Paris|cs250

 

 

 

 

 

 

 

 

A 40-minute free improvisation recorded at Instants Chavirés in April 2002, but released just recently. Always the Creative Sources microsonic approach, but intense, with occasional vocalizations that add spice to the proceedings. Very fine listening level between musicians, very few uninspired moments, quite recommended despite its belated release and the fact that Rodrigues has released plenty of CDs in the interval. François Couture (Monsieur Delire)

“La Révolution des Oreilles” é o título da faixa única - de quarenta minutos - que enche este disco. Ao lado de Ernesto Rodrigues (viola), estão dois músicos nacionais: António Chaparreiro na guitarra eléctrica e José Oliveira na percussão. Gravado em Paris, no ano de 2002, desvia-se um pouco da discrição habitual, com cada um dos instrumentos a ter mais espaço e protagonismo. A guitarra de Chaparreiro lança faíscas, as percussões de Oliveira enchem o espaço e a viola de Ernesto, com a maleabilidade do costume (no arco ou no pizzicato), adapta-se e unifica o som do colectivo. Esta improvisação, mais livre e liberta, soa afastada do TRABALHO mais recente de Rodrigues, o que se justifica pela época em que o material foi gravado (no ano de 2002). Nuno Catarino (Bodyspace)

A trio of viola, electric guitar and percussion recorded live at Instants Chavires in 2002. From spiky, slippery sparse beginnings they coalesce into dense particle clouds that form and dissolve seemingly of their own accord. This is well-played music by men who are listening.
There's plenty of tension and release, and judicious laying out as one instrument of another comes to the fore alone. Passages of ghostly harmonics arrive to float for brief seconds and then subside into silence or get ground into a pulpy mass among bruised plastic and string scrape. Oliveira's drumming is particularly notable, as he seems to find just the right places to jump up and smack one thing or rub another for punctuation or support. There seem to be odd cartoon voices bubbling up here and there, and the sound of collapse features heavily. It is akin to witnessing matter forming and deforming, only to re-form again and again.
At this stage in the game, some 40 years on from a nebulous beginning, it's probably futile to expect anything new or different from any recording of improvised music. It is just another way in which humans interact with one another, interesting for both participant and audient. The title given to the one long piece here, "La Revolution des Oreilles", could refer to the on-going process we're all sharing: learning to listen. Jeph Jerman (The Squid's Ear)