A dynamic encounter between Chicago improvising cellist Fred Lonberg-Holm, Red Trio pianist Rodrigo Pinheiro, and Creative Sources label leader, violist Ernesto Rodrigues, performing live during the CreativeFest XIII at O'Culto da Ajuda, in Lisbon, Portugal, in one extended improvisation and a relatively concise coda; powerful and assertive, masterful work.
Format: CD Condition: New Released: 2020 Country: Portugal Packaging: Cardboard Gatefold Recorded live during the CreativeFest XIII at O'Culto da Ajuda, in Lisbon, Portugal,on November 23rd 2019 by Miguel Azguime.
"[... The assertive Multiforms is played by a trio of Ernesto Rodrigues (viola), Fred Lonberg-Holm (cello) and Rodrigo Pinheiro (piano). And Pinheiro had appeared here again (and with Rodrigues) only last month with The Book of Spirals, while Lonberg-Holm has appeared on Creative Sources a couple of times already too (including with Ernesto Rodrigues and Miguel Mira on Incidental Projections, discussed here three years ago) - both here in another relatively extrovert performance (unusually) featuring Rodrigues in some quasi-traditional "free jazz" solos.... There are still strange harmonies (i.e. post-romantic atonality), amid a sort of rhetorical stance around musical anticipation that suggests a kind of grim optimism, even determination with tenderness... an impulse that's eventually figured via (what can sometimes be) stereotypical ascending lines gesturing toward transcendence....]"-Todd McComb's Jazz Thoughts
"Throughout the existence of this musical current, which is called Òfree improvisationÓ, the term ÒformÓ has always been avoided to refer to what happens. The reason is understandable: in a song that is spontaneous and intuitive, composed at the time of interpretation, to resort to conventional concepts in a way is to circumscribe what happens to the classic factors of organization of sounds, of structuring, of orchestration. The usual definitions of how "the arrangement of the units of rhythm, melody and / or harmony that show repetition or variation", to paraphrase the Wikipedia vulgate, do not seem to fit properly with this type of approach. And yetÉ And yet, listening to something like ÒMultiformsÓ, from the trio formed by violetist Ernesto Rodrigues with Fred Lonberg-Holm (North American cellist residing in Lisbon) and Rodrigo Pinheiro at the piano, is the form factor that it assaults auditory perceptions - and not necessarily because the title of the album draws our attention to it (Miles Davis once said something like "first play, then give it a name").
Like us listeners, the musicians involved understood a posteriori that, in this recorded live performance (by Miguel Azguime, composer of contemporary music) in November 2019 during Creative Sources Fest, that was exactly what was at stake. In other words, that a situation of integral improvisation also follows organizational, structural and formal principles. A big difference exists only in relation to the music that was fixed on a score: what comes on paper is "selective improvisation", as Stravinsky said. In a 10-minute improvisation the composition takes 10 minutes to complete, while a noticed 10-minute composition can take 10 years to write, for the simple fact that what was improvised with the pen is then amended. Now, this is a record of brilliant composers of the moment, of experienced improvisation practitioners who do not need to correct what was left behind because what they did has such a truth and logic / sensitivity that any change would be a crime."-Rui Eduardo Paes, Jazz.pt (translated by Google)