French double bassist Fred Marty joins Creative Sources core performers, violist Ernesto Rodrigues, cellist Guilherme Rodrigues and electronic artist Carlos Santos for an extensive improvisation exploring both lyrical and pointillistic improvisation, themed loosely around a garden quartet or frame, the music detailed, active and formidably sophisticated.
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Sample The Album:
Ernesto Rodrigues-viola
Guilherme Rodrigues-cello
Fred Marty-double bass
Carlos Santos-electronics
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UPC: 5609063405330
Label: Creative Sources
Catalog ID: cs533
Squidco Product Code: 26193
Format: CD
Condition: New
Released: 2018
Country: Portugal
Packaging: Cardboard Gatefold
Recorded live at Tiasci, in Paris, France, on March 21st, 2018, by Carlos Santos.
"One thing I've wanted to accomplish here is to articulate my actual opinions and preferences on music, and not to be bound by notions of what I "should" think, whether generated by outside influences, (often legitimate) thoughts on fairness, etc. Such a line (of demarcation) is not always especially clear, since notions of "should" definitely infiltrate my choices of what to hear... which I think is fine (and largely unavoidable)... and that does in turn affect my choices of what to discuss, but I don't believe that it would actually be "fair" (knowingly) to ignore releases that I do appreciate: It's a matter of honest feedback (a notion which, of course, can go on to be even more fraught than this brief summary suggests) for everyone.
So my perspective is that Ernesto Rodrigues is really on a roll right now, and is releasing major album after major album, intelligent and compelling interrogations of various sound worlds and musical relations, involving a wide variety of musicians in different combinations... or perhaps it's more a matter of when I came to his style, and my focus on his latest output is actually belated or otherwise askew. I can't really respond to such a suggestion, but I do want to acknowledge that my focus on Creative Sources releases may seem out of proportion... in a world of "should" anyway. That said - although a series like the Lisbon String Trio is an exception, but do note that it's also relatively traditional within Rodrigues's output - I'm trying to take the albums individually, one at a time, and create specific entries for those that prompt them.
Close on the heels of the latest Lisbon String Trio releases and discussion, Jardin Carré is such an album, so a few more remarks: I had already noted Jardin Carré as an example of a stark or classic cover on Creative Sources - rather than collage or DIY (or, although with overlap, geometry) - and it was indeed recorded about three weeks after From Faust, in March in Paris: It's a single track of more than a half hour, with French double bassist Fred Marty joining Ernesto and Guilherme Rodrigues to form another string trio, supported by Carlos Santos (who also did the covers) on electronics.
As the square on the cover (and reflected in the title) might imply, Jardin Carré suggests a kind of framing, i.e. a musical view from a distance - so suggests, perhaps, a consideration of ocularcentrism quite unlike on Theia - and in turn objects (per se) at a distance (rather than immanent or embedded). Such a perspective tends to revolve around Marty (b.1970) on bass: Although I wasn't previously familiar with him, Marty has an earlier duo album on Creative Sources, as well as with Jean-Marc Foussat. His style reminds me a bit of Pascal Niggenkemper, absent the sudden resonance shifts, but with a kind of rumbling and buzzing main line (that suggests for me Niggenkemper's participation on e.g. Lignes De Cretes - another album of vistas, as discussed here in February 2017, albeit very different in so many other ways - with Jean-Brice Godet).
Indeed, Jardin Carré is very potent at times, sometimes evoking a Scelsian vibe, and in fact the buzzing bass might be attributable to Uitti/Scelsi-style string mutes or vibrators. There is often a kind of gritty or grinding quality as a result, one the other strings sometimes share (and which the bass does not always adopt), such that the "grain" of the string tone itself becomes an important musical object. (The buzz might also be compared, at times, and despite a generally busier musical surface, to that of the rudra veena - a string bass, albeit not bowed - or more simply to the tanpura: Both are fitted with metal strips or brackets to bounce against the strings and proliferate high harmonics.) One might compare the ensemble itself to that on 0 minutes and 0 seconds, where Ernesto and Guilherme Rodrigues are joined by a bassist and electronics artist: The latter is more formal and inward looking, as noted in June, unfolding between smoothness and segmentation. And there, the electronics are "oscillators," focusing on clear tones, whereas the use of electronics on Jardin Carré is rather more subtle: There are some high electronic tones at times, although these might be inflections of string harmonics, just as some "bend" is added to the bass at times.
