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Lisbon String Trio & Gabriel Ferrandini: Sediments (Creative Sources)

Portugal's Lisbon String Trio of saxophonist Nuno Torres, electric guitarist Abdul Moimeme and violist Ernesto Rodrigues, are joined by Red Trio/ Rodrigo Amado Motion Trio drummer Gabriel Ferrandini for this concert performance at O'Culto da Ajuda, in Lisbon, Portugal as part of the CreativeFest XIII, finding inspired balance in introspective sections and periods of exciting activity.
 

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product information:


UPC: 5609063406290

Label: Creative Sources
Catalog ID: cs629
Squidco Product Code: 28545

Format: CD
Condition: New
Released: 2019
Country: Portugal
Packaging: Cardboard Gatefold
Recorded live at O'Culto da Ajuda, in Lisbon, Portugal, on November 18th, 2019, by Miguel Azguime during the CreativeFest XIII.


Personnel:

Ernesto Rodrigues-viola

Nuno Torres-alto saxophone

Abdul Moimeme-electric guitar

Gabriel Ferrandini-drums

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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)
9/16/2020

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

"Studied alto saxophone within a jazz tradition spectrum. His continuous solo experimental research explores a wide scope of sound material through the use of the extended technics. Participates in several ensembles of improvisational music, electro acoustics and reductionism. Collaborates with musicians such as, Ernesto Rodrigues, Ricardo Jacinto, Sei Miguel, Fala Mariam, João Castro Pinto, Rafael Toral, Manuel Mota, David Stackenäs, Travassos, Paulo Raposo, Carlos Santos, Shiori Usui, C. Spencer Yeh, Cyril Bondi and d'incise, and developed projects as CACTO and PinkDraft, In the recent years has been also collaborating in several different projects at the intersection of the performative areas of dance, theatre and the visual arts (PARQUE, Les Voisins, Eye Height, Adriana Sá, Beatriz Cantinho). Participates and curates experimental and community radio initiatives."

-Creative Sources (http://creativesourcesrec.com/artists/n_torres.html)
9/16/2020

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

"Abdul Moimême was born in Lisbon, in 1959, moving at an early age to New Mexico and later to Dublin, Ireland. He began studying the guitar at the age of 11, studying under various private teachers, in Madrid, Spain.

In 1979 he moved to Boston to study architecture, finally completing his degree at the University of Lisbon.

In the 90's he began studying the tenor saxophone with Patrick Brennan. In this period he became actively involved with Lisbon's improvised and alternative rock scenes, performing frequently with the Variable Geometry Orchestra since it's creation in 2003, as well as with various other local projects.

His main musical partners are from Lisbon and Porto, but he has also performed in public concerts with such artists as Gale Brand, George Haslam, Jon Raskin, Ken Filiano, Patrick Brennan, Steve Adams, and Wade Matthews.

In 1999 he started writing about jazz in various Portuguese publications and is currently a permanent collaborator of Jazz.pt magazine, and Publico newspaper, as a critic.

In 2006 he created Freemusic (http://freemusic.podomatic.com), a space exclusively dedicated to the promotion of Portuguese improvised music."

-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
9/16/2020

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

"He started playing drums at fourteen, when he took up his musical studies at the Crescendo School in São João do Estoril, near Lisbon. At nineteen, he made studies at the Hot Clube Portugal, where he stayed for a year and a half. In 2006 he entered the Academia de Amadores de Música where he studies to this day with Alexandre Frazão as his master. In 2007 he did a workshop with the drummer Paal Nilssen-Love.

Towards the end of 2007 and to date he has taken part in various concerts with multiple projects alongside artists and ensembles like: Nobuyasu Furuya Trio, Rodrigo Amado Motion Trio, Alípio C. Neto, Carlos Zíngaro, DJ Ride, Variable Geometry Orchestra, Riot Trio, Luís Lopes Duo, John Butcher, Jason Stein, Jon Irabagon, Ernesto Rodrigues Septet and the Nikolaus Gerszewski Ensemble."

-Gulbenkian Music (https://gulbenkian.pt/musica/en/biography/gabriel-ferrandini-2/)
9/16/2020

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


1. Sediments 31:34
sample the album:








descriptions, reviews, &c.

