Alto saxophonist Tim Berne joined the trio of bassist & composer Hugo Carvalhais, pianist Gabriel Pinto, & drummer Mario Costa for this debut of their informed and dynamic modern jazz project.
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Label: Clean Feed
Catalog ID: CF201
Squidco Product Code: 13425
Packaging: Cardstock Gatefold Sleeve
Recorded June 10th-13th, 2009 by Joao Ferraz at Quinta da Musica and August 7th, 2009 by Joaquim Monte at Namouche Studio.
Hugo Carvalhais-doublebass, electronics
Gabriel Pinto-piano, synthesizer
Tim Berne-alto saxophone (except on 4,7,9, and 10)
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1. Intro 2:54
2. Nebulosa Part I 5:00
3. Nebulosa Part II 5:49
4. Impala 5:15
5. Nebulosa Part III 4:17
6. Nebulosa Part IV 4:27
7. Cobalto 6:00
8. North 6:35
9. Nebulosa Part V 5:52
10. Redemption 3:22
European Improv, Free Jazz & Related
NY Downtown & Jazz/Improv
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"Hugo Carvalhais, Gabriel Pinto, and Mario Costa are representatives of a remarkable new generation of Portuguese jazz musicians. Rather than the nice, but modest, debut recording you might expect, "Nebulosa" delivers beautiful, wonderfully played, inspiring music. Just hearing these up-and-comers was enough to convince American alto saxophonist Tim Berne to join the project.
Although many young jazz musicians rely on the standards they learn in jazz conservatories or, at best, imitate their heroes, Carvalhais presents his own personal vision, revealing a surprising maturity both as a contrabassist and a composer. Pinto is an inventive pianist and his synthesizer solos can sound horn-like, belying the prejudice that electronic instruments are cold and can't be made to swing. Costa grooves as if his life depended on it.
These three guys clearly have a promising future. Berne absorbed the youthful enthusiasm of his partners and the result is a unstoppable force. This is one of the most remarkable recordings from Portugal's growing, and dynamic, jazz scene."-Clean Feed
• Show Bio for Tim Berne
"Tim Berne (born 1954) is an American jazz saxophonist and composer.
Described by critic Thom Jurek as commanding "considerable power as a composer and ... frighteningly deft ability as a soloist", Berne has composed and performed prolifically since the 1980s. His mainstream success has been limited Ð Berne recorded two albums for Columbia Records Ð but he has released a significant body of work over the decades spanning dozens of critically acclaimed recordings.
Though Berne was a music fan, he had no interest in playing a musical instrument until he was in college, when he purchased an alto saxophone. He was more interested in rhythm and blues music Ð Stax records releases and Aretha Franklin, especially Ð until he heard Julius Hemphill's 1972 recording Dogon A.D.
Hemphill was known for his integration of soul music and funk with free jazz. Berne moved to New York City in 1974. There Berne took lessons from Hemphill, and later recorded with him.
In 1979, Berne founded Empire Records to release his own recordings. He recorded Fulton Street Maul and Sanctified Dreams for Columbia Records, which generated some discussion and controversy, due in part to the fact that Berne's music had little in common with the neo-tradionalist hard bop performers prominent in the mid-1980s. Some regarded Berne's music as uncommercial. In the late 1990s Berne founded Screwgun Records, which has released his own recordings, as well as others' music.
Beyond his recordings as a bandleader, Berne has recorded and/or performed with guitarist Bill Frisell, avant-garde composer/sax player John Zorn, violinist Mat Maneri, guitarist David Torn, cellist Hank Roberts, trumpet player Herb Robertson, the ARTE Quartett and as a member of the cooperative trio Miniature.
Recent years have found Berne performing in several different groups with drummers Tom Rainey and Gerald Cleaver, keyboardist Craig Taborn, bassists Michael Formanek and Drew Gress, guitarists Marc Ducret and David Torn, and reeds player Chris Speed.
He is one-third of the group BBC (Berne/Black/Cline) along with drummer Jim Black and Nels Cline of Wilco. The group released a critically acclaimed album called The Veil in 2011.
Berne's complex, multi-section compositions are often quite lengthy; twenty- to thirty-minute pieces are not unusual. One critic wrote that Berne's long songs "don't grow tiresome. The musicians are brilliantly creative and experienced enough not to get lost in all the room provided by these large time frames." "-Wikipedia (https://en.wikipedia.org/wiki/Tim_Berne)
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