorded in January 2015 at Jazztras Estúdios in Lisbon, while "Skiagraphía" in June 2016 at Art Total Sound Recording Studion in Moscow.

"Skiagraphía" contains only one, 32 minutes long track, somewhat short, but so beautiful that it deserves four stars. The music belongs now more to the electro-acoustic genre: both Thanos Chrysakis and Kurt Liedwart use laptops, and Thanos also a synthesizer. Obviously, the alto saxophone of Nuno Torres adds additional value! The music is very peaceful and minimalist in the mood, yet very dense with emotional content. Maciej Lewenstein

Temperature Difference

CD – Creative Sources Recordings – CS420, Lisbon 2017

1. 4:40 pm - 10'41''
2. 5:01 pm - 16'13''
3. 5:33 pm - 15'32''
4. 5:52 pm - 13'38''

Eric Wong - Electric Guitar

Nuno Torres - Alto Saxophone

Guilherme Rodrigues - Cello

Ernesto Rodrigues - Viola

Recorded in May 2016, Berlin

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/temperature-difference

Reviews

“Temperature Difference” is the newest release of “Creative Sources”. Album was recorded by Eric Wong (archetop guitar), Nuno Torres (alto saxophone), Guilherme Rodrigues (cello) and Ernesto Rodrigues (viola). All four musicians are interesting and creative improvisers. They like to experiment in all fields of musical language and are always trying to create bright, new and innovative sound. Their music is based on avant-garde jazz, but also has some elements of alternative and experimental music. Innovative musical decisions, own and specific playing techniques, wide range of strange noises and tunes, dozens of extended playing techniques and other musical language elements – all these elements form the main style of the musicians. Spontaneous and remarkable solos are heard very much in their compositions – musicians always eft enough place for spontaneous, unpredictable and shocking musical decisions. Striking solos, peaceful and abstract episodes, marvelous and expressive passages, roaring blow outs or turbulent collective improvisations – all these elements help musicians to create unique, interesting, remarkable and original sound.


“Temperature Difference” has interesting and expressive sound. All compositions are based on free improvisation and avant-garde jazz. Abstract musical pattern, separate melodic and rhythmic elements, glamorous and effective solos, special effects, dozens of extended playing techniques, improvising manners and other elements form the main basic of these compositions. Musicians create extraordinary and rich musical pattern – they also use specific ways of sound extraction, extraordinary playing techniques and produce huge range of strange timbres. Separate meodic and rhythmic elements are repeated silmunateously – it has contrasting and variable sound. The music never stays the same – it’s made by different episodes which are highly contrasting with each other. The musical pattern varies between abstract, silent and lyric pattern, polyphonic facture and free improvisation. T\Splendid and mavrelous improvisations are the best episodes of whole album – musicians searche for new ways of playing, bright and active musical decisions and grouping together voorful, interesting and absolutely different music episodes which are the opposites to each other. Nuno Torres saxophone melodies – filled with energy, passion and expressions. Saxophonist fuses together specific and experimental playing techniques with very well-known and traditional ways of playing. Expressive solos, bright and clear solos, vibrant, effective and moving vibrato, gentle and colorful glissando and many other different playing techniques. That makes an effort to whole sound of the album – it brings new colors and sounds to whole compositions. Nuno Torres is improvising dynamically and expressively – his playing manner is based on avant-garde jazz, which are joint together with modern jazz styles and experimental music. Eric Wong archetop guitar melodies are based on contrasts and different moods – from silent, abstract and restful pieces this music suddenly gets to vibrant, energetic, turbulent and bright culminations. Colorful harmony, dozens of extended and innovative playing techniques, original and interesting musical decisions, eclectic stylistic combinations, spontaneous solos and many other elements make a fresh, interesting and innovative sound of his improvisation. It’s gently fits together with saxophone and other instruments. Sometimes the sound is more similar to rock and avant rock styles music – heavy, aggressive, static and rigorous solos are contrasting with vivacious, dynamic, joyful and passionate improvisations. Guilherme Rodrigues cello melodies are solid and firm. Strong, effective and interesting bass and harmony line is created and kept all the time. Monotonic separate rhythms and melodies, unusual timbres, strange noises, the elements of bebop, post bop, and other modern jazz styles are joined together with fascinating musical experiments and spontaneous solos. Vibrant and right culminations are the most effective episodes of cello melodies – it reveals huge range of different playing techniques and expressions and shows the talent of improviser. Ernesto Rodrigues viola melodies bring the intonations of academical music. Calm or expressive, silent or loud, playful, and gentle or rigorous and shrieky – many different types of rhythms, chords and timbres are used here. The improviser is switching between various moods – he joins them very organically and effectively, in the most interesting and original way. The music of this album is unpredictable and dynamic – it has wide palette of diversive colors, inventive musical decisions and outstanding instrumentation. That makes an effort to remarkable and fresh sound. (Avant Scena)

