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Rodrigues, Ernesto / Flak / Bruno Parrinha: Definitive Bucolic (Creative Sources)

An unusual trio configuration for violist Ernesto Rodrigues, joined by Bruno Parrinha on soprano & alto saxophones, and by electric guitarist Flak, who brings an experimental almost ea- approach to their 3-part improvisation, aptly named for it's deceptively calm setting, gradually becoming intricate and active through colored motion like a curious breeze that builds and recedes.
 

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product information:


UPC: 5609063407457

Label: Creative Sources
Catalog ID: cs745
Squidco Product Code: 32607

Format: CD
Condition: New
Released: 2022
Country: Portugal
Packaging: Cardboard Gatefold
Recorded in Alfarim, Portugal, on June 3rd and 4th, 2022, by Flak.


Personnel:

Ernesto Rodrigues-viola

Flak-electric guitar

Bruno Parrinha-soprano saxophone, alto saxophone

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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)
1/25/2023

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

Flak is an improvising and rock guitarist, best known for the Portuguese rock band Rádio Macau.-Squidco 1/25/2023

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

"Bruno Parrinha - alto sax / soprano, Clarinet Sb / Alto, flute

Around the age of 10 began playing the clarinet. At 17 he bought a flute and entered the Academy of Music where he Amateurs solfeggio and instrument with Paulo Curado for two years . Later he was always playing clarinet and tenor saxophone ( self-taught ) and at age 21 he was invited to join the band Pop Radar Gaddafi with whom he recorded . Later he was cast of musicians on the play " Vieux Carré " in teatro da Graça playing tenor sax . Spent a year on the scene . At 87 he began to attend formations of Sei Miguel resulting in vinyl LP recorded at 88 " Songs love and against terrorism ." Since then he has dedicated his commitment to free improvisation and has participated in numerous trainings and concerts with illustrious musicians including Rodrigo Amado , Rodrigo Pinheiro , Miguel Mira , João Lucas , Paulo Curado , Ernesto Rodrigues , Guilherme Rodrigues , Ulrich Mitzlaff , Manuel Guimarães Cyril Bondi , " D' Incise ," Raphael Ortiz , Nicolaus Gerwinsky , Phill Niblock , Raymond McDonald , Victor Nubla , Nuno Rebelo , Marco Franco, Gabriel Ferrandini , Hernani Faustino , Luís Lopes , José Oliveira , Carlos Santos , Carlos " Zingaro " João Pedro Viegas , Victor Rua , Abdul " moimême " , Luís Vicente , João Lancaster , Luis Gil , Paulo Pimentel , Francisco Andrade , Albert Cicera and many others.

Presently a part of groups : ARGUE, IKB , VGO , Miguel Mira Quartet , Open Mind and Puma. "

-Bruno Parrinha MySpace Page (https://myspace.com/brunoparrinha/bio)
1/25/2023

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track listing:


1. I 12:48

2. II 7:56

3. III 15:19

4. IV 6:21
sample the album:








descriptions, reviews, &c.

"Next from Ernesto Rodrigues & Creative Sources [...] is then the four-track trio album (of classic LP length) Definitive Bucolic: Rodrigues is joined once again by Bruno Parrinha, now on saxophones instead of clarinets, pace the extended entry here from May (which is seemingly quite recent, but also from before Definitive Bucolic was recorded...), as well as by "Flak" on electric guitar. [...]

Definitive Bucolic (correspondingly) adopts a more austere "acoustic" free improvisation mode, and indeed a naturalistic stance. That's not to say that an "ea" component is absent, but various electronic shakes & slow echoes can actually be rather subtle, more wave-like in propagation, contributing to or even prompting the generally impressionistic setting. I might compare e.g. to the extended ea-tapestries of (CS release) Compassion & Evidence, including its feelings of temporal extension & even spinning or floating: The latter album involves more in the way of sampling, but perhaps also suggests something of a "hinge" with the quartet on The Inflatable Leviathan from the previous entry....

Compassion & Evidence involves players from the pop world as well, and also a (very distended) sense of that world - perhaps to be found reflected in the rather more stark Traintracks... too, i.e. another trio album with electric guitar from Rodrigues' output, and one for which the feeling of a sometimes-similar sound is buoyed by the timbral indeterminacy that continues to be cultivated here between viola & sax.... However, Traintracks... projects a feeling of desolation (with particular quasi-Cageian tensions...), while Definitive Bucolic suggests a considerably more hopeful (or more human) orientation:

There's a three-way pointillist vibe to open (rather than easing quietly per some Rodrigues tapestries...), but a sense of stillness is cultivated as well, including through extending tones, the music becoming quite minimal at times, ultimately leaving such a sense of stillness to resound at its end.... So there's more of a polyphony at times (e.g. recalling the also-recent Chiaroscuro, with its more classical evocations...), but also an almost folksy sense of simple tunes being revealed, albeit rearranged temporally: There's a sort of cyclical or self-referential temporal scheme at work on Definitive Bucolic then (not so unlike Braxton's Ghost Trance Music...), a sense of linearization & extension of the material (counter e.g. the coiled turbulence of Setúbal...), longer lines inflected by coloristic effects & recurrences, a journey through mood but not space....

We're left right where we are, per the title, after a kind of symphonic articulation of ephemeral, rustic moments. Time hence seems both to fold in upon itself, and to open to those moments, to linger & (quasi-infinitely) recur.... (Perhaps there's even an analogy to be made here with spectral music, in terms of the latter's "shift" of pitch, whether closer or farther, along the overtone spectrum: Temporal orientations here seem to undergo similar shifts in articulation, i.e. interrogate e.g. the question of how moments can simultaneously seem both fleeting & infinite.... One might thus inquire not only around pitch or tone segmentation, but regarding nonlinear segmentation of time per se.)

The naturalistic stance - humanity as situated - then yields to a sort of folksy quality (or pop hook, one might even say), the actual material here not really seeming adequate to the form (i.e. the moment). It thus becomes unmasked itself, homely (or at home), while revealing the broader moment (of exemplarity itself as always already becoming inadequate). The result is then a kind of ease, even ultimately feelings of rhetorical coolness."-Todd McComb's Jazz Thoughts


Get additional information at Todd McComb's Jazz Thoughts
Related Categories of Interest:


Creative Sources
Improvised Music
Free Improvisation
Jazz
European Improvisation, Composition and Experimental Forms
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