Tactile

CD – Creative Sources Recordings – CS512, Lisbon 2017

1. I - 47'32''

LISBON STRING TRIO & EDUARDO CHAGAS

Ernesto Rodrigues - Viola

Miguel Mira - Cello

Alvaro Rosso - Contrabass

Eduardo Chagas - Trombone

Recorded February 2018, Lisbon

Cover design Carlos Santos

Collage by Dilar Pereira

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

Reviews

A live performance at O'Culto da Ajuda in Lisbon from the Lisbon String Trio of Ernesto Rodrigues on viola, Miguel Mira on cello, and Alvaro Rosso on contrabass, joined in this concert by Creative Sources frequenct collaborator Eduardo Chagas (Variable Geometry Orchestra, IKB, Suspensao, &c), a large work of microscopically detailed and concentrative acoustic improv. (Squidco)

A single, improvised performance with the Lisbon String Trio (Ernesto Rodrigues, viola; Miguel Mira, cello; Alvaro Rosso, contrabass) and Eduardo Chagas (trombone), recorded live in early 2018.

Listeners familiar with Rodrigues' vast output on the Creative Sources label will recognize the general area covered: fairly active improvisational music that tends toward the quiet side of things with much skittering and popping. This is certainly the case here but 'Tactile' stands apart somewhat largely due to the instrumentation involved and particularly, I suspect, the contributions of trombonist Chagas who, while generating those brief and sputtering sounds, also leavens things a bit, seems to insist on a bit more space between sounds. Not uncommonly, given the frequent use of rubbing the instruments, it's difficult to tell who's generating what sounds — there's a lovely section midway through that resembles car engines speeding past outside the recording space. Overall, the quartet ambles on unhurriedly, making apt observations, listening, contributing steadily. A solid, thoughtful improvised session from four skilled musicians. Brian Olewnick (The Squid’s Ear)

Lithos

CD – Creative Sources Recordings – CS526, Lisbon 2018

1. I - 08'40''
2. II - 12'53''
3. III - 12'09''
4. IV - 07'16''
5. V - 15'29''

Ernesto Rodrigues - Viola
Guilherme Rodrigues - Cello
Bruno Parrinha - Bass Clarinet

Luis Lopes - Electric Guitar

Vasco Trilla - Percussion

Recorded February 2017, Lisbon

Cover design Carlos Santos

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

Reviews

Although it was released only after some other collaboration albums between Ernesto Rodrigues & Vasco Trilla (among a varied cast), Lithos both predates some of those already discussed, and presents a seemingly different dimension of "natural" inspiration. The most similar ensemble was that on the prior quintet Nepenthes hibrida (recorded in December 2016, discussed here June 2017), with its evocation of flora (& perhaps fauna, given the intoxicative hybridity suggested) — there employing (frequent Trilla collaborator) Yedo Gibson on sax & Miguel Mira on cello. There was a "lushness" to that album that differs considerably from the "rocky" starkness of Lithos, however, on which the trio of Ernesto Rodrigues, Luis Lopes & Vasco Trilla are joined this time by Bruno Parrinha on bass clarinet & Guilherme Rodrigues on cello. (I see I had not mentioned Parrinha previously, but he appears in a number of similar contexts, including on Clean Feed.) Both Blattwerk & Zweige, recorded on consecutive days in February, also suggested floral inspirations, and these two albums were actually only recorded three & four days respectively after Lithos (also in Lisbon). Indeed, my first comments on any of these albums were on Nepenthes hibrida & Blattwerk, only in June 2017, i.e. after Lithos was recorded. (The shorter Synchronous Rotation, featuring Trilla with a string trio led by Rodrigues was recorded only in November 2017, and discussed here in March. In that case, one might broadly claim "geometry" as the inspiration, as with some other Rodrigues albums.) One might compare the "breathy rocks" — maybe also retaining some dampness? — to those on Sediment by the Carlo Costa Quartet (or indeed to those evoked by Costa's Earth Tongues, which appears to be an ongoing trio formation), first discussed here in March 2015. In this, Lithos has a rather consistent & austere feel, perhaps paving the way for more of these percussion & string-based explorations. (Actual stone-based percussion does not appear to be at stake here.) The clarinet does continue to inject an element of wind or breath that animates the quiet & jagged (& often rather contrapuntal) textures articulated by the strings, though. One might thus compare to another Sediment "followup," Ramble (& its sometimes deeper rumble). 25 June 2018. Todd McComb's Jazz Thoughts

