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
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)
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