capacidad de pérdida|cs018
only new release of this batch is Ruth Barberan’s contribution to
the ever-growing mountain of solo trumpet releases, “Capacidad de
Perdida”. Of necessity (though I wonder, with this release and others,
why?), there’s nothing that would lead the innocent listener to
suspect the presence of a trumpet, but true to what seems to me to be
one of the guiding aesthetics in this neck of the woods, delicacy is thrown
in the back seat and an aggressive, earthy approach is pursued. Granularity,
again. Harsh burblings that almost cause you to grip your throat in sympathetic
pain, severe knockings and intense, even emotional whistlings are the
stuff of this session. If she doesn’t quite have the conceptual
fullness of a Kelley or Dörner at their best, Barberan certainly
has created her own niche and a very compelling one. Can’t wait
to hear more from her.
Ruth Barberán, a new name for me, plays solo trumpet. But this playing is not so much a standard playing, or the production of mouth sounds, but Barberán uses the instrument as a kind of electro-acoustic object to play. Especially in the first and third this becomes obvious. Here it sounds more like closely miked acoustic objects and not anything like a trumpet. In the second and fourth piece Barberan's playing comes closer to that of Axel Dörner, whose playing is more like sound poetry then like a trumpet. A fascinating release. Frans de Waard (Vital Weekly)
trumpet that is not -- that cannot be -- solo trumpet: that is how most
listeners would probably sum up «Capacidad de Pérdida»,
Ruth Barberán’s first recording for the Portuguese experimental
label Creative Sources. Her approach of the instrument as a sound-making
device is strongly reminiscent of the groundbreaking late-‘90s and
early-2000s work of Axel Dörner, Franz Hautzinger and Birgit Ulher.
No electronics are mentioned in the scarce liner notes, so the listener
has little choice but to believe that this is all acoustic trumpet playing.
Several of the bubbly, breathy and cavernous sounds heard here have been
pioneered by the aforementioned artists, but Barberán also comes
up with a few new propositions, including arresting “crashing wave”
effects in “Lo Contrario de Pérdida de Capacidad.”
Close-miking draws the listener inside the bell of the instrument, for
a journey more evocative of a walk in the sewers than anything trumpety.
Each piece (there are four of them, 6 to 11 minutes in duration) paints
a slightly different landscape, with more asperities here and wider blank
spaces there, but the unity in form is undeniable – and would easily
become wearisome if the album was longer than its 36 minutes.
Trumpet player Ruth Barberán belongs in that area of improvisers that play wind instruments exploiting their more obscure cavities in a completely new approach to virgin territories, thereby also inventing a modern vocabulary. In "Capacidad de pérdida", Ruth hoards lots of strange emissions and uses them to shut down every conceivable door leading to a "conventional" way of playing: we hear expertise and ingenuity in equal doses, the instrumental machinery radically altered by some kind of goblin robbing "regular" notes and leaving breath, tongue, saliva and fingers discussing about a future that has to be completely reinvented. Hell-bent on sheer gestural significance, distrustful of everyone in the perfect ruffle between the disclosure of a new secret and the opprobrium of ignorant reactions, this girl walks away with her head well high, like if she's telling us "Do it yourself...if you're able to!" Massimo Ricci (Touching Extremes)
On her first solo CD, capacidad de pérdida, Ruth Barberán repudiates “the harsh resounding trumpets dreadfull bray” (Richard II) in favour of more microscopic inflections of closely observed wind and surf, thereby aligning her work with that of other innovating brass players such as Matt Davis, Axel Dörner and Greg Kelley. The disc contains four freely improvised tracks, three of which were recorded in her home, the fourth at the Centre d'Estudis Musicals in Barcelona. On the best of these, and especially the title track, Barberán shifts dexterously and adventurously both within an array of timbres, attacks, durations and dynamics, and between more emphatic sound and interstitial pools of silence in which only a few background noises or the quiet panting of her breath are to be heard. On "dos dies and objectes", however, her approach to rhythm is noticeably less radical than the other dimensions of her playing, and the improvisations frequently become trapped within reiterated pulses, ensuring that, despite the small fluctuations within her rough meters, flexibility is reduced and uniformity aggravated. In a musical and social world awash with repetition, the loss of free rhythms for extended periods is something to be regretted, but this remains an intriguing and challenging release that should be of interest to admirers of the adept use of extended techniques in improvisation. Wayne Spencer (Paris Transatlantic)
a year ago, I first reviewed a Creative Sources disc for Dusted and noted
that improvised music would be nothing without local scenes and the labels
dedicated to documenting them. That’s still true. But when people
start to take notice, the next level is the formation of links with other
scenes. The Lisbon-based label – run by Ernesto Rodrigues, an excellent
improviser who plays on some of the label’s releases – has
made that next step. Along with labels like Erstwhile, For4Ears, Confront,
Meniscus, and Potlatch, this imprint is documenting some of the finest
“lowercase” improvisation around and has become a label with
a strong track record and a global focus. Their release schedule has really
picked up of late too. In fact, they’ve just dropped a quintet of
recordings featuring a fairly broad array of European improvisers. Many
readers won’t be too familiar with the majority of the players.
