Home » Jazz Articles » Album Review » Sei Miguel: Salvation Modes

6

Sei Miguel: Salvation Modes

By

Sign in to view read count
Sei Miguel: Salvation Modes
A delicacy pervades this music from start to finish. Sei Miguel's Salvation Modes is flush with silence, interludes, the sounds of musical instruments that made you love them in the first place. The disc is spread over three extended pieces: the first piece, "Preludio e Cruz De Sala," including trumpeter Miguel with guitarist Pedro Gomes, trombonist Fala Mariam and percussionist Cesar Burago; the second, entitled "Fermata," with Miguel also on finger cymbals along with Andre Concalves on hammond manipulation, Margarida Garcia on twin (whatever that is) and Burago again on percussion but also radio; and "Cantata Mussurana" (with inclusive dates for the work of 1996 to 2012), featuring the leader once again on trumpet as he directs a tentet that includes a viola, a singer, bass guitar, drums, alto saxophones, bandoneons, modulated feedback and various percussion instruments. This three-part suite of sorts of all composed and arranged music by Miguel refrains from any in-your-face shock mannerisms, and instead combines engaging musicality with radical notions of form, the improvisations spontaneous but mannered.

Subtly subversive, Salvation Modes seems to be all about extending the conversation about instruments, improvisation and listenability to include multiple musical personalities, all under the direction of Mr. Miguel. For example, the 18- minute "Cantata Mussurana" appears to hover around Pedro Lourenco's funky bass (hiccups to Herbie Hancock's "Chameleon") as singer Kimi Djabate introduces a quiet, resonant, moaning voice. Miguel's trumpet bleats unobtrusively, followed by a clambake of percussion, Ernesto Rodriguez's viola twitches and more recited and sung words from Djabate. It's fermentation but without an obvious outlet. We don't know where we are going with this music, and yet it keeps us listening, varied in its approach, thoroughly musical all the while outlandish in demeanor. Similarly, the 27-minute "Preludio e Cruz De Sala" uses tempered instrumentation in non- tempered ways, with dynamic ranges that can be ear- splitting when the music isn't approaching a kind of modest solemnity. Trombonist Mariam's blaring horn at times creates a kind of electrocution that extends the possibility of that normally brassy tonal instrument alongside Burago's plucky, spacious percussion. The music on "Preludio" also includes Mariam playing it relatively straight with ghostly guitar musings from Gomes before the leader pops in for some more parched, almost mid-'70s Miles Davis-like tones, tones that are stretched out in a way that gives new meaning to the phrase musical space.

Like many instrument-driven projects (vocals included) both in and outside of jazz and improvised music, Salvation Modes can become like an alternate-universe soul music, the sounds of each voice kindred spirits. Perhaps, hence the title.

Track Listing

Preludio e Cruz De Sala; Fermata; Cantata Mussurana.

Personnel

Sei Miguel, trumpet, finger cymbals, direction; Fala Mariam trombone, alto trombone; Pedro Gomes, guitar; Cesar Burago, percussion, radio, bandoneon, de Osaka, claves, agogo; Andre Goncalves, Hammond manipulation; Margarida Garcia, twin; Kimi Djabate, singer; Rafael Toral, modulated feedback; Ernesto Rodrigues, viola; Nuno Torres, alto saxophone; Pedro Lourenco, bass guitar; Luis Desirat, traps drums; Monsieur Trinite, bandoneon, de Osaka, ganza, afoche.

Album information

Title: Salvation Modes | Year Released: 2014 | Record Label: Clean Feed Records

Comments

Tags


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.

More

What Was Happening
Bobby Wellins Quartet
Laugh Ash
Ches Smith
A New Beat
Ulysses Owens, Jr. and Generation Y

Popular

Eagle's Point
Chris Potter
Light Streams
John Donegan - The Irish Sextet

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.