Sacred Noise

CD – Creative Sources Recordings – CS422, Lisbon 2017

CD I

1. SN I - 03'23''
2. SN II - 12'33''
3. SN III - 04'39''
4. SN IV - 06'17''
5. SN V - 09'51''
6. SN VI - 05'35''
7. SN VII - 04'04''

CD II

1. SN VIII - 09'12''
2. SN IX - 09'54''
3. SN X - 16'01''
4. SN XI - 06'39''
5. SN XII - 08'08''
6. SN XIII - 12'52''

Dietrich Petzold - Violin, Viola, Clavichord & Bowed Metal Objects

Guilherme Rodrigues - Cello
Ernesto Rodrigues - Viola

Recorded in October 2016, Berlin

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/sacred-noise

Reviews

Traintracks Roadsides Wastelands Debbris

CD – Creative Sources Recordings – CS410, Lisbon 2017

1. Traintracks - 15'58''
2. Roadsides - 13'10''
3. Wasteland - 18'25''
4. Debris - 12'24''

Ernesto Rodrigues - Viola

Ulrike Brand - Cello
Olaf Rupp - Electric Guitar

Recorded in October 2016, Berlin

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/traintracks-roadsides-wastelands-debris

Reviews

Den Reiz, der bei "Shadowscores" (CS 368) aus dem Scheinwiderspruch des Cellos von ULRIKE BRAND und der Gitarre von OLAF RUPP entstand, den verstärkt bei Traintracks Roadsides Wastelands Debris (CS 410) noch ERNESTO RODRIGUES mit dem Schliff seiner Viola. Dieses eigenartige Stringtrio scheint an der Klangwelt wie mit Sandpapier zu schleifen und zu polieren und dabei soviel Schleifstaub aufzuwirbeln, dass er unter den Fingern, ja auf den Zähnen knirscht. Alle romantischen Erinnerungen der Streicher sind gelöscht und ersetzt durch kakophone Säge- und Schabklänge. Alle Flamencodramatik und Hardcoreturbulenz der Gitarre, die oft genug unter Rupps strammen Fingern arpeggiofurios und hyperflageolettistisch aufwirbelte, ist verwandelt in flächige Mikroton­grundierungen und Reibelaute. Umso markanter plinken dann die Saiten, wenn Rupp sie pickt oder so anschlägt, dass sie wummernd nachhallen. Dazu schnarren Cello oder Bratsche mit rauem Vibrato, wobei auch da Bogenschläge ins Spiel kommen, das wie angesichts von Roadkill und eines wüsten Horizontes einen bedrückten Eindruck macht. Doch heftiges Plonkplink, glissandierende Drones, ratschendes Sägen und schroff schillernde Rasanz schütteln Mad Max-taff den Trübsinn ab. Rupp tremoliert wie ein Propeller, lässt aber die Saiten dann auch ganz zart beben und kristallin oder drahtig plinken zum Huschen und Federn, Kratzen und Klopfen der Bögen, zu langgezogenen Dröhnfäden und knurschiger Stahlwolle. Wenn der Staub sich legt, ist das eine finessenreich prickelnde und kunterbunte Angelegenheit. Rigobert Dittmann (Bad Alchemy)