That deserves to change.
przyznac, ze Capacidad de pérdida - debiut Ruth Barberán
w roli solistki - nie zaskakuje ani in plus, ani in minus, otrzymujemy
bowiem wlasciwie wszystko to, czego moglismy sie spodziewac, znajac chociazby
plyty Atolón oraz Ura, do powstania których Barberán
przylozyla swoja trabke.
Os microtonalistas da improvisação estão mesmo a inventar um novo léxico, e isso é particularmente evidente no caso dos sopradores. Se os primeiros a fazê-lo com algum relevo terão sido Axel Dörner e Franz Hautzinger, ambos desenvolvendo paralelamente, no entanto, uma actividade musical com técnicas mais convencionais em contextos bem menos interessantes esteticamente, o primeiro na área do neo-free jazz e Hautzinger numa fusão excessivamente devedora ao Miles Davis dos últimos anos, depressa, no entanto, outros surgiram, e com outros instrumentos, primeiro com o sax soprano, depois alargando a mais variantes da família dos saxofones, aos clarinetes e ao trombone, com a particularidade de tudo investirem neste tipo de prática: Ruth Barberán é disso bom exemplo. O corte radical com a escala, a nota musical ou a própria musicalidade, pelo menos no sentido tradicional (senão mesmo literalmente, nalguns casos), a opção pelo trabalho textural e pelo primado do som, levando à exploração das possibilidades periféricas de sonorização (sopro, respiração, amplificação do manejo das chaves, por exemplo), são características comuns. Podemos até achar que as técnicas introduzidas são algo limitadas em número e alternância, mas a verdade é que, em vez de apostarem na variedade, procuram aprofundar as abordagens escolhidas. É verdade que, neste domínio, não é fácil distinguir a identidade pessoal do trompete de Barberán da de um Mazen Kerbaj. É por isso que não podemos distinguir as incursões minimais (que não minimalistas, atenção) de Barberán dos burburismos microscópicos dos já referidos Dörner e Hautzinger. John Cage teria gostado desta metamorfose da música feita por intuição. Rui Eduardo Paes (JL)
portoghese Creative Sources sta attraversando un momento particolarmente
felice, lo testimoniano le numerose pubblicazioni di recente data, quasi
tutte su ottimi livelli qualitativi. Ecco qua, dopo “Pocket Progressive”
del trio fhievel, Sigurtà & Rocchetti già recensito
su queste pagine, tre nuovi lavori in grado di soddisfare gli appassionati.
control, valve-blocking, and twisting plus sound extensions using acoustical
or electrical timbres distinguish this recent European release, part of
the move by brass player to attain the creative freedom improvisational
reedists have enjoyed for many years. Limited by the number of valves
extant on the trumpet, compared to the keys of a saxophone or clarinet
that is, ingenious stratagems are used to extend and amplify the instruments’
natural range and pitches.
J'avoue beaucoup de perplexité mêlée d'ennui devant le disque de Ruth Barberán. Ces souffles, grognements, glouglous, ces échos, ces bruits de lèvres et de tuyauterie ensalivée, j'ai le sentiment de les avoir souvent entendus tels qu'ils sont ici. C'est faux, bien sûr, mais ce que j'ai entendu me préparait de telle manière que toute surprise m'est ici impossible. Argument non valable: une bonne part de l'apprentissage d'un musicien consiste à apprendre à faire comme les autres. Mais ceci ne peut s'entendre qu'à ambitionner la maîtrise de l'instrument dans toutes ses potentialités culturellement acceptables (ce que faisaient entendre les musiciennes du disque précédent). En se cantonnant dans une province étroite du royaume de la trompette, Ruth Barberán me semble passer avec son auditeur le contrat tacite de la trouvaille, que je ne trouve pas ici. Gageons que d'autres ont su entendre ce qui m'échappe pour que ce disque se retrouve en minimaliste mais brillante compagnie sur son label. Noël Tachet (Improjazz)