Usually, electronics are not noticeable, however, such that - as on Boulez Materialism, as discussed earlier this week - they appear to be involved largely in mixing and perhaps looping. (The latter is hard to judge.) Is the focus on grit and grain enabled by real-time electronics? I'm not sure, but in any case, the subtlety of the electronics - and one might not notice them at all - adds to the mysterious emergent aura of the album. Whereas such a discussion might suggest a "single tone" emphasis, and there are indeed some rather minimal episodes, particularly later in the album, there is also quite a bit of polyphony, and not all of it's noisy: There are sometimes long lines from all three strings, sometimes even lyrical in a nineteenth century sense (especially from the viola), although generally embedded in a gritty atmosphere. (The resonant alignments of the string trio on Jardin Carré might then be compared to those on Proletariat, although the latter is probably more about harmonic verticality, and definitely more about "straight" string technique.) There is a further emphasis on continuity in general, pace the quieter episodes, particularly as the remainder of the quartet might "contract" to accent or ornament a central bass line.
Although there can be a feeling of sameness or circularity at times as a result, and sometimes a preliminary quality, I've found Jardin Carré to be quite engaging, particularly as a contrast with other music: I had originally parsed it as little more than an appendix to the Lisbon String Trio series (being a string trio plus another musician, after all), but it's taken on a life of its own, reliably leaving me listening calmly to the sounds or silence around me after it ends.... Moreover (perhaps with 0 minutes and 0 seconds providing a sense of reinvigoration), there appear to be a number of new albums on the horizon to feature Ernesto and Guilherme Rodrigues in trios or quartets with other string players, etc. (Not that this or similar combos are new, but there seems to be a renewed energy....) These would also appear to involve more radical concepts than the Lisbon String Trio series, so once again, we seem to be in the midst of a notable creative outpouring: If 0 minutes and 0 seconds and Jardin Carré are an indication, it'll involve more reworking of musical affectivity (i.e. relation) per se."-Todd McComb, Jazz Thoughts
Get additional information at Todd McComb's Jazz Thoughts
Artist Biographies
• Show Bio for Ernesto Rodrigues "He has been playing the violin for 30 years and in that time has played all genres of music ranging from contemporary music to free jazz and improvised music, live and in the studio. His main interest shifted towards contemporary improvised and composed music. The relationship with his instruments is focused in sonic and textural elements. Electronic music was an early influence on his approach to violin playing, which challenges traditional romantic concepts of the violin/viola through use of preparations and micro tuning. Active in different settings on the Portuguese scene for free improvised music, both as a collaborator and in leading his own groups. Music for Dance, Cinema, Video and Performance. Has created the record label Creative Sources Recordings in 1999, which mainly concentrates on releasing experimental and electro-acoustic music." ^ Hide Bio for Ernesto Rodrigues • Show Bio for Guilherme Rodrigues "Was born 1988 in Lisboa, Portugal and started playing cello and trumpet at Orquestra Metropolitana de Lisboa at the age of 7. In 1999 joined Conservatório Nacional de Música de Lisboa to study classical and music theory and in the current year recorded his first album - Multiples - with Ernesto Rodrigues and José Oliveira out on Creative Sources Recordings. Apart from work in music ensembles ranging for contemporary classical to free improvisation, also works with live music poetry, theatre and film-music. After lengthy residency in Lisboa, (1988-2016) moved to Berlin and has been active as composer and improviser in the scene. Worked with some international and renewed artists like Ernesto Rodrigues, Jean-luc Guionnet, Margarida Garcia, Manuel Mota, Alfredo Costa Monteiro, Sei Miguel, Tim Goldie, Jeffrey Morgan, Oren Marshall, Gerhard Uebele, Klaus Kurvers, Gabriel Paiuk, Nicolas Field, Jaime Fennelly, Blaise Siwula, Will Guthrie, Pawel Grabowski, Michael Thieke, Wade Matthews, Leonel Kaplan, Diego Chamy, Gabriel Paiuk, Barry Weisblat, Joe Giardullo, Jassem Hindi, Tisha Mukarji, Masahiko Okura, Taku Unami, Toshihiro Koike, Sharif Sehnaoui, Christine Abdelnour, Alexandre Bellenger, Carlos Zingaro, Romaric Sobac, Nuno Rebelo, Nuno Torres, Naoto Yamagashi, Heddy Boubaker, Gerhard Uebele, Guillermo Torres, Tomas Gris, Carlos Santos, Bruno Parrinha, Miguel Leiria Pereira, Miguel Ivo Cruz, Alberto Cirera, Nuno Morão, Mark Sanders, Dennis Gonzaléz, Alípio Carvalho Neto, Raymond Macdonald, Neil Davidson, David Stachenas, Lisa Ullén, D'incise, Cyril Bondy, Miguel