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Schindler / Rodrigues / Rodrigues / Torres

Conspiratorial And Fulminate Things Happen [2 CDs]

Schindler / Rodrigues / Rodrigues / Torres: Conspiratorial And Fulminate Things Happen [2 CDs] (Creative Sources)

The quartet of Udo Schindler on reeds, Ernesto Rodrigues on viola, Guilherme Rodrigues on cello and Nuno Torres on saxophone are heard in Munich, first in a wildly interactive live performance at Schindler's Salon successor: BASIS_Soundscape at MUCCA; then live in the studio for 7 improvisations with track titles borrowed from and under the influence of the poetry of Allen Ginsberg.

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product information:

UPC: 5609063407761

Label: Creative Sources
Catalog ID: cs776
Squidco Product Code: 33530

Format: 2 CDs
Condition: New
Released: 2023
Country: Portugal
Packaging: Cardboard Gatefold
Recordings at BASIS_Klangraum (studio), in Munich, Germany, on November 10th, 2022; andat Kommandozentrale (live) at MUCCA and dasvinzenz, in Munich, Germany, November 11th, 2022, by Wolfgang Obrecht.


Udo Schindler-clarinets, alto saxophone

Ernesto Rodrigues-viola

Guilherme Rodrigues-cello

Nuno Torres-alto saxophone

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Descriptions, Reviews, &c.

"Back in August 2019 I'd started a new page of entries here with a relatively extended discussion of Mycelial Studies, a double album from Udo Schindler with Ernesto and Guilherme Rodrigues (calling themselves "S2R"), and a release that already showed a progression from its first to second set/volume, i.e. toward a richer set of interactions, filamental multi-relations, spectral overtone correspondences varying across different tapestries, a flexible ongoing exploration of the affordances of spatial-musical ratios....

And now there's a second double album, with Nuno Torres (alto saxophone) joining the trio to form a quartet: Conspiratorial and Fulminate Things Happen again consists of two sets recorded (around Munich) on consecutive dates, now November 2022, the first (studio) also seeming more preliminary than the second (live) - which is also longer, well over an hour of intricate timbral explorations. So especially with these prolific musicians, I do sometimes have difficulty orienting myself on "use" around specific releases, but as exploration per se, the (always preliminary...) results here are both ambitious and successful in the sense of finding new (vectorial, that is to say, in the sense of arising via musical motion, rather than static relations...) timbral combos. (That one might characterize such activity as conspiracy only adds to the fun... following the more literary fulminations of the studio date, surely something of a "get to know you" session for the quartet formation....)

And as noted of Schindler - e.g. most recently in February's review of Rhapsodic Topologies - the addition of a third part to his typically detailed duo interactions does occur less frequently, as it increases considerably the textural intricacy and combinatorial possibilities (for overtone-interval relations). But as noted of Mycelial Studies a few years back, the two Rodrigueses can also almost sometimes seem to be one (string) performer, giving the trio exploration something of the sense of an augmented duo. Or "could" seem... as Guilherme does tend to assert more personality these days, including by introducing lyrical content low in the texture again here.... Yet the more obvious change is to a quartet via Torres: Of course the combinatorics increase considerably, and so the possibilities sketched as a result also end up seeming that much more arbitrary, in the sense that the "space" of their interaction is so much larger... i.e. akin to a few sketched lines across a very broad canvas. (But the music itself is not generally sparse.)

Torres is also a significant choice, not only keeping the numbers toward the Portuguese side, but already as a participant on what has become something of an obscure classic for me (from 2016), the quartet album New Dynamics: I've subsequently come to associate these sorts of two horns and two strings ensembles with Ernesto Rodrigues in general, although note that there it's bass rather than cello (i.e. arguably a "simpler" configuration, still evoking a jazz ground).

So Conspiratorial and Fulminate Things Happen develops such an (overlapping) style of polyphony as well. And the (live) second volume indeed opens with a rather polyphonic tapestry, delicate across a sort of four-way surface, calm intensity (and focus).... But there's also more of a "concentration" of forces to come, less polyphonic per se, but cultivating distinctive timbral composites, building to more in the way of personal expression across a scenic environment (itself of low growling and extended hisses), e.g. quasi-"zoo" calls emerging (as synthetic novelty, instead of via mimesis...) through the also-substantial third track....

