"Although their developments took place in parallel, jazz-funk-rock and free jazz shared little, if not perhaps Miles Davis's "Live-Evil" period, due to the open "jam" character The music of the trumpeter took at the time - even when Te...
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Label: Creative Sources
Catalog ID: cs371
Squidco Product Code: 23879
Packaging: Cardboard Gatefold
Recorded at Convento do Grilo, Eka (Chapel) studio, in Lisbon, Portugual, on March 21st and 22nd, 2015, by Tiago Varela.
Paulo Alexandre Jorge-tenor saxophone
Tiago Varela-electric piano
Guilherme Carmelo-baritone electric guitar
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1. Open 17:03
2. Saigon I 15:38
3. Saigon II 15:08
4. Close 9:47
Back Catalog Additions
European Improv, Free Jazz & Related
sample the album:
"Although their developments took place in parallel, jazz-funk-rock and free jazz shared little, if not perhaps Miles Davis's "Live-Evil" period, due to the open "jam" character The music of the trumpeter took at the time - even when Teo Macero did with her the "cut and paste" that celebrated it. For it is a cross of the characteristics of these two chains that the Portuguese Equinox Quartet is dedicated in this "Saigon". The electric instruments, notably Tiago Varela's Fender Rhodes and Guilherme Carmelo's baritone guitar, transport them to the Milesian universe, with Paulo Alexandre Jorge's tenor saxophone and the "objects" of Monsieur Trinite. Of conventional instruments of percussion, but it is with such designation that the old partner of Carlos "Zingaro" in the Plexus and collaborator of Sei Miguel and Ernesto Rodrigues marks his condition of "non-musician") to fulfill what is expected of the inheritance Da new thing. As a result, what the quartet does from the merge ofelements of these two well-defined idiomatic lines sounds as something new and different from both the music that continues the premises of fusion and self-identifying as post-free or neo -free. And it does so by taking all the risks of the combination, even seeming to underline the destabilizing factors involved. Incidentally, the record's biggest interest is in that. And it is still in the way that ironically certain elements of style are caricatured, to the point of self-sabotage, like certain eruptions of electric piano sounds, flaring in various directions like a Morton Feldman, and the phrasing of the sax, Seeming waves that spill out in the sand and soon return backwards, thus counteracting the typical discursive linearity of jazz. In short, a very curious record."-Rui Eduardoo Paes, Jazz.pt (translated from Google Translate
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