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  • linernotes_cs220
    worship a site less lived in than designated for ritualized performances a place that might mark borderlines whether between the old mode and the new the sacred and profane the place before and after bells a place isolated within a larger building like a minimalist s large scale appropriation of Russian nesting dolls like this performance in the town of Montemor o Novo some 300 miles south of Montemor o Velho that is the old main hill and some hundreds of miles north west from that other room in the midst of which has been placed box like a cathedral a kind of Tennessee jar round it was upon a hill but here in the Cine Theatre Curvo Semedo the performance is so intimate the theatre itself must be excluded and a new relationship installed the audience instead gathered on stage with the musicians and the curtain then drawn to create a black box effect the ceiling exceedingly high the air cold the bells distant the fabula unfolding from the instruments in a way that can be neither translated nor precisely misunderstood various secret passages present themselves connections routings are magnified the trumpet s brass tubes are moving granaries the

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_220.html (2016-02-11)
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  • reviews_cs220
    off over recent days but there are a number of issues arise when I come to write about it To begin with just mentioning that you enjoy a disc on the Creative Sources label causes eyebrows to rise in the trendier online music circles but this has never bothered me No the issue here is that this is another quartet release involving Ernesto Rodrigues that fits neatly into a bracket of post reductionist electroacoustic improvisation Its another that s not gabby and talkative rather texturally focussed but then also far from filled with silence also Fabula is in many ways stylistically at least something of a middle of the road recording for modern improvised music What s more this must be and I m guessing I ve not actually counted something like the thirtieth or fortieth release on the label involving Rodrigues he runs the somewhat prolific label and many of them involve larger groups of modern electro acoustic improv like this disc So basically this CD is nothing startlingly new We can also even set out listening with a good idea of roughly how it might sound before we press play Not exactly of course and there are surprises in here as there are on most of Rodrigues discs but the general area of activity is somewhat predictable My problem as I sit down to write here however is that like so many of the CS releases involving Rodrigues I rather like the music and I fond myself torn between criticising it for being nothing original and praising the musician for such a consistently interesting set of releases This returns us to the age old questions of investigative exploration in music whether this should take place on some kind of micro level between musicians sitting down to improvise together or whether the familiarity of established musical styles should be cast to one side at every available opportunity in the endless search for something new Different strokes for different folks of course but I am left with the question of whether I should recommend a CD that isn t a million miles different from other Creative Sources releases Fabula is an enjoyable engaging listen that I have been very glad to spend a few hours with but is it fair to recommend another CS Rodrigues disc after the previous few I even wrote the liner notes for another recent disc involving Ernesto alongside Axel Dorner is it OK to write positively about another when it presents nothing new stylistically and just adds to the endless debate about which of Creative Sources two hundred plus releases really need to be heard Ultimately of course market forces will dictate how many more CDs like this one appear on the label Nothing I do or say is likely to have much of an impact So I find myself only being able to be honest about how I feel about this album I enjoyed it quite a bit and in places I enjoyed it a great deal It isn t breaking any tremendous new ground but it is thoroughly enjoyable to listen to and some of the playing here is very sharp and creative Do we cast aside all music that sits in predictable categories rather than try and be the next new thing I think not or at least not if it works well as a piece of music to just sit and listen to and enjoy Fabula is precisely that its a fine improv record by some strong improvisers In this day and age it will sell about a hundred copies If it gave me enjoyment however it deserves a good review Anyway rant aside how does it sound Well if Dorner s breathy trumpet blasts and Rodrigues slithery viola are extremely familiar by now it may be worth noting that for me the other half of the quartet took the real prizes on this release If Moimeme s prepared electric guitar is used sparingly but with great impact often used as a percussive tool as much as anything the strings and body often struck to release slowly decaying chimes as well amongst quite an array of contributions from the guitarist Ricardo Guerreiro is credited just with computer and his addition here is an inspired one An unfamiliar name to me previously I think Guerreiro is no shrinking violet feeding background washes behind the others here rather he mixes quite an array of expressive neatly sculpted shapes into the fray all quite abstract long since removed from whatever sound they might have started out as and yet also not overly digital and cold He weaves his synthetic sound neatly around the other three musicians in a thoroughly accomplished manner and for me is the most impressive musical voice here So that s it A well played vibrant single track of forty five minutes in length that should delight those who like me are able to appreciate good communal improvisation at the same time as look to other recordings to push the boundaries on If you are one of the hundred or so people left that buy CDs like this one then I can recommend Fabula to you is it better than many other CS discs involving Rodrigues Well yes its in the top bracket but a much overdue overview of the label would be needed to try and compare one disc with another One personal thought though Rodrigues almost always favours groups of three or more often than not even more musicians I d love to hear him play a duo so that his viola is less hidden amongst the swarm of textures and more put in the open There undoubtably are duo releases involving Ernesto but its been a while since I heard one Until then anyway this is yet another nice disc to be going along with and a further strong addition to an impressive body of work Richard Pinnell The Watchful Ear fabula est un enregistrement live certainement un