"{Lithos}" comes from the same February sessions in Namouche Studio in Lisbon. Rodrigues brothers are joined here by Bruno Parrihna on bass clarinet and Luis Lopes on electric guitar. The music is similar, yet quite distinct. There is less strings, but more of the other melodic instruments. Vasco is quiet and discrete, but as essential as on the "Zweige" album. The music is very peaceful and imaginative. Bass clarinet starts by making short, quiet phrases, but soon becomes more expressive. Similarly, the guitar. Still, even though each voice can be heard separately, the whole album, containing 5 tracks, is a perfect example of a truly great collective improvisation, in which everybody listens to everybody and tries to respond adequately. My favorite is the closing track No. 5, in which Vasco sounds like a violin, and Luis like delicate drums. Maciej Lewenstein

Przebieg wydarzeń/ wrażenia subiektywne:

Lithos I. Szmer strun, klarnet basowy na wdechu, kojący szelest ciszy. Małe dźwięki, filigranowe ekspozycje, perkusjonalia, które zdają się być jedną wielką struną. Swobodna improwizacja w estetyce minimalistycznej – kategoria: klasyka gatunku. Trilla pieści krawędź werbla, wokół smuga wyciszonych dzwonków. Narracja delikatna jak puch.

Lithos II. Więcej ruchu powietrza, szumu, fragmentów dźwięków, które można zaliczyć do kategorii sustained, czy trwających. Zaniechanie, kreatywna nieśpieszność, strach przed gwałtownością, igraszki na progu ciszy. Klimat grozy i pokaźnej tajemniczości. Struny jęczą z zachwytu, klarnet dmie do wewnątrz, nie do końca rozpoznawalne atrybuty fonii ze strony percussion – dzwonki, mikro gongi. Gdy dronowe ekspozycje ustają, do gry wchodzą, raczej wczołgują się strunowce. Intrygująca akustyka chwili. Skrobanie i szarpanie strun, to etap kolejny. Zasada – lepiej mniej niż więcej – święci tryumfy. Po 10 minucie, na niedługi moment, nieco więcej aktywności ze strony każdego z muzyków, ale nie wbrew obowiązującej konwencji nagrania.

Lithos III. Drżenie instrumentarium Trilli, może i także jego samego. Szum w tubie, trochę małego prądu z gitary, suche struny. Kilka nowych dźwięków od Lopesa, skromne pizzicato na strunach wiolonczeli i altówki. Kilka garści dobrego rezonansu, zapewne wprost spod dłoni Trilli, jako efekt uboczny pracy na krawędzi werbla, także na jego dnie. Wiolonczela rusza z niskimi pasażami, altówka wtóruje jej w wysokim paśmie. Perfectly Acoustic!

Lithos IV. Kind of sustained, delikatnie zmutowane wielodźwięki, rodzące się na wystudzonych strunach. Klarnet bardziej w konwencji smooth. To jego fragment, jest aktywny i ciągnie ensemble za sobą. Cisza i skupienie skwierczą niemal bezdźwięcznie. Ciekawa palcówka na altówce. Metaliczność Lopesa, także odrobina ekspozycji w stylistyce call & response. Akcje, reakcje, ciepłe spoiwa ciszy.


Lithos V. Ciąg dalszy mikrodialogów. Być może przydałoby się więcej zdań współrzędnie złożonych. Dominacja strunowców, spokój klarnetu, kamienna powaga perkusjonalii. Ale są, czuć ich zapach. Samych dźwięków jednak niezbyt wiele. Kilka chwil dobrej fonii z gitary. Tuż potem zejście na sam próg ciszy i rozpoczynanie narracji do początku. Nowe szmery na strunach. Uroda pojedynczych dźwięków nie zastąpi jednak wartościowej dramaturgii. Nagranie zdaje się być zbyt długie. Recenzent wylicza, że to już piąta płyta Vasco Trilli z instrumentami strunowymi w ciągu ostatnich dwóch lat. Najdłuższa i najspokojniejsza. Minimalizm wyniesiony na ołtarze bez alternatywy dla toczących się wydarzeń. Ostatnia prosta – więcej dźwięków, szczypta bystrych interakcji, może trochę dla uspokojenia sumienia, wszak lepiej późno i wcale. Tuż potem najbardziej dla tej sesji charakterystyczny dźwięk - szum białej ciszy. Spontaneous Music Tribune (Andrzej Nowak)