There's thus a sense of musical rhetoric - sometimes dramatic, even ominous... - developed as well. (Plus "urban sounds," e.g. traffic, polyphony and mediations....) All while seeking a kind of continuity (of "melody" even, perhaps...), a simmering intensity that eventually runs its course - after having taken many twisting turns and detours along the way. (But do note that Schindler is also on reeds only, clarinets and alto sax, the latter mirroring Torres.... So there's more timbral focus here in general than in some other investigations.) And yes, it can be a challenge to jump into the music, yet it's not sonically overwhelming, while rewarding close attention. ("Impressionistic" is probably a good adjective, and much spectral music does seem to recall impressionism....) I also don't end up with a coherent affective response (here anyway...), but I guess I do very much want to be a part of its (ongoing) fulmination of conspiracies. There's far more that can happen."-Todd McComb's Jazz Thoughts

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Artist Biographies

"Udo Schindler is a German improvisation musicians (bass clarinet, contrabass clarinet, saxophone, flute, cornet, also accordion, guitar, percussion, analog synthesizer) and architect. Schindler was active in the 1970s in Franconia first as rock and rock jazz musician before he had flute lessons at the conservatory Nuremberg. Subsequently, he studied architecture at the Technical University of Munich and worked as an architect. In the 1990s he turned to contemporary music (Arch.Ensemble) and improvised music (Schindler.Interferenz.3). In addition to the single tube instruments (saxophones and clarinets), he studied the cornet. In addition to his sound research, he also worked as a director, performer, musician and composer for various theater productions. In the following years he performed with solo and duo projects at new music festivals (Musica Viva, Klangaktionen, etc ...), jazz, experimental music, among others. This led to collaborations with musicians like Hubert Bergmann, Gerry Hemingway, Eddie Prevost, Sebi Tramontana, Georg Wissel, John Russell, Blaise Siwula, Frank Gratkowski, Hans Koch, Urs Leimgruber, Elisabeth Harnik, Katharina Weber and Frank Paul Schubert. In addition to his activities in solid cast he initiated in Munich a series of concerts to free improvisation in ad hoc to test instrumentation."

-Wikipedia (translated by Google and Squidco) (

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"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 (

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"Was born 1988 in Lisboa, Portugal and started playing cello and trumpet at Orquestra Metropolitana de Lisboa at the age of 7. In 1999 joined Conservatório Nacional de Música de Lisboa to study classical and music theory and in the current year recorded his first album - Multiples - with Ernesto Rodrigues and José Oliveira out on Creative Sources Recordings.

Apart from work in music ensembles ranging for contemporary classical to free improvisation, also works with live music poetry, theatre and film-music. After lengthy residency in Lisboa, (1988-2016) moved to Berlin and has been active as composer and improviser in the scene.

Worked with some international and renewed artists like Ernesto Rodrigues, Jean-luc Guionnet, Margarida Garcia, Manuel Mota, Alfredo Costa Monteiro, Sei Miguel, Tim Goldie, Jeffrey Morgan, Oren Marshall, Gerhard Uebele, Klaus Kurvers, Gabriel Paiuk, Nicolas Field, Jaime Fennelly, Blaise Siwula, Will Guthrie, Pawel Grabowski, Michael Thieke, Wade Matthews, Leonel Kaplan, Diego Chamy, Gabriel Paiuk, Barry Weisblat, Joe Giardullo, Jassem Hindi, Tisha Mukarji, Masahiko Okura, Taku Unami, Toshihiro Koike, Sharif Sehnaoui, Christine Abdelnour, Alexandre Bellenger, Carlos Zingaro, Romaric Sobac, Nuno Rebelo, Nuno Torres, Naoto Yamagashi, Heddy Boubaker, Gerhard Uebele, Guillermo Torres, Tomas Gris, Carlos Santos, Bruno Parrinha, Miguel Leiria Pereira, Miguel Ivo Cruz, Alberto Cirera, Nuno Morão, Mark Sanders, Dennis Gonzaléz, Alípio Carvalho Neto, Raymond Macdonald, Neil Davidson, David Stachenas, Lisa Ullén, D'incise, Cyril Bondy, Miguel Mira, Rodrigo Amado, Abdul Moimême, Monsieur Trinité, João Madeira, Álvaro Rosso, Gil Gonçalves, Marian Yanchyk, Filipe Passos, Rodrigo Pinheiro, Christian Wolfarth, Thanos Chrysakis, Bechir Saade, Kurt Liedwart, Miguel A. Garcia, Ilia Belorukov, Andrew Lafkas, Gao Jiafeng, Eric Wong, Johan Moir, Casey Moir, Magda Mayas, Matthias Muller, Alexander Frangenheim ...

Has performed and toured in all Europe. Released more than 30 albums of his own projects."

-Creative Sources (

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"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 (

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Track Listing:


1. Thoughts Spinning From Paragraph To Paragraph 3:08

2. Bakunin Jubilates 8:58

3. Strange Preferences Between The Lines 11:25

4. Flying Irritations Of The Plot 4:05

5. Ceiling Spotlights Whirring 6:55

6. Thomas Mann Is Shocked 5:10

7. Marx Jumps Hesitantly 9:41


1. Starry Rhymes 13:38

2. Memory Gardens 10:53

3. The Trembling of the Veil 12:06

4. Don't Get Grow Old 13:09

5. Cosmopolitan Greetings 2:42

6. Sunflower Sutra 7:56

7. City Midnight Junk Strains 7:51

Related Categories of Interest:

Creative Sources
Improvised Music
Free Improvisation
European Improvisation, Composition and Experimental Forms
Quartet Recordings
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New in Improvised Music
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