Ernesto Rodrigues has been releasing an impressive series of small ensemble albums including himself & featuring various overlapping groups of string players (most often including Miguel Mira and/or his son, Guilherme). Although it's another "string trio," at least in the literal sense, Traintracks Roadsides Wastelands Debris, recorded in Berlin last October, is a bit of a departure in that it involved Rodrigues joining the preexisting Brand-Rupp duo, which has apparently been performing together for a while, and already had e.g. an album on Creative Sources, Shadowscores — mentioned here last month while discussing Happy Jazz. (I also mentioned Traintracks Roadsides Wastelands Debris itself in May, when discussing Xenon, another album of strings — highlighting "middle voices" — from Rodrigues.) It also includes guitar, so a string instrument from outside the violin family — together with the increasingly characteristic viola & cello. I first mentioned Olaf Rupp in this space back in December 2011, and at that time, his music-making seemed to be concerned more with rock influences or the "classic" German free style. Ulrike Brand, however, is a classically trained cellist, and Rupp (here on electric) seems to have moved more into the world of non-idiomatic improvisation. In this situation, the remaining aggressiveness in Rupp's style tends to balance the quieter or more atmospheric concerns of Rodrigues to produce a potent mix around Brand. There are moments of less activity, or quieter activity, but lines are constantly intertwining in dense counterpoint. (The album was also mixed by Rupp, which might be why it has more presence than a typical Rodrigues album.) The album notes include an acrostic-poem by Brand on the titles of the four tracks (which, together, are the title of the album), and it's not clear if the poem was the inspiration for the music, or vice versa. The "transit" genre, though, is apparently one I enjoy, and something I tend to associate with US musicians: Transit (featuring Jeff Arnal & Nate Wooley) is one obvious earlier example, but there have been various inspirations from transportation noise used in urban improvising (for obvious reasons), including prominently by Jeff Shurdut. As Traintracks Roadsides Wastelands Debris moves into more of a landscape mode — and it's never all that urban — it's also reminiscent of e.g. Bill Dixon's rather orchestral Tapestries, particularly its opening motorcycle road trip. By the time we come to "Debris," the imagery has more in common with e.g. Talking Trash — although the latter features clarinets & pianos prominently, plus some actual tunes at times. As the "orchestral" comparison suggests — & Shurdut tends to bring something of an orchestral concept to his work as well — there is a miniaturization theme that can be perceived here, and perhaps in Rodrigues's work in general. It's a matter of conjuring the smallest details, perhaps from each of one's four strings individually (per Scelsi), and building a bigger interaction, a basic technique of individual polyphonic articulation at which all three musicians excel here. There is thus almost constant exchange & transformation back & forth, sounds becoming more & less, ebbing & flowing, amidst a wonderful sense of detail & counterpoint. It's the concentration involved in such an approach, the basic smallness of the strings as individualized sounding agents, that differentiates it from those of the larger ensembles, such that every correspondence or timbral shift becomes charged, even (especially) as it fades. In this, e.g. the occasional ringing guitar chord can yield a comforting sense of familiarity amidst ongoing dissonance & desolation. (The sort of "industrial rattle" of e.g. Anomonous is thus turned on its head, but I'm once again reminded of comparisons from New York.) The result is engrossing, to the point that one starts to hear the illusion of breath amidst scraping mutes, strange static, etc. Of course, I'm also someone who's come to value writing (& especially editing) while riding public transit, so maybe this is my scene, so to speak. In another sense, it's the basic similarity of instrumental resources here, the constant crossing of ranges, that conditions the quasi-Scelsian polyphonic interaction & resulting resonance that I end up finding so engrossing: There is much more than transportation being conjured. 12 June 2017. Todd McComb's Jazz Thoughts

A great set of four improvisations from a string trio of viola, cello and guitar. The opening salvo here is a grand plunge downward, en masse. It's an arresting start which grabs your attention and serves as a pointer. We're going down to ground level to investigate the waysides, the places generally ignored.
The music here skirts the edges of the conventional (though that appellation is becoming ever more meaningless), and accrues weight by compiling a catalogue of detritus. The musicians may flirt with chordal progression or romantic imagery, but then veer off to investigate the grain of a bow hair, the ridges on a guitar string. Very often they go way beyond sounds usually associated with these instruments, constructing conglomerates of wooden flutes or the distant chug of a locomotive. Buzzes and bell-like harmonics sit amidst quiet distorted clangs for a minute, then some soft fumbling over in the corner catches your ear. Piled up arpeggios dissolve into squeaky harmonics or quiet sawing.

Each of these four pieces (the four words of the title) progresses "naturally" it seems, with no superfluous energy or forced point of view. A tangle of quick playing occasionally evolves out of nowhere. A wealth of detail invites careful attention, and humor is never far from view. Is that a bass drum I hear? Jeph Jerman (The Squid’s Ear)

Three string improvisers--Ulrike Brand on cello, Ernesto Rodrigues on viola, and Olaf Rupp on electric guitar--approach their instruments from all angles excepting the most traditional ones, from scraping and granulating to creating resonant sonic environments, an apt reflection of a journeying musician, enhanced by text and images in the CD package. (Squidco)