Mira, Rodrigo Amado, Abdul Moimême, Monsieur Trinité, João Madeira, Álvaro Rosso, Gil Gonçalves, Marian Yanchyk, Filipe Passos, Rodrigo Pinheiro, Christian Wolfarth, Thanos Chrysakis, Bechir Saade, Kurt Liedwart, Miguel A. Garcia, Ilia Belorukov, Andrew Lafkas, Gao Jiafeng, Eric Wong, Johan Moir, Casey Moir, Magda Mayas, Matthias Muller, Alexander Frangenheim ... Has performed and toured in all Europe. Released more than 30 albums of his own projects." ^ Hide Bio for Guilherme Rodrigues • Show Bio for Fred Marty "Fred Marty was born in Blaye (Gironde) in 1970. After studying classical bass studies, he devoted his work to improvisation and experimentation of various game modes on bass. He strives to develop a personal language, inspired by everyday sounds, making some forget the bass itself (distorted sounds, harmonics "gaps" in incomplete or misleading spectrum percussion sounds without specific height, sounds The rubbing of the fingers or the hand on the body of the double bass). He also modifies the timbre by inserting between ropes of wooden or metal rods. Each part of the body of the double bass becomes an instrument of its own. Thus, co-creation he also collaborated in multidisciplinary projects combining dance, music, and video playback, including Anne Ropers collective recidiva in UNICA, a project calling itself "night moves" around the collection of poems of the same Title of Henri Michaux, or with Bérengère Altieri-Leca in the duo OKAMI. Fred Marty has played with Yuko Oshima, Ai Watanabe, Birgitte Lyregaard, Yoko Arai, Frederic Blondy, Edward Perraud, Itaru Oki, Claude Speaks, Xavier Lopez, Michel Doneda Sebastien Bouhana, Marcos Fernandes, Usui Yasuhiro, Alvise Sinivia Michael Nick, Daunik Lazro, Isabelle Duthoit, Benoit Cancoin, Matsumoto Kenichi, Jean Marc Foussat, Yoko Arai, Eric Dambrin John Cuny, Jean Brice Godet, Alexandre Bellenger, Nush Werchowska Mathieu Garrouste Pascal Marzan, Cyprien Busolini, Nicolas Souchal, Deborah Walker, Patricia Bosshard, Jean-Marc Foussat, Yoko Miura, Francesco Pastacaldi Richard Comte, Hideo Ikegami, Ugo Boscain and works with dancers of butoh Gyouhei Zaitsu, Maki Watanabe and dancer Bérengère Altieri-Leca. Since 2012 he is a member of ONCEIM, an orchestra conducted by Frédéric Blondy." ^ Hide Bio for Fred Marty • Show Bio for Carlos Santos "Studied painting with António Sena (Ar.Co, 1988 -1992), worked in advertising for a period of time, but nowadays works as graphic designer in corporate identity, packaging, web and audio-video production. Started sound/music activities in 1989 when formed the VITRIOL project with Paulo Raposo, a laboratory for experimental sound actions, in a first stage with studio work followed in 1994 by live output, mainly live electronics, concrete music with a improvised or graphic score oriented approach. Uses the laptop with software written in MaxMsp, small resonant objects, microphones and piezo elements to produce a music that deals with space and its sound characteristics. Interests in "soundscape" and field recordings are a huge part of his work, for piece preparation or just for archival purposes, Always recording, events, spaces or music. Multi-channel acusmatic music and radio pieces. Presents himself solo in site-specific audio-video works, or in duos with João Silva (video, sound, photography), "Inhabitaded Spaces" with Ricardo Guerreiro (computer, mics), "Venús Pistolletto" with Emídio Buchinho (elec. guitar, mics, objects) and trios with Ernesto Rodrigues (violin) and Guilherme Rodrigues (cello) or ZNGR electroacustic trio with Carlos "Zíngaro and Emídio Buchinho. Member of several formations, "(Des)Integração" laptop ensemble (2001-2003) or in more electroacoustic sets, uses live-electronics and sampling which is the case of "Suspensão" septep, VGO, variable geometry orchestra and specially a trio close related to the "near silence" aesthetics, with Ernesto Rodrigues (violin, harp) and Guilherme Rodrigues (cello) with already several CD releases, always with at least one international improviser guest. Presented his work in Portugal, Spain, France, UK and Germany. Worked with artists from several media: dance, performance and video. Music and sound design for video and animation. Video and sound editing for comercial projects. Played live or in recording projects throughout the years with a lot of musician and sound artists. His sound work is documented in several CD releases. Belongs to the Granular board of directors, a portuguese association for experimental art and does the image of Creative Sources label. Broadcasts "Boca Doce" show at Rádio Zero (web) and other special shows. Workshops and seminars in digital audio manipulation, Maxmsp programming and sound art practise." ^ Hide Bio for Carlos Santos
3/24/2025
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3/24/2025
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3/24/2025
Have a better biography or biography source? Please Contact Us so that we can update this biography.