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_220.html (2016-02-11)
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  • reviews_cs221
    en laissant flotter la musique dans le recueillement de la Chapelle Malval près de Genève Bien qu il s agisse d une longue suite improvisée d un seul tenant on a édité six plages Les quatre premières plages sont jouées avec douceur au saxophone soprano avec lequel il utilise la respiration circulaire et quelques multiphoniques avec un réel sens de l espace Les notes qui s éteignent et renaissent du demi silence sont vivantes et l ensemble frémit d émotion retenue Après une dizaine de minutes d étirement patient les multiphoniques s animent dans des boucles légères et aériennes pour se reposer dans un quasi silence à la fin de la plage 4 6 16 Suit une séquence avec une harmonique aiguë sur lequelles Berthet superpose des battements de sons obtenus avec des doigtés fourchus puis il quitte la voie tracée pour se lancer à l aveuglette dans une recherche de timbres dans l aigu et conclure la plage 5 11 40 en construisant subtilement son improvisation avec une plus grande variété de sons et une belle fluidité dans les phrases spiralées En soufflant doucement comme il le fait il privilégie une qualité de timbre et un bon contrôle Les dernières 4 41 de Malval nous font entendre un travail précis et nuancé des harmoniques au sax alto qui demande un bon contrôle de l instrument Le chant du saxophone se rengorge en douceur pour prononcer les ultimes arabesques fragiles dans l apaisement C est un beau travail sensible et cohérent qui montre à quel point de maturité des praticiens engagés dans la musique libre parvienne avec leurs moyens instrumentaux leurs réflexions et de l imagination Remarquable et original Jean Michel Van Schouwburg Orynx improv andsounds Swiss saxophonist Christophe Berthet entirely recorded some sketches on his soprano and altro saxophones sometimes prepared or recorded by means of close mic techniques in Malval Chapel a quite secluded place close to Dardagny in Switzerland nearby French borders Such an annotation is not a moot detail for a card index but a tanglible clue which is going to enhance listening experience Listeners aren t going to make difficult efforts of imagination while embodying the musician during his performance whose role is quite close to a wizard who manages to animate the surrounding setting peeps cheeps tweets creaks squawks and squeaks coming out from Berthet s musical instruments and his nimble dynamics on them vividly render surreptitious entities which provisionally or permanently inhabit the place where Christophe tries to translate into sounds without being considered a gatecrasher by his visible and invisible settlers and sometimes you could even feel that the musician tries to give voice to inanimate objects such as garden tools rasps rafters bricks stones and so on A thanksgiving act to a place whose physical properties could ideally be considered a proper third instrument as well as a precious sonic gift to its temporary guest Vito Camarretta Chain DLK A solo album from sax player Christophe Berthet 35 minutes of extended

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_221.html (2016-02-11)
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  • reviews_cs223
    an orchestra could be quite misleading IKB could better be defined an ensemble with some specific and somewhat original features its conceptual framework focuses on French painter Yves Klein leading figure of the artistic movement he co founded in 1960 with art critic Pierre Restany the so called nouveau realisme new realism as suggested by the fact this ensemble names after the bright and intense blue hue International Klein Blue that Monsieur Klein first mixed and widely used for a lot of installations and paintings According to the Nouveau Realism Manifesto whose members autographed on a rigorously IKB panel and the artistic perspective of this group the surrounding world could be observed as a sort of modular picture and any artist could take single parts as well as incorporate them into their works in order to seal a sort of bond between art and life and a return to concrete world in opposition to abstract art Their aggregation congregation was considered a sort of collective singularity as it derived from the awareness of their differences whose trait d union was mainly methodological and based on the grabbing of reality Whereas that movement mostly unfolded itself in visual arts IKB ensemble could be considered the missing link with sound art On the four sonic canvasses it seems that they apply their precepts by means of instrumental clips and sounds derived from objects which sound like emulations of daily sounds or rubber stamps or casts from concrete reality and while it seems they flow into tonal streams listeners could have the impression of a choral mimicry Ernesto Rodrigues and his crowd of talented collaborators Guilherme Rodrigues on cello Miguel Mira on double bass Rogerio Silva on trumpet Eduardo Chagas on trombone Bruno Parrinha on alto clarinet Nuno Torres on alto saxophone Pedro Sousa on tenor and baritone saxophones Abdul Moimeme on prepared electric guitar Carlos Santos and Ricardo Guerreiro on computers Monsieur Trinite Nuno Morao and Jose Oliveira on percussions presumptively invented a possible new direction for improvisational scene Vito Camarretta Chain D L K L IKB nommé ainsi d après la série de peinture d Yves Klein International Klein Blue est un collectif portugais de quatorze musiciens habitués pour la plupart du label CS et proche du cercle qui gravite autour d Ernesto Rodrigues Ce dernier quitte ici son alto pour explorer la harpe et l intérieur du piano et à ses côtés on retrouve Guilherme Rodrigues violoncelle Miguel Mira contrebasse Rogério Silva trompette Eduardo Chagas trombone Bruno Parrinha clarinette et clarinette alto Nuno Torres saxophone alto Pedro Sousa saxophones ténor et baryton Abdul Moimême guitare électrique préparée Carlos Santos ordinateur et microphone Ricardo Guerreiro ordinateur Nuno Morão percussion Monsieur Trinité percussions et José Oliveira percussion Les quatre pièces proposent des versions différentes d une musique identique à elle même Une musique lente calme posée et abstraite Une musique qui glisse insensiblement d une matière abstraite à une autre par micro variations Tout ici se joue ici à l échelle microscopique

