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A trio of Chilean improvisers, Luis Conde on alto saxophone, Nicolas Rio on drums, and Ramiro Molina on electric guitar, with various pairings of the trio taking foreground in music that develops interesting structural compositions into tight dialogs of strong collective improv.
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Catalog ID: FMRCD424-0916
Squidco Product Code: 23339
Recorded by Nicolas Rios at Altarocka Studios on November 6th and 8th 2015 in Santiago de Chile. Except "4-30 = Waldo" recorded live on November 9th 2015 at the Festival de Musica Contemporanea "Musicahora", University of La Serena, Chile.
Luis Conde-alto saxophone
Ramiro Molina-electric guitar
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1. De Soslayo 5:45
2. Alter Gesto 10:03
3. Por Ahora 8:58
4. Compulsion Ergonomica 9:11
5. Neutro 4:45
6. Lugar Incognito 7:20
7. Antes De Mas Tarde 7:44
8. 4-30 = Waldo 15:02
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sample the album:
"In this work there is a common territory of sounds. It could be like an imaginary landscape map, created by walks, talks, learning and playing together through night and days of to big lands with the desert in between. The music score for this kind of work doesn't exist. Therefore, the only thing that we know so far, is that there is a long way form one Housed door to the other"-FMR
• Show Bio for Luis Conde
"Luis Conde plays Single reeds / sax and clarinet, an expert on popular music and contemporary improvisation / teaching and research, as well as performer, composer, performer. Born in 1965, Province of Buenos Aires, Argentina. Over the last decade has developed a continuous activity of new practices based on so-called instrumental extended techniques. He has studied saxophone with Victor Skorupski (ARG) attended clinics Ralph Lalama, Jim Odgren (Berklee College) and Villafruela Miguel (CUB). Masters in Clarinet with Eduardo Prado (National Symphony Orchestra), Martin Moore (Banda Sinfónica CABA), and with Alain Damiens Masterclasses (FRA, Ensemble Intercontemporain). He has also studied the shakuhachi (traditional Japanese wind instrument) with the Horacio Curti. Contemporary composition studies with Maestro Ernesto Conrado. Close collaborations with international musicians in Argentina and abroad, citing Axel Dorner, John Russell, Nabicht Theo, Jacques Demierre."-http://www.auditionrecords.com/ar044.php (Audition Records)
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• Show Bio for Ramiro Molina
"Few Chilean guitarists demonstrated such commitment to experimental music as Ramiro Molina. Soloist, composer, arranger and magnificent improviser, he started playing as one of the key names in the jazz exploration, in the mid-90s, in charge of two avant-garde ensembles: Phaedo (1996) and Turangalila (2001).
Like most of the Chilean electric guitarists, Molina began in music with some names of progressive rock as horizon, but already to the 18 years, in 1984, was integrated to a grouping that would mark its definitive course: Hamilton Big Band. Under the orders of the Ecuadorian saxophonist Hamilton Vela, and with many of the most prestigious jazz players of the time in the star lineup, Molina began his training in the rudiments of swing.
Since 1996 he led the experimental group Phaedo, for which he wrote music for quartet (guitar, bass, drums and trumpet). His compositions developed the concept of "abstract jazz", a very personal view of the author on the transfer of the pictorial principles proposed by abstract painters to sound structures. Later, Molina worked as leader of a series of jazz trios with music written especially not only for these formats but for the characteristics of each of the soloists involved. In this sense, Molina operated more as a learned composer than as a jazz player. In its ensambles it used contrabajistas like Alejandra Santa Cruz, Cristián Espiñeira and Daniel Navarrete, and to drummers like Andy Baeza, Felipe Candia and Nicolás Rivers.
In 2000 the guitarist expanded the original format of the quartet Phaedo, to sextet. This new band was ultimately transformed into his main project as a soloist. Molina then included a rhythm section of jazz and a first line of learned instruments (trumpet, flute and bassoon), where noted the phagestologist Nelson Vinot.
Free and total: the impromptu speech
In 2005, and after closing this project of assembly, Molina happened to be one of the impellers of the group of free improvisation Tiempo Real and with Navarrete (in addition to Rivers ) in 2008 launched its manifesto through the experimental disc Schfrtk. A year later, he led his management and diffusion of improvised music to Piso 3, a stage he founded with composer Karla Schüller and percussionist Roberto Zamora, where several projects related to improvisation were scheduled every week.
During the following seasons, important and very diverse creators from music to dance and other stage proposals were presented in this scenario. In parallel, Molina continued with his open collaborations with different soloists and projects. One of them was translated into the duet with bassist Amanda Irarrázabal, titled Al tiro (2013), but since 2010, the guitarist had rearticulated his small assemblies to explore the new concept of "total improvisation" From the book Improvisation by influential English musician Derek Bailey.
This group, which Molina presented as RAM Trio with Angelo Cassanello (trombone) and Matías Mardones (drums), began to deepen the concept by recording the album Rabdomante (2010), and then performed at avant-garde and improvisation festivals in cities such as Buenos Aires and Recife. The sound quality of the trio changed soon with the incorporations of Isidora O'Ryan (cello) and Nicolás Ríos (drums), and sometimes the group was expanded to act as RAM Quartet, combining trombone and cello along the guitar backbone Electric and battery. The following discs, Bonzo (2012) and Nebula memoria (2014), gave new samples of the musical language of the totality and improvisation developed by Ramiro Molina."-MusicaPopular.cl (translated by Google) (https://translate.google.com/translate?hl=en&sl=es&u=http://www.musicapopular.cl/artista/ramiro-molina/&prev=search)
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