- Where, how and when was Creative Sources Recordings born?
Ernesto Rodrigues - Creative Sources Recordings,
was born as an idea in my head when I was doing a gig in Macao as a way
to meet my need to edit and produce my own musical ideas. It turned into
reality only in 1999 with home made CDR editions. Now it has grown into
a real and very serious thing and at the verge of becoming more and more
known and prestigious – so I expect.
-What was the main idea behind its birth?
Ernesto Rodrigues - It basically was an attempt – at the image of
so many European based labels such as Ictus, Incus, FMP, Po Torch, ICP,
etc. - to show and divulge my work.
- Most records produced so far are your own works. What were the criteria
for all other releases?
Ernesto Rodrigues - The main criteria to have mostly my records edited
has been mainly the lack off money to edit other authors rather than a
special need to focus in my own work. My judgment as far as has having
other people’s work edited his quality, the way I understand it.
Kathodik - Creative Sources Recordings is a divulgation channel of Portuguese
musicians. Would you like to produce foreign artists? If so whom would
you choose first?
Ernesto Rodrigues - The main reasons why I haven’t
done that so far are very pragmatic, as I’ve stated on my last answer...
My first choice would be any musician whose work is related to the new
schools of experimentation and improvisation such as Berlin, Tokyo, London,
Kathodik - How do you choose your musical mates? Do you change your role
depending on whom you’re working with? What could you tell us on
Manuel Mota’s case as a musical partner?
Ernesto Rodrigues - As far as most of my cds and
performances are concerned the people who join me are the ones I keep
a stable and long lasting relationship with (José Oliveira and
Guilherme Rodrigues). One of the most interesting things about playing
with different people is precisely the possibility of having your own
role changed by what is determined by their different musical personalities.
That is a thing I enjoy very much. Manuel Mota appears in «Assemblage»
as a première in recordings at Creative Sources Recordings but
the truth is we’ve played a lot live, lately. His conceptions of
time and space fit perfectly the conceptual framework I’m in. Then
he is a very sensitive, determined and reliable guy.
- Tell us a beat about your stylistic formation. Does it include academic
or didactic studies?
Ernesto Rodrigues - I started studying music when
I was thirteen. My grandfather was a play writer and my father’s
godfather was a maestro. I lived in the same house with them and they
where a very important and strong influence in my childhood. Later, a
friend of mine filled some forms for my admission at the Lisbon Conservatory,
without my knowing, and I started my musical studies. (As there were no
vacancies for violin I studied bassoon for one year). Now a days I try
to forget all technique I’ve learned as far as playing the violin
is concerned, for all I’m interested in developing as my musical
universe hasn’t got anything to do with what you learn in academies.
Today there is a new musical reflection on what concerns experimentation.
There is like a trend to make it autonomous and free it from any connotations
and make it become a new musical sphere.
Kathodik - Is there a lot of improvisation in your music? What is improvisation
Ernesto Rodrigues - My
music is totally improvised. Improvisation for me is a goal not a mean.
I see improvisation as a form of instant composition, a way of approaching
music as fair as any other, and a way of being in music.
- In one of your cds there is a transcript from John Cages’. It
seems there is a strong sensibility for one of most influential innovators
of the 20th century. Can you elaborate on this liaison?
Ernesto Rodrigues - In
one of your cds there is a transcript from John Cages’. It seems
there is a strong sensibility for one of most influential innovators of
the 20th century. Can you elaborate on this liaison?
- Is the place you live an influential factor to your moods as a frame
to the global visions which are present in your work?
Rodrigues - Nobody is to have the right of denying the major or minor
importance of having been born in this or whatever place for his growth
and creativity- in other words, his personality. On the other hand, and
meeting your question, I have to confess I’ve allways had a difficult
relashionship with my country. I’ve lived the first 15 years of
my life under a dictatorship, a black and white picture which inevitabely
cut down your self-esteem and creativity. Yet, these conditions may become
potencially enriching provided you’re lucky enough to have developed
an analitic mind and the skill to have a critic look on the world around
you. If togheter with these you have access to the right people who will
show you – at these very early age- some of the best things which
are beeing produced in the universes of Art and Culture from all over
the world, you’re probably going to sublimate your life experiences
in a very strong way in terms of your creativity. Today, part of the European
Union, all information is equally spread all over the world and distances
are quickly shortening. Even if Portugal’s cultural legacy is not
as strong as other nation’s, as far as experimemtal music is concerned
I think you can say that we have a hard strong nucleous of sound artists
which are recognized world wide. Of all the improvisation scenes you have
access to, today, I can say that the ones which please me the most are
the London, Berlin and Tokyo schools.
Eletto , June 2003