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_223.html (2016-02-11)
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  • linernotes_cs224
    all its richness its acoustic vibration its wooden grain Somehow less important for me the metal construction of brass or metal woodwinds maybe just because wrongly being exposed to so many different jazz and related idioms instrumentalists where so few manage to go beyond known and regular paths of reinterpretations within previously defined languages or exhaustive repetition of forms and its conjugations None of this comes to mind when with this new trio recordings we are still capable of finding such a rich and diverse interaction of materials textures and languages that pushes us inevitably to another kind of analysis and perception a far distance from any expected preferences and previously forwarded aesthetic doubts The intricate compositional movement as we may understand and define these pieces as continuously evolving mutations the acute physical movement of sound of individual ideas and concepts that finally mingle into a beautiful coherent whole of togetherness Where the subtlest change can define an almost extreme and unpredictable reaction Where the tiniest particle of an action may create an autonomous body of textures directions and totally different sequences Another kind of chamber music with expressive as well as intimate proximities Which pile together fight each other interact construct unexpected dialogs immediately followed by perfectly structured and harmonically correct ensembles Where we find treacherous idiomatic melodic phrases surprisingly in extreme contrast with the extensive techniques and corresponding sound parasites of the other instruments in the background if there is such a notion here building an adventurous and evolving structure When we listen to a fake camerata we will be almost against our best conscious wishes pushed into a cinematic or a diversely frenetic operatic choreographic sequence till we crash heads on with all this unnecessary nonsense of our easy and superficial tradition for building stories instead of

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  • reviews_cs224
    calme et atmosphérique chargée et agressive silencieuse et contemplative Une heure d improvisations variées et plutôt originales Une heure à explorer des relations souvent très réactives entre les différents bois Plaisant Julien Héraud ImprovSphere Eleven pieces largely if not entirely improvise by Viegas soprano and bass clarinets Chagas flutes oboe sopranino clarinet and Curado flute soprano and alto saxophones the language is pitched somewhere between efi and the sort of post Third Stream music initiated by the Davis Newton Wadud trio back when iffy territory for these ears though handled quite well here That kind of loosely jazz based abstract lyricism is a rough go for me I kind of feel the need to hear something on a Giuffre level surely an unfair standard but one that nags As ably as the instruments are played and they are and as lovely as the resultant textures have a tendency to become and they often do I can t help but think that a greater underlying melodic sensibility however masked would have helped The trio dances around it but stays outside For these ears if you re not obliquely referencing the blues as a similarly constituted Hemphill Lake Mitchell trio would have it s not a bad idea to offer an acknowledgement of one s own tradition or a tradition Otherwise as attractive as some of the pieces here are there s an insubstantiality that s hard to brush aside Not meaning to be overly critical fans of this area of music will likely find much to enjoy here I think it s a tough avenue to take nowadays Brian Olewnick Just Outside Not the most original of group names but behind it hide three excellent Portuguese musicians João Pedro Viegas Paulo Chagas and Paulo Curado They all have mastered several wind instruments flutes clarinets saxophones even the oboe The CD s 11 tracks explore various harmonic interplays and assemblages of extended techniques but also melodies and ensemble playing Arid at times but often beautiful François Couture Monsieur Délire Although their sound cannot be considered as totally original the skills of these three Portuguese musicians and authentic musical spin doctors on wind instruments Joao Pedro Viegas soprano and bass clarinets Paulo Chagas flutes sopranino clarinet oboe and Paulo Curado soprano and alto saxophones flute as well as their extended techniques the clear mastery on their sounding tools and their lungs and breathing apparatus indeed and their wise sonic portraiture make this recording really palatable to followers of the genre In the gurgling cauldron of broken phrasing whimpering whiffs rambling melodic lines and brave climbing on diatonic scale there are many courses for imagination in the basket which nearly achieve cinematic fumigations For Emir Fake Camerata Nice Bardot or nice Hayworth or the amazingly drunk Bottleneck s Dream Song and bizarre espousing of performative hints from ethnic musical language Articulated Ruidisms Stucked by Muffled Reed s Flattersung Meditation For Beginners On Old School New School No School a title which seems to be