Recording in the studio in Lisbon, Portugal, the free improvising lowercase/subtle momentum quintet of Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, Bruno Parrinha on bass clarinet, Luis Lopes on electric guitar, and Vasco Trilla on percussion, demonstrate intense control and remarkable concentration through the five parts of "{ Lithos }". (Squidco)

It is impossible to follow all the releases of viola player and Portuguese Creative Sources label head, Ernesto Rodrigues. If you follow his Bandcamp page you may get the impression that he releases two or three albums every week. And, indeed, he already released 26 albums after Lithos was released earlier this year.

Lithos, after the Greek word for stone, is another free-improvised meeting conducted by Rodrigues, in a studio in Lisbon on February 2017. This session features cellist Guilherme Rodrigues, bass clarinet player Bruno Parrinha, Lopes on electric guitar, and percussionist Vasco Trilla, all of them frequent collaborators of Ernesto Rodrigues. Lopes and Trilla recorded with Ernesto Rodrigues in another improvised quintet the album Nepenthes hibrida (Creative Sources, 2017).


These five improvisers do sound as if all were sculpting and polishing a huge sonic stone, patiently and methodically, first by applying delicate, extended bowing and breathing techniques and modest effects. Later, the quintet adds more tension and thorny methods to its disciplined interplay and the austere atmosphere of their mutual work, but keeping it quiet and reserved. As if to state that delicate, almost silent vibrations may penetrate even the toughest stone. Eyal Hareuveni (The Free Jazz Collective)

O português Creative Sources é um dos selos mais ativos do free no século XXI e desvendar seu catálogo  significa conhecer uma parte relevante do que vem sendo realizado em Portugal e arredores por esses tempos. Focado na free improvisation, o selo foi criado pelo violinista Ernesto Rodrigues em 1999 e não apenas distribui seus projetos, mas o de outros tantos artistas inventivos da região – e o melhor: os álbuns ainda são editados em formato físico. Este { Lithos } reúne um quinteto de nomes bem conhecidos por aqueles que acompanham a produção portuguesa. Ao lado de Ernesto Rodrigues estão Luís Lopes (guitarra), Guilherme Rodrigues (violoncelo), Bruno Parrinha (clarinete baixo) e o espanhol Vasco Trilla (percussão). O álbum foi gravado em 24 de fevereiro de 2017, no sempre presente Namouche Studios (Lisboa) e traz cinco temas (I, II, III...). A música aqui apresentada representa bem o perfil do selo, com improvisação livre detalhista, com intervenções por vezes pontilhistas que se desenvolvem sem arroubos, sem fúria, em uma tateante exploração de caminhos improvisatórios coletivos. Música para ser ouvida com calma e atenção. Fabricio Vieira (Free Form, Free Jazz)

Coluro

CD – Creative Sources Recordings – CS513, Lisbon 2018

1. I - 22'27''
2. II - 21'15''
3. III - 24'38''

Colectivo maDam

Ernesto Rodrigues - Viola
Ruben Gutierrez - Electronics & Objects
Tomás Gris - Acoustic Guitar