3/24/2025
Have a better biography or biography source? Please Contact Us so that we can update this biography.
Track Listing:
1. Jardin Carre 36:51
Carbon7 Records
Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
lowercase, reductionist, micro-improv, sound improv, onkyo sound
Quartet Recordings
European Improvisation, Composition and Experimental Forms
Search for other titles on the label:
Creative Sources.
 | Petzold, Dietrich / Ernesto Rodrigues / Guilherme Rodrigues / Matthias Bauer dis/con/sent (Creative Sources) |
| An album for bowed strings, bowed metal, and double bass, from the quartet of Dietrich Petzold on violin, viola, bowed metal, Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, and Matthias Bauer on double bass, presenting a seven part suite recorded in the studio in Berlin, active and exciting music that bridges classical technique with free improvisation. | |
 | Rodrigues, Ernesto / Paulo Curado / Bruno Parrinha / Eduardo Chagas Backlighting (Creative Sources) |
| A live recording of a subtle improvisation led by Portuguese violist Ernesto Rodrigues in a quartet with winds and brass--Paulo Curado on flute, Bruno Parrinha on soprano saxophone & bass clarinet, and Eduardo Chagas on alto trombone--each using understated approaches to their instruments using extended and unusual techniques, aptly titled but rewarding close listening. | |
 | Rodrigues, Ernesto / Silva / Curado / Parrinha / Almeida / Santos / Valinho Stratus (Creative Sources) |
| A live performance at Galeria Monumental, in Lisbon of diverse textures, extended techniques, and intent listening from the free improvising septet of Ernesto Rodrigues (viola), Joao Silva (trumpet), Paulo Curado (flute), Bruno Parrinha (alto sax & bass clarinet), Miguel Almeida (classical guitar), Carlos Santos (computer & synth), and Joao Valinho (snare drum & objects). | |
 | Rodrigues, Ernesto / Bruno Parrinha / Nuno Torres / Paulo Galao 3 Phases (II) Grey (Creative Sources) |
| "3 Phases", or different aspects of the approach that violist Ernesto Rodrigues applies to improvisation, in three different groupings over three different days, all live at O'Culto da Ajuda, in Lisbon, Portugal in 2018, here in an acoustic sax trio with strings, with Bruno Parrinha on soprano, Nuno Torres on alto, Paulo Galao on tenor sax. | |
 | Rodrigues, Ernesto / Albert Cirera / Rodrigo Pinheiro / Carlos Santos 3 Phases (I) White (Creative Sources) |
| "3 Phases", or different aspects of the approach that violist Ernesto Rodrigues applies to improvisation, in three different groupings over three different days, all live at O'Culto da Ajuda, in Lisbon, Portugal in 2018, here in an ea-improv setting with Albert Cirera on tenor saxophone, Rodrigo Pinheiro on piano, & Carlos Santos on field recordings & sine waves. | |
 | Rodrigues, Ernesto / Guilherme Rodrigues / Adam Pultz Melbye / kriton b. The Distant Sound Within (Creative Sources) |
| Three strings--cello from Guilherme Rodrigues, double bass from Adam Pultz Melbye, and viola from Ernesto Rodrigues--plus harmonium and objects from Kriton Beyer, in a live performance at Kuhlspot Social Club in Berlin, each of the 9 movements a concentrative work named with a three-letter onomatopoeia, as the players draw sound from a mysterious dark distance. | |
 | Sjostrom, Harri SoundScapes #4 Festival Berlin 2023 [3 CDs] (Listen! Foundation (Fundacja Sluchaj!)) |
| A remarkable live document of Finnish saxophonist Harri Sjöström's SoundScapes #4 festival in Berlin, bringing together 19 extraordinary musicians from across Europe, Australia, and the U.S. for a series of improvised performances from intimate duos to expansive octets, highlighting spontaneous collaborations all driven by creative risk-taking, deep listening, and a profound sense of musical trust. | |
| Rodrigues, Ernesto / Guilherme Rodrigues / Fred Marty / Carlos Santos Jardin Carre (Creative Sources) |