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_224.html (2016-02-11)
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  • reviews_cs225
    et le flux systématique non stop Entre autres chaque instrumentiste joue systématiquement avec les silences et intervient subitement au moment très précis où son partenaire s arrête La musique s enchâsse avec un découpage de séquences ultra courtes contrastant avec les intentions de chacun ou les prolongeant Sur quasiment tous les morceaux on les entend très rarement à quatre en même temps tant ils parviennent à coordonner leur une virevolte d interjections en interactivité Etonnamment ludique et difficilement descriptible Pat Thomas jongle avec une batterie improbable d échantillons sonores ou s affaire au piano Wachsmann épure le propos avec des effets électroniques rares et une quintessence mélodique épurée et Roger Turner distille des raclements métalliques dans le registre aigu de son appareillage percussif Un peu à l écart l archet rêveur du contrebassiste Alex Frangenheim s échappe un instant dans une distance recueillie Wachsmann et Pat Thomas ont participé au Tony Oxley Quartet BIMP Quartet Floating Phantoms a l l 001 lequel a aussi compté Derek Bailey Incus cd et Jazz Werkstatt Wachsmann a été longtemps associé à Oxley et Barry Guy dans les années septante et quatre vingt bien qu il n en reste que deux témoignages enregistrés the Glider and the Grinder Bead et February Papers Incus 18 Gateway 97 est le summum de cette saga et fait oublier largement les albums précités et la monotonie de trop nombreuses publications de ces quinze dernières années Dynamique extrême variété sonore qualité de l écoute mutuelle sens collectif imagination fantaisie cet album récolte un 10 sur 10 tout azimut L improvisation libre fantasmée devenue réalité Je répète encore c est très dommage que cet album n ait pas été publié à l époque car la musique est aussi originale qu optimale Jean Michel Van Schouwbourg Orynx improv andsounds WTTF was

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_225.html (2016-02-11)
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  • reviews_cs226
    on drum tops and measured rim shots or cymbal angling that succinctly complement the others playing Marshall s contributions to these spontaneous improvisations add to the general discordant timbres of the program Eschewing legato the cellist who has also collaborated with the Swiss noise and percussion duo Diatribes usually plays agitato slicing strings patterns and frequently spewing sul ponticello timbres On a tune such as End of Day for instance her wood rending sprawls and string plinks also replicate double bass like thumps and shimmering vibrations as Finn rubs his drum tops in parallel cohesion Meanwhile Smith propels his plunger notes to broken triplets and narrowed growls giving a woodwind like lilt to his solos Smith who helped institute the London Improvisers Orchestra in 1998 has steadily improved his brass skill during this century Besides a catalogue of effects that encompass snorts farts slurs puffs and noisy mouthpiece kisses he has also internalized a command of more expected brass tropes and can produce bugle like brays when deemed necessary On Unrequited for example his mouthpiece buzzing and osculation is designed as a counterpoint to Marshall propelling sul tasto shuffles and bow scrapes that escalate to staccato rubs and wood knocks while Finn seconds both with wire brush motions Meantime Every Instant one of the session s most fully realized tunes is built around his transformation of the brass line from pressurized grace notes to high pitched flutter tonguing which somehow deepen to French horn like pitches Finn distinguishes himself here by bringing out his collection of miscellaneous wooden and metallic ratchets and drums while the cellist confines herself to abstract slicing Fully committed to experiments with tonal capacities Alter Egos have created a notable session Ken Waxman JazzWord It took several days and a considerable number of listens to figure out the compass of instrumental awkwardness that Alter Egos presents This genus of improvisation is essentially unsullied and exactly for this cause hardly succulent if one approaches it nervelessly You need to locate the right spots and proceed from there close encounters parallel soliloquies and socialistic violations of the norms of regular handsomeness help realizing that this music s fiber is of such thickness to result impervious to any straining process Smith emits squeals akin to those of an angered mother in law windy currents that seem to come from some valley in a degraded Far West county and trombone like purr and howl gibberish which misrepresent the actual size of his instrument Marshall knows graces traces smells and splinters of the cello as no orchestral nerd can usually privileging toneless qualities and unsmooth traits but at the same time being able to create droning clusters and skewed melodies that clarify just a bit a sonic map chock full of intertwined tortuosities Flinn s cognizance pushes him distant from half baked pointlessness hazardous propulsive prototypes and schismatic applications of creative intuition on skins metals woods and objects constitute the fundament of a systematic offense to the jurisprudence of percussive symmetricalness

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_226.html (2016-02-11)
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