Guillermo Torres - Flugelhorn

David Area - Electronics

Miguel Mira - Cello

Recorded January 2018, Madrid

Cover design Carlos Santos

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

Reviews

Colectivo maDam — a loosely defined, electroacoustic improvising group from Madrid — is joined by Creative Sources mainstays Ernesto Rodrigues & Miguel Mira on Coluro, part of an ascending collaboration between these Madrid musicians & Rodrigues. Here the collective is represented by a quartet of Ruben Gutierrez (electronics, objects), Tomás Gris (acoustic guitar), Guillermo Torres (flugelhorn) & David Area (electronics). (One can e.g. also hear them as a quintet, i.e. those same four performers plus clarinet, on Fields Retro Coco Set, a relatively aggressive & animated album released by Ex Nihilo Records: There are other albums available there as well, in different configurations.) In May 2016, I had discussed Aleph, a quartet album on which Guilherme Rodrigues joins Area, Torres & Gris: Although I still approached those comments too much from the outmoded perspective of the "band" concept, rather than according to the more fluid forms defining these collectives, i.e. considering that different combinations tend to occur on different albums, rather than forging a stable lineup, the comment about an ecology of balance & restraint (& even gravity) remains appropriate. Indeed, whereas I was referring to geometric aspects of the sound stage & pitch gamut, and the manner in which they are spanned or framed, concepts of gravity would appear to reenter here via a(nother) quasi-"space" theme: Coluro is an old term referring to celestial coordinates, as reflected in the cover diagram. (Whereas "space" has not been my favorite theme, to say the least, and despite the electronics here, Coluro does not feature anything like a traditional "futuristic" spacey sound. The collective sound world it constructs is very much its own, although a sense of geometric spanning, including across regimes of timbre, does apply.) As with many (e.g. Lithos) — but certainly not all (e.g. Tactile) — recent Creative Sources releases, the relatively plain & seemingly hand-drawn cover — even suggestive of rough parchment paper, which it does not actually use — also projects a "do it yourself" ethos: Such an ethos would seem to fit the performers' approach more generally, including to their instruments, particularly the electronics, which are presumably homemade. The plain cover then suggests little of the rich creativity of the interactions themselves, let alone the creative construction efforts coming prior to this particular instance.... (One might also compare the pairing of electronics performers within a larger, half acoustic, ensemble to e.g. Thanos Chrysakis projects such as Skiagraphía — on which Rodrigues also participates — & Carved Water, which presents perhaps the most similar set of sounds. And whereas the latter also suggests a spatial quality via its "installation" approach, the former is more about cultivating a mysterious center via wave-like continuity.) Despite its own idiosyncratic invocation of space, then, Coluro might actually be said to project an earthy quality, including as reflected in the coloring of its package.... By way of continuing history, the participation of maDam members on Aleph was followed by Creative Sources releases Chorismos (on which Ernesto Rodrigues plays harp, joining Gris & Area in a trio) & Hápax (a different quartet formation without either Rodrigues) in 2017: The latter is a somewhat formless affair suggesting distant radio signals, whereas the former is more pointillistic. In turn, Coluro is much more elaborate & colorful, with subtle electronics configuring & responding to various contrasting plucks, clunks, rattles, rubs & flutters. The sound is almost immediately engaging, lively & with contrasting sonorities across a broad textural range, with good presence & even the occasional ringing tone. (Unusually, the album is also mixed — by David Area — to have excellent presence on small travel speakers. This surprised me, but it's a welcome option. Of course it's more spacious on better speakers....) Moreover, Coluro is a very substantial album, with three twenty-plus minute tracks totaling well over an hour, recorded on consecutive days in Madrid in January, the first track live, and the next two in a studio venue. Although they use similar combinations of sounds, each track constructs its own world, which comes to a full halt upon conclusion: Each track thus seems to provide an entire album of experiences by itself, such that one might even speak of a double or triple album.... (At times, the third track turns to some very high pitches, recalling e.g. Wade Matthews & Primary Envelopment, which takes something of a similar spanning approach to the very high & very low gamut. Indeed, the pacing & investigations of the maDam approach are clearly inspired by Matthews, while engaging an even richer tapestry of sounds & contrapuntal interactions. So these styles continue to evolve & do so rapidly....) There's palpable tension arising from a kind of disinterested or restrained aggressiveness, sometimes with a pulsing momentum, occasionally with distorted versions of animal (e.g. dog) calls or squealing metal amid various resonances, some repetitive ticks, a variety of string technique, maybe some dripping water or a few sirens... the result leaves the typical pop culture ear worm far behind. In this (very welcome & practical!) trait, Coluro recalls e.g. Ramble & its triple horn acoustic quintet lineup, Sediment before it (albeit there with a quasi-linear sense of process, rather than spatial spanning as here), and especially Nashaz, which also presents a similar range of sounds & interactions, albeit with only minimal electronics: In each case, one finds an elaborate articulation of complex timbres, different speeds of attack, whether percussive or breathy, and an energetic quality seeming to arise from (sometimes subtle) dissonance itself. Especially in the latter case (which evokes more "mystery") — as well as on Coluro — the balance itself drives a kind of dynamism, the concrete "do it yourself" industrial evocations both yielding to & surrounding various natural invocations (which come only at a distance, but are not derived from external samples, at least as far as I can tell): In short, Coluro constructs a highly mediated (& largely indoor) contemporary world of timbral counterpoint, and does so from an unusual & understated sextet configuration that seems to proclaim that more developments will be arriving soon.... Despite (& perhaps because of) that latter sense, Coluro cannot be ignored now, making it perhaps the album of the year in this space thus far. 2 July 2018. Todd McComb's Jazz Thoughts