"After I'd just discussed Trio KSZ & And George Lewis earlier this month, the similarly inspired Lisbon String Trio has released their twelfth album, Sediments featuring Gabriel Ferrandini on percussion, recorded live in Lisbon last month. It's a relatively short album, but opens with a (percussive) bang to make a strong impression:

I hadn't been very familiar with Ferrandini (b.1986), that is outside of Red Trio (another group that had a run of quartet albums with various guests) & elsewhere alongside his usual bass partner, Hernâni Faustino. (It turns out that Ferrandini's more personal explorations are recently available on Clean Feed with Volúpias, an album of composed music for a classic free jazz sax trio - sonically dominated by the horn, as is traditional.) Ferrandini also joins fellow Red Trio member Rodrigo Pinheiro in recording with Lisbon String Trio, the latter's Rhetorica (discussed here this past August) having appeared recently as well. Ferrandini further joins Portuguese icons Sei Miguel (on From Faust) & Carlos Zingaro (on Theia) - both albums first discussed here in July 2018 - in recording with LST after developing a reputation elsewhere. But the most similar album, at least in some ways, might be Merz with Gil Gonçalves on tuba (discussed in July 2019), in that the soloist is relatively centered & quite audible in what comes off as a concerto format. (From Faust already showed some of this concertante character.)

In this, compared to some of the subtler articulations in the series, it's relatively easier to hear & follow. The combination with strings & percussion also seemed relatively rare, but upon recalling some precedents, it's more the way that the musicians interact on Sediments that's different: There was actually a run of trio albums of this basic sort - i.e. drums, bass & either viola or cello - in 2017 for some reason (as I don't believe I've been ignoring them since): Natura morta's fourth album Environ (with Frantz Loriot) was discussed here that April, followed quickly by both Spinning Jenny (featuring Daniel Levin) & the Judson Trio's An Air of Unreality (with Mat Maneri) later that month, and then The Selva (featuring Ricardo Jacinto) in June. (Of course, there've been many other trios with e.g. guitar or electronics in an otherwise analogous sonic configuration.) What these albums have in common, though, is the basic layered format of a jazz sax trio, i.e. with the higher string as "horn" supported by a rhythm team.

Sediments, besides being a quartet, adopts a different configuration, however, in centering the percussion in a concerto-like format. Perhaps a more relevant, seemingly classically-inspired example would be the album pair Blattwerk (quintet) & Zweige (sextet), likewise from Ernesto Rodrigues & featuring Vasco Trilla on subtly pervasive percussion amid string ensembles. (These albums also hinge with Trio KSZ via Kimmig's participation, and the second even seems to anticipate the LST series, as Alvaro Rosso joined the prior quintet already including Miguel Mira.... It's also interesting that, although Rodrigues records so often with other string players, his participation in such ensembles augmented by percussion - beyond those just mentioned with Trilla - has been relatively rare, the last trio apparently being the evocatively titled Aether with Monsieur Trinité, as mentioned here in October 2016.) Perhaps the most direct comparison, sometimes featuring marimba in this way, is still the quintet album Chant.... (And in another direction, I should cite the recent Trappist-1, on which Ramon Lopez & Mark Feldman perform strongly contrasting roles, but it's still creative percussion supported by classical-inspired violin, if more traditional in the latter case....)

In any of these situations, it seems as though balance issues could present themselves, mandating either restraint or layering of roles: Indeed, struggling to hear everything happening has been part of the experience of listening to many of these albums in the past (although updated equipment has helped greatly), but Sediments takes a different approach. (It's also different from the similarly named Sediment - first discussed here in March 2015 - from drummer Carlo Costa: There, the geologic inspiration yields relatively impersonal layers to be traversed in time as a sort of travelogue, although it does end up being sonically similar at times....) Sediments instead begins with a sort of percussion eruption, as even the strings are percussive to start, a sort of initial uncoiling slowly sedimenting & smoothing into longer lines & legato string tones, as well as quietly rolling percussion, while retaining an original nonlinear dynamic. Later timbres can seem quite a contrast to the sharply metallic opening, passing through wood blocks & other material sonorities as they develop, until the opening seems almost to have exhausted itself - all while balance issues are ultimately handled impressively (in both loud & quiet modes).

There's a lot of presence, and generally some lively figures, even as the sediments start to harden. I don't feel personally transformed as a result (although Sediments does transform its own material), but such a "percussion concerto" arrangement has much to offer: It's the flashy opening that continues to make the strongest impression, with little aura of jazz per se, but the various timbral combos & nonlinear directions generated by the quartet on Sediments already suggest many (more) possibilities for such a combination of forces."-Todd McComb's Jazz Thoughts


Get additional information at Todd McComb's Jazz Thoughts
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