With members of IKB, Variable Geometry Orchestra, and LIO, the free improvising/chamber quartet of Ernesto Rodriguge (viola), Bernardo Alvares (bass), Roland Ramana (trumpet), and Nuno Torres (sax), were captured live at Estrela for an intense and introspective concert.
Label: Creative Sources
Catalog ID: cs362
Squidco Product Code: 22067
Packaging: Cardboard Gatefold
Recorded live at Estrela, in Lisbon, Portugal. on March 31st, 2016 by Carlos Santos.
Nuno Torres-alto saxophone
Bernardo Alvares-double bass
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1. I 22:46
2. II 13:01
3. III 12:16
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"All that said, I've particularly enjoyed the recent improvised quartet album New Dynamics by Roland Ramanan, Nuno Torres, Ernesto Rodrigues, & Bernardo Álvares. An obvious point of comparison for this album is last year's Nor, considering that it shares two of the musicians & uses the same set of instruments. (Both albums also have three medium-length tracks.) Indeed, I had trouble finding precedents for these two-wind & two-string quartets, although one wouldn't say that such an ensemble seems radical. It would be equally wrong to say that the instrumental constitution creates a certain mood, as well, since the moods are rather different on these albums. There is, however, as one might imagine, a distinct "chamber" quality, even if extended technique is common.
So whereas Nor includes Berlin improvisers Axel Dörner & Alexander Frangenheim, New Dynamics instead includes Roland Ramanan & Bernardo Álvares. (It would be wrong to call them substitutes. It is, dare I say it, a new dynamic.) Álvares was totally unknown to me, and I didn't find any substantial information about him online; I assume that he is Portuguese. I did have some familiarity with Ramanan, a longtime member of the London Improvisers Orchestra, from his album Zubeneschamali, released on Leo Records (about which some similar things could be said, especially that Leo releases many appealing albums) in 2014, with Tom Jackson & Daniel Thompson from the trio on Hunt at the Brook. I thought that Ramanan's trumpet kind of dominated that album, which along with e.g. Compost by another related ensemble, explores the acoustic space of a church:
There is a sense of finding separate spaces for the members of the trio that also informs the quartet on New Dynamics, even if its space isn't contextualized by architecture per se. (How such a notion relates to the fake "spray" amid empty/monolithic architecture on the cover graphic, I don't know, but it does seem vaguely related.) Individual instruments are generally more discernible than on many albums on which Rodrigues participates, and so one might speak more of counterpoint on New Dynamics than of notions such as the soundscape. There is also a more concrete sense of presence & projection than on Nor, which focuses more on immanent emergence: Indeed, the latter, perhaps in keeping with its partial Berlin roots, has almost an ascetic or severe quality (one might even say Nietzschean), including some higher pitches & harmonics, more percussive attacks, etc. (The trumpet "calls," in the sense used in the discussion of Neutral Nation in this space earlier this month, remain immanent to an emerging landscape, rather than actually emerging or transcending.)
New Dynamics thus comes off as more human (dialogic, even) & worldly than environmental, and one might ask what new sorts of dynamics emerge. Different instruments suggest their own different temporalities: By this, I mean generally speaking that the way one interacts with a particular instrument, the way it interfaces with the body, the way it resonates, has a particular temporality or time-scale. One can play slower or faster, but within limits, and there are temporal regions that "fit" the instrument better than others.
One could further say that these sorts of relations are often explored in soundscape-type ensembles, but without necessarily seeking a common temporality by which to articulate a counterpoint. (In other words, there must be some temporal relation or correspondence in order to have counterpoint.) New Dynamics does this in a rather human way, including dodecaphony, while still respecting the differing temporal dynamics of the instruments - which, helpfully, are not all that different in the first place. (In this seeming "human" emphasis, then, it differs from e.g. Sediment, a quartet album that otherwise maintains a similarly resolute acoustic stance & pace of interaction.)
So a new language of improvised, contrapuntal quartet interaction? That's compelling. (And just how contingent was my hearing of this album in the first place? I cannot really say.)"-Todd McComb, Medieval.org
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