The Spanish free improvising quartet Colectivo maDam of Ruben Gutierrez on electronics, objects, Tomas Gris on acoustic guitar, Guillermo Torres on fluguelhorn, and David Area on electronics are joined by Lisbon improvisers Ernesto Rodrigues on viola and Miguel Mira on cello for this 3-part work, the first recorded live at Espacio B, Madrid, the 2nd & 3rd recorded in the studio. (Squidco)

For Cecil Taylor

CD – Creative Sources Recordings – CS527, Lisbon 2018

1. I - 06'19''
2. II - 09'23''
3. III - 25'17''
4. IV - 13'23''

NEW THING UNIT

Ernesto Rodrigues - Viola
Paulo Alexandre Jorge - Tenor Saxophone
Eduardo Chagas - Trombone

Manuel Guimarães - Piano

Miguel Mira - Cello

Pedro Santo - Drums

Recorded March 2018, Lisbon

Cover design Carlos Santos

https://ernestorodrigues.bandcamp.com/album/for-cecil-taylor

Reviews

“For Cecil Taylor” was recently released on April. Remarkable and interesting album was recorded by “New Thing Unit” – it’s Ernesto Rodrigues (viola), Paulo Alexandre Jorge (tenor saxophone), Eduardo Chagas (trombone), Miguel Mira (cello), Manuel Guimarães (piano) and Pedro Santo (drums). All the compositions of this album are dedicated for great avant-garde jazz legend Cecil Taylor, which died on April 5, 2018. Cecil Taylor was a great and marvelous pianist and improviser. Through the years of his musical activity, he had created unique and interesting playing style and manner. All his improvisations were based onexpressive, vivacious and vibrant sound, were full of stunning musical experiments, strange noises, experimental ways of playing, turbulent and powerful culminations, expressive melodies and dynamic stylistic changes. All these elements were masterfully combined together in his improvisations. The music of Cecil Taylor was totally based on basic styles of avant-garde jazz. “New Thing Unit” music is full of various stylistic waves, has evocative and expressive sound, rich and vivacious musical language. Each musician is creative and outstanding improviser. Unique playing style, original and inventive musical decisions, specific and own playing techniques, experimental ways of playing and search of new timbres and sounds. The musicians are trying to create an extraordinary, unique and expressive sound. Their playing manner is especially expressive, bright and modern – it also has vibrant, interesting, contrasting and vivacious sound. The synthesis of avant-garde jazz and bebop, hard-bop, post-bop and other contemporary modern jazz intonations are gently combined together. The intonations of contemporary academical music, elements of various countries ethnic music, experimental music and academic avant-garde also are heard in the music of these musicians.