| French double bassist Fred Marty joins Creative Sources core performers, violist Ernesto Rodrigues, cellist Guilherme Rodrigues and electronic artist Carlos Santos for an extensive improvisation exploring both lyrical and pointillistic improvisation, themed loosely around a garden quartet or frame, the music detailed, active and formidably sophisticated. | |
 | Rodrigues, Ernesto / Guilherme Rodrigues / Miguel Mira / Carlos Santos Penedo (Creative Sources) |
| Recorded on New Years Eve in Sintra in the Penedo region of Portugal, three strings--viola from Ernesto Rodrigues, cello from Guilherme Rodrigues, and a second cello from Miguel Mira--are joined by Carlos Santos on electronics for three extended and richly detailed improvisations, active yet concentratively controlled, using impressive and extended techniques. | |
 | Rodrigues, Ernesto / Guilherme Rodrigues/ Eduardo Chagas/ Andre Hencleeday/ Carlos Santos Spiric Sections (Creative Sources) |
| The affect of Carlos Santos' electronics and recordings are the foundation of this Portuguese quintet's improvisations, creating an environment over which Ernesto & Guilherme Rodrigues on viola & cello, Eduardo Chagas on trombone, and Andre Hencleeday add subtle gestures of unusual approaches to their instruments, in a mysterious album of lowercase improv. | |
 | Van Schouwburg, Jean-Michel / Nuno Torres / Ernesto Rodrigues / Joao Madeira / Carlos Santos La Rambarde Des Songes, Les Congruences Des Soupirs (Creative Sources) |
 | Isotope Ensemble Caesium (Creative Sources) |
| Recorded live at CreativeFest #18 in Lisbon, the Isotope Ensemble channels the volatile and fluid nature of caesium through spontaneous improvisation, blending strings, brass, woodwinds, piano, electric guitars, modular synthesizer, electronics, and objects into a dynamic sonic reaction that reflects the element's unique liquid properties that make the isotope pivotal role in atomic timekeeping. | |
 | Rodrigues, Ernesto / Jung-Jae Kim / Alvaro Rosso Meari: Instant Waves (Creative Sources) |
 | Parrinha, Bruno / Andrew Levine / Ernesto Rodrigues Sensor Out Of Service (Creative Sources) |
 | Rodrigues, Ernesto / Nuno Torres / Guilherme Rodrigues Whispers In The Moonlight - In Seven Movements [2CDs] (Creative Sources) |
 | Zingaro, Carlos / Carlos Bechegas / Ernesto Rodrigues Spleen (Creative Sources) |
| A fascinating live performance from Lisbon's Reverso Festival in 2024, where luminaries Carlos Zíngaro (violin), Ernesto Rodrigues (viola, crackle box), and Carlos Bechegas (flute, piccolo) intertwine their distinct approaches into an intricate tapestry that blends classical sensibilities with free improv exploration in a compelling journey through texture and timbre. | |
 | Rodrigues, Ernesto / Carlos Santos / Miguel Mira The Knowledge That Our Time Is Limited Can Inspire Us (Creative Sources) |
| Recorded live during the 2024 Creative Sources Cycle, violist Ernesto Rodrigues, cellist Miguel Mira, and analog synthesist Carlos Santos deliver a nuanced and exploratory collective improvisation, drawing on Rodrigues's delicate textural approach, Mira's lyrical sensitivity, and Santos's ethereal synth interactions, evoking an urgent reflection on the fleeting nature of time. | |
 | Rodrigues, Ernesto / Helena Espvall / Tracy Lisk Illuminations (Creative Sources) |
| A fluid and energetic improvisation recorded live at COSMOS in Lisbon, as Ernesto Rodrigues (viola, crackle box), Helena Espvall (cello), and Tracy Lisk (drums) engage in a texturally rich performance of scattered, bouncing string interplay, with percussion subtly framing the dialogue, resulting in a dynamic and layered exploration of sound. | |
 | Rodrigues / Sa / Rocha / Rodrigues / Silva / Varela / Goncalves / Flak / Trindade Mimesis (Creative Sources) |
