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Rodrigues / Davidson / Rodrigues / Faustino: Fower (Creative Sources)

Three tracks of acoustic improv from an understated string quartet that uses extended techniques and the whole of their instruments to make unusual and rewarding music.
 

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product information:


UPC: 5609063401615

Label: Creative Sources
Catalog ID: CS161
Squidco Product Code: 12175

Format: CD
Condition: New
Released: 2009
Country: Portugal
Packaging: Jewel Tray
Recorded by Diogo Tavares at Tcha3 on November 18, 2007.


Personnel:

Ernesto Rodrigues-viola

Neil Davidson-acoustic guitar

Guilherme Rodrigues-cello

Hernani Faustino-doublebass

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Artist Biographies:

"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."

-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"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."

-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"After establishing his name during the Eighties as an electric bass guitarist in alternative rock bands, like the now legendary K4 Quadrado Azul, Hernani Faustino turned to avant-jazz and free improvised music and chose the double bass as his self-taught instrument. Two decades later of multiple interactions with Portuguese and international musicians, he's now considered one of the most intense and solid bassists in the Portuguese scene. The association he maintains with drummer Gabriel Ferrandini (RED trio, Nobuyasu Furuya Trio & Quintet, Rodrigo Amado Wire Quartet) has been pointed as a dynamic and powerful rhythm section. His visceral playing is well showed by the contortions of his face during a performance: he goes to the limits of pleasure and pain.

Music is his life: besides being a musician, he was one of the members of the label Clean Feed, considered one of the five more important on the planet in what regards jazz, and the Trem Azul Jazz Store, located in Lisbon. He also composed for theatre, produced radio programs, and wrote about music in a couple of magazines. A good part of his activity in photography is also music oriented: Faustino is one of the most accomplished stage photographers around. This says all about his passion and commitment.

Hernani Faustino's numerous meetings and collaborations with other improvisors is astonishing: John Butcher, Lotte Anker, Nate Wooley, Carlos "Zíngaro", Agustí Fernández, Sei Miguel, Rafael Toral, Jason Stein, Nuno Rebelo, Rodrigo Pinheiro, Gabriel Ferrandini, Pedro Sousa, Rodrigo Amado, Albert Cirera, Manuel Mota, Luís Lopes, Jon Irabagon, Taylor Ho Bynum, Gerard Lebik, Piotr Damasiewicz, Harris Eisenstadt, Neil Davidson, Heddy Boubaker, Gerard Lebik, Elliott Levin, Katsura Yamauchi, Mats Gustafsson, Chris Corsano, Nikolaus Gerszewski, Rob Mazurek, Reinhold Friedl, Ernesto Rodrigues, José Oliveira, Helena Espvall, Nuno Torres, Ricardo Jacinto, Blaise Siwula, Virginia Genta, Elliott Levin, Daniel Carter, Federico Ughi, Floros Floridis, Matt Bauder, Dennis González, Vítor Rua, and many more, covering a wide range from free bop to extreme experimentation, going through electroacoustic improv, reductionism and noise."

-Hernani Faustino Website, Rui Eduardo Paes (http://www.hernanifaustino.com/bio/)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. heuch 24:42

2. haugh 11:00

3. hume 5:10
sample the album:








descriptions, reviews, &c.

"Split into three tracks, Fower is a bit of a bumpy ride, not exactly easy listening. All of the musicians seem to grind and scrape at their instruments rather than stroke and caress them. The instruments sound as if they have been recorded up close and so everything sits in the foreground of the recording, the four musicians nudging and shoving each other's sounds around in the search for space, the music formed from this interactive game. The first piece on Fower, named "Heuch", and lasting some twenty-two minutes is a gritty, dry affair with a serrated edge. While it is always clear that we are listening to four wooden boxes with strings stretched across them, it is quite difficult to pin down sounds to particular musicians. There is little silence, and what we hear is a constantly changing series of tight musical forms made up of the musicians' muscular, jagged inputs. While it isn't particularly loud (its certainly not quiet either) and the sounds are maybe not as harsh as can be heard elsewhere, there is a certain aridity to the music. Like a photoshopped picture with the contrast turned right up very sound is firmly stated, and the music feels like it is has been scratched directly into the surface of the CD, such is the immediacy of the music. Mostly the instruments seem to be played with bows, but they do not all sound traditionally tuned, and their body seems to be played as often as the strings, the closely miked recording amplifying the slightest scratch and scrape into something bigger. While the four musicians are very much in tune with one another, and they merge together easily into the one writhing mass of dry sound it is hard to pick out particular voices in the music, with perhaps only Davidson's guitar easy to identify in places.

The second track named "Haugh" clocks in at half the length of the first, and at just over five minutes the final "Hume" is half as long again. This last piece is perhaps the quietest of the trio, still utilising similar sounds but with a little more air in the music and a more delicate sense of structure. While the first two tracks barge their way out of the speaker and roll about the floor fighting, "Hume" sounds like a more considered affair, still full of twists and turns, but with a more composed feel. Overall Fower is a tough listen, something that needs to be engaged with fully as a listener to take anything from it. Closing your eyes and really getting to grips with the music, almost literally wrestling with its sinewy vigour reaps rewards however. The interplay between the quartet is excellent, and only under close scrutiny is this completely apparent, as picking apart Fower's vibrating, grinding structures reveals how well these four musicians are listening to, and anticipating each other's moves. Fower takes some work, but spend time with it and it pays you back with interest. This isn't an album that will appear in anyone's end of year lists, and won't get many mentions in the hip and trendy corners of the internet, but its one that fans of good, robust and detailed improvised music should pay attention to."-Richard Pinnell


Get additional information at The Watchful Ear
Related Categories of Interest:

Creative Sources

Improvised Music
European Improv, Free Jazz & Related
lowercase, micro-improv, sound improv
Free Improvisation
Quartet Recordings
Instant Rewards


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