The music of this album has interesting and original sound. It’s based on collective improvisations, free structure, interesting musical experiments by each musician and striking and evocative musical language. All these elements help musicians to create interesting, vivacious, vivid and expressive sound. Each musician is improvising individually – the improvisations have its own character, are based on indepdndent musical decisions and specific playing manners. Saxophone improvisations by Paulo Alexandre Jorge have effective, expressive and vibrant sound. It’s full of dynamic and sudden stylistic changes and turns – improviser uses especially huge variety of traditional playing techniques and experimental ways of playing. The extraction of unusual and strange timbres is the main priority of the saxophonist. He’s making an effort to search and extract original and weird sounds and new ways of playing. His improvisations are expressive, vivid, vivacious and striking, mostly are based on abstract musical pattern and free form. Spontaneous and vibrant solos, sharp harmony, colorful timbres and sounds, expressive and vivacious melodic elements, rigorous and sharp blow outs and many other elements make an effort to whole sound of the album. Trombone improvisations by Eduardo Chagas are deep, nright and solid. Repetitive and monotonic bass line is highly contrasting with live, active, rapid and dynamic saxophone. Deep, soft and monotonic trombone tones are blended together with bright, expressive and aggressive solos, original and interesting ways of playing and unusual sounds. Manuel Guimarães piano improvisations are especially energetic, striking and touching. It’s full of passionate and virtuosic passages, colorful and rapid arpeggios, sharp and dissonance harmony, separate chords, which are based on unusual tones combinations, extended variety of playing techniques, expressions and other elements of musical language. Pianist playing is especially evocative and interesting – it’s also full of vibrant, sudden and colorful waves, turns, surprises and changes. Viola (Ernesto Rodrigues) and cello (Miguel Mira) improvisations bring the intonations academic avant-garde and experimental music. Though, the basics of their improvisations are the main elements of avant-garde jazz and free improvisation, both musicians are using many modern and experimental playing techniques of academic avant-garde and experimental music. That makes an effort to the marvelous and organic synthesis between avant-garde jazz, free improvisation and experimental music. Vibrant and effective solos, expressive and vivacious melodies, virtuosic passages, soft and subtle pizzicato, glissando and many other similar playing techniques are combined together with experimental and specific ways of playing. Pedro Santo drums section is colorful and dynamic. Various rhythms of avant-garde and modern jazz styles are connected together with spontaneous, turbulent and free solos, colorful percussion timbres, extended playing techniques, huge range of expressions, dynamics and other elements of musical language. All musicians are improvising expressively and passionately- their music has remarkable and interesting sound. (Avant Scena)

As recently suggested amid extensive comments on 0 minutes and 0 seconds earlier this month, Ernesto Rodrigues tribute albums do not tend to be straightforward or derivative — and might even be confusing — as is the case (once again, perhaps) for the recent For Cecil Taylor (recorded in Lisbon this past March) by a sextet named New Thing Unit: Rodrigues (viola), Paulo Alexandre Jorge (tenor saxophone), Eduardo Chagas (trombone), Manuel Guimarães (piano), Miguel Mira (cello) & Pedro Santo (drums). I had already noted the participation of Chagas when discussing Meandros e Vertentes, and of course Mira appears on so many albums with Rodrigues.... Jorge & Guimarães hadn't appeared in this space previously, but both have prior albums on Creative Sources (as well as e.g. Clean Feed for the latter) — and both are known for their knowledge of twentieth century USA popular music, obviously relevant background for this tribute album. (And that term "background" does happen to be important in this case....) Finally, I had mentioned Santo in conjunction with José Lencastre's 08.30/18.09/10.10/10.18 (in December), and he appears to work most often in more traditional settings. So the sextet consists of one alto (Rodrigues on viola), three tenors (of which the cello sometimes functions as a bass), and piano & drums. Whereas Rodrigues does engage in some traditional string virtuosity from his position in the highest register, it's not always particularly evident. Indeed, For Cecil Taylor generally has a kind of murky & swirling character from which more traditional expressions & interactions, even solos, sometimes emerge. And whereas the "murky swirling" garden includes various string harmonics & the like, the simmering activity generally has a traditional feel as well, featuring a variety of interlocking ostinati & other techniques of continuity. It's basically the "stuff" of jazz, but presented from other directions. (One might thus note that it starts by constructing a mood, which it might then harvest....) Sometimes the result is quite a racket, but some activity is usually more in the foreground, while some is more in the background, and these relative positions can shift, whether suddenly or gradually, as different activity sharpens or comes into focus. Per the previous entry (& pace harmonics), instruments do usually "sound like instruments" here, versus more experimental settings typical of Rodrigues, though. Moreover, For Cecil Taylor is a long album, over an hour, and thus presents plenty of opportunity for a wide variety of interactions: Track #3 (the longest) begins on piano, which might be said to imitate Taylor, but only tangentially — and then the piano asserts itself again for its most traditionally jazzy (even romantic) evocations only toward the end of track #4 (after various intervening, less qualifiable, piano activity — i.e. the noted ostinati, etc.). The result is almost a haze of Taylor's associated sounds & musical environment, from which some more specific (& sometimes more specifically jazzy) individual tributes can emerge amid other layers of activity. (One almost wishes for more of this mode from e.g. the horns, which can be surprisingly & straightforwardly expressive at times.) Perhaps For Cecil Taylor can be characterized as an impressionistic collage of Taylor's forms & sounds, then — which finally dissolve away. (And of course Taylor himself had ceased his musical activity by the time that I began this project, so nothing from him ever really fit here, although I did list his Victoriaville trio album with Bill Dixon & Tony Oxley as my oldest item for a while.) 28 June 2018. Todd McComb's Jazz Thoughts