| Primarily an acoustic ensemble of nine improvisers led by Ernesto Rodrigues on viola — including saxophonist Joana Sá, percussionist Monsieur Trindade, guitarist Flak, and pianist Luisa Gonçalves — performs a live, extended improvisation of tightly controlled, deeply detailed conversation as part of the 2024 Creative Sources Cycle in Lisbon. | |
 | Lisbon String Trio & Carlos Santos Cobra (Creative Sources) |
| The Lisbon String Trio — Ernesto Rodrigues (viola), Miguel Mira (cello) and Alvaro Rosso(double bass) — collaborates with Carlos Santos (electronics, modular synth) to create a sophisticated, assertive set that enriches the trio's soundscape with nuanced electronic textures, building on the trio's nearly telepathic coordination and harmonic depth, blending physicality and subtle electronics to evoke mysterious, wave-like motifs and dynamic subtlety. | |
 | Floridis, Floros / Ernesto Rodrigues / Guilherme Rodrigues / Ulf Mengersen Xafnikes Synantiseis (Creative Sources) |
| Legendary Greek bass clarinetist and improviser Floros Floridis, also performing on clarinet, and German double bassist Ulf Mengersen of the Berlin Improvisers Orchestra and Ensemble MIA, meet the ever-creative duo of violist Ernesto Rodrigues and cellist Guilherme Rodrigues for this 6-part active studio improvisation whose title aptly translates to "Unexpected Encounters". | |
 | Rodrigues, Guilherme / Ben Bennett / Ernesto Rodrigues This Full Mouth (Creative Sources) |
| An extraordinary meeting in Berlin, where Portuguese cellist Guilherme Rodrigues resides, with Creative Sources label leader and long-time collaborator as a father/son duo, violist Ernesto Rodrigues, joining as a trio with US percussionist Ben Bennett, known for his work with Michael Foster and Jack Wright, for an incredibly well-balanced album of unorthodox technique and creative expresion. | |
 | Rodrigues, Ernesto / Luisa Goncalves / Flak / Bruno Parrinha / Miguel Mira Nocturne (Creative Sources) |
| The title an apt description of this dreamlike improvisation guided by the piano of Luisa Gonçalves, in a quintet with Flak on acoustic guitar & ebow, Bruno Parrinha on bass clarinet, Miguel Mira on cello and Ernesto Rodrigues on viola & crackle box, the latter adding crepuscular bird calls and whispers to this nuanced nocturnal meditation of dark ambiance and furtive encounters. | |
 | Rotor (Rodrigues / Torres / Santos) Impulses And Signals (Creative Sources) |
| Seven studio improvisations from frequent collaborators Ernesto Rodrigues on viola & crackle box, Nuno Torres on alto saxophone and Carlos Santos on digital electronics, quiet conversations of subtle and extended technique that adhere to the session title, emulating electronic impulses and signals through understated and impeccably controlled acoustic and electronic expression. | |
 | Rodrigues, Ernesto / Carlos Bechegas / Joao Madeira / Monsieur Trinite Free to Open (Creative Sources) |
| On the active and experimental side of Creative Sources' acoustic configurations organized by label leader and violist Ernesto Rodrigues, this energetic chamber quartet with Carlos Bechegas on piccolo, flute & alto flute, Joao Madeira on double bass and Monsieur Trinite on percussion, explore the three-part title work through rapid action and highly textured reflection. | |
 | Symbolist (Flinn / Rodrigues / Carroll) The Age Of Bronze (Creative Sources) |
| Improvising collaborators, percussionist Stephen Flinn and cellist Guilherme Rodrigues join with Irish improviser and composer Roy Carroll, a member of Splitter Orchestra and who works with the amplification and signal processing of diverse objects, here the trio performing an extended improvisation of exotic and transformative sonic interaction through unusual, encompassing soundscapes of exotic and transformative sonic interaction. | |
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