Dedicated to the late free jazz legend Cecil Taylor, this Lisbon sextet of Paulo Alexandre Jorge on tenor saxophone, Ernesto Rodrigues on viola, Eduardo Chagas on trombone, Manuel Guimaraes on piano, Miguel Mira on cello, and Pedro Santo on drums performs four energetic and well-balanced collective improvisations, respecting and evoking the incredible legacy Taylor left behind. (Squidco)

Numa editora (a sua) que se tornou num dos baluartes mundiais da tendência reducionista da improvisação, eis que o violetista Ernesto Rodrigues regressa neste “For Cecil Taylor” às suas raízes, as do free jazz. Podia tê-lo feito mimetizando as concepções do desaparecido pianista, dada a intenção colocada em título de lhe prestar tributo, mas isso seria demasiado óbvio. O que ouvimos é um grupo de improvisação livre a remexer na linguagem da chamada New Thing sem nunca perder a distância que vai de uma condição para a outra, ainda que as referências na música contemporânea que têm norteado o percurso de Rodrigues (e de certo modo também os do trombonista da New Thing Unit, Eduardo Chagas) se façam sentir tanto quanto os do jazz, até porque assim acontecia com Cecil Taylor.

A escolha dos restantes membros é elucidativa no que respeita à vontade de nada estereotipar: se Paulo Alexandre Jorge, em saxofone tenor, é um descendente directo do tipo de linguagem abraçado por Taylor (as suas abordagens remetem-nos amiúdes vezes para Archie Shepp - nunca para o que seria um Jimmy Lyons mais grave), e se Miguel Mira, no violoncelo afinado como um contrabaixo, é dessa tradição que parte, já as presenças do pianista Manuel Guimarães e do baterista Pedro Santo garantem que nenhuma linearidade seja possível. Curioso é, aliás, verificar que os quatro temas reunidos terminam precisamente quando os parâmetros arriscam a tornar-se demasiado “taylorianos”. Excusado seria dizer que a viola de Ernesto Rodrigues em nenhum momento faz as vezes do violino de Ramsey Ameen – são outras as suas coordenadas, aquelas a que o músico nos tem habituado. Com tais procedimentos, o sexteto realiza algo que, com certeza, o homenageado teria gostado: que o seu contributo para a história do jazz surja como um exemplo de liberdade criativa e não como um modelo a reproduzir passivamente. Rui Eduardo Paes (Jazz.pt)

Cecil Percival Taylor (March 25, 1929 April 5, 2018) was an American pianist and poet, on the most prominent artists of the XX and XXI century. "Taylor was classically trained and was one of the pioneers of free jazz. His music is characterized by an energetic, physical approach, resulting in complex improvisation often involving tone clusters and intricate poly-rhythms. His technique has been compared to percussion. Referring to the number of keys on a standard piano, Val Wilmer used the phrase "eighty-eight tuned drums" to describe Taylor's style. He has been referred to as being "like Art Tatum with contemporary-classical leanings"." In a sadly
prophetic session on 17th of March 2018 Ernesto and his New Thing Unit gives tribute and homage to this Giant of contemporary art.
New This Unit has a very special sound, combining strings (viola and cello) with the sounds of tenor and trombone, and piano and drums support. The set starts with "I", which is a perfect presentation of the band's approach to free improvisation. It opens with delicate saxophone/
trombone sounds, and inside/outside piano key strokes. The strings contribute bowing or pizzicato, and then the drums join. One has impression of something growing slowly, but consequently. After 3 minutes the first explosion occurs involving everybody, but with the
fantastic trombone and viola solo in the first place. The improvisation becomes more collective, but the saxophone takes over for a while, making place for another viola and cello statement. After 10 minutes the piano has voice for some time. The mood becomes more peaceful,
to erupt again in the 15 minutes. This 17 minutes long track is a masterpiece!!!
The following "II" is a shorter, 6 minutes long ballad--like tune, with breath taking and heart breaking melancholic collective improvisations. "III" is another 25 minutes long highlight, starting with Cecil Taylor-like piano lines. The strings make here a phenomenal background.
After 2 minutes the whole ensemble enters super powerfully: trombone and then the saxophone declare the war to end it with a peace in the 10th minute. The strings are in front again, with Miguel playing pizzicato bass lines. The fragmented solo of Paolo end with the cello solo, after which the ensemble comes back giving place to the trombone statement. Another collective eruption takes place to finish with a bluesy and sad saxophone/cello/drums trio. Incredible stu ff!!! The set ends with "IV", another shorter, yet 13 minutes long track that starts with the drums and strings trio. In the third minute the band joins in a full dimension, but
the lead belongs to the strings. This changes in the sixth minute when the trombone and the saxophone take over. The piano is also omnipresent, and in the 9th minute the piano solo starts. It lasts over two minutes and ends with an entry of the drums and string that augments and ceases till the very end.

For me this, in addition to "Meandros e Vertentes" is one of the best records of the Rogrigues "gang", and one of the best free improvised records of the Portuguese scene of the last decade!!! Maciej Lewenstein 

On retrouve l’esprit de Cecil Taylor et de son Unit dans cette musique « free-jazz » enregistrée au Studio Namouche à Lisbonne. On n’aurait jamais imaginé il y a quinze ou même sept ans entendre un tel album chez Creative Sources, ni trouver le très classieux altiste Ernesto Rodrigues en telle compagnie. Le violoncelliste Miguel Mira est plus coutumier du fait avec Rodrigo Amado et Gabriel Ferrandini. Mais foin de spéculations esthétiques, vous avez ici du bon vieux free jazz joué collectivement avec deux excellents cordistes qui virevoltent , un pianiste compétent, un tromboniste allumé, un saxophoniste ténor enflammé et un batteur qui se bonifie tout au long de la session. Quatre parties dont les deux premières hautes en couleur avec des vagues incandescentes, des parties monodiques des cuivres évoluant par-dessus l’activité trépidante autour du batteur et du violoncelliste. Le troisième morceau se focalise sur les deux cordes qui scient à tout va, le tromboniste Eduardo Chagas hachant menu la colonne d’air et le pianiste piquetant ses commentaires avisés. Le sax emboîte le pas en faisant chuinter, grincer sa sonorité jusqu’aux harmoniques sauvages et frustes et le tromboniste soufflant à pleins poumons. Le travail de Jorge dans les harmoniques est méritant et la sensibilité et les idées d’Ernesto Rodrigues remonte à la surface apportant une couleur qui complète les morsures sur l’anche du saxophoniste. Chacun apporte sa pierre à l’édifice en faisant varier les plaisirs pour que cela s’écoute encore après vingt minutes et plus. Ça joue à l’emporte-pièce et cela me rappelle l’excitation éprouvée avec ces albums ESP et BYG avec Frank Wright, Sunny Murray, Alan Shorter etc... Ça évolue dans des sphères plus mystérieuses et espacées tout en soutenant l’atmosphère un peu dramatique. La quatrième partie commence avec un riff du violoncelliste et le jeu passionné et extrême du violoniste, introduisant un motif mélodique ressassé du ténor, et les raclements du trombone, parfait leitmotiv pour l’empoignade finale … Du free en somme. Pour Cecil Taylor. Jean-Michel Van Schouwburg (Orynx)