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Rodrigo Amado, Joe McPhee, Kent Kessler, Chris Corsano, live at Bimhuis Amsterdam
by Henning Bolte
Rodrigo Amado, Joe McPhee, Kent Kessler, Chris Corsano Bimhuis Amsterdam March 8, 2017 As part of a European tour through nine countries, the Portuguese-North American configuration of Lisbon tenor saxophonist Rodrigo Amado, multi-instrumentalist Joe McPhee (saxophones, trumpet, didgeridoo), bassist Kent Kessler from Chicago, and young drummer Chris Corsano also from New York, finally made its first appearance at Amsterdam Bimhuis. Many will associate these musicians with something like 'raucous free jazz.' The ...
Continue ReadingRodrigo Amado's Motion Trio: Desire & Freedom
by Glenn Astarita
Portuguese saxophonist Rodrigo Amado's mark of distinction is generally centered on his assertive approaches to experimentation within numerous offshoots and slants of the jazz vernacular. He's become a major player on the Euro progressive jazz scene amid sessions with American free-thinking acolytes, trombonist Jeb Bishop, bassist John Hebert, trumpeter Dennis Gonzalez and many others of note. Here, Amado performs with his fellow countrymen for a blossoming asymmetrical affair, firmly rooted in a spirited free-form jaunt, teeming with buoyant flows and ...
Continue ReadingRodrigo Amado's Motion Trio: Desire & Freedom
by John Sharpe
Desire And Liberation constitutes only the second album in Portuguese saxophonist Rodrigo Amado's Motion Trio discography not to feature a guest since their eponymous debut (European Echoes, 2009). While some may decry the lack of a foil for the leader's muscular tenor saxophone (and past collaborators trumpeter Peter Evans and trombonist Jeb Bishop supplied that and more), it does present an opportunity to appreciate the finely wrought interchange of the core trio completed by drummer Gabriel Ferrandini and cellist Miguel ...
Continue ReadingRodrigo Amado: This Is Our Language
by Glenn Astarita
Experimental jazz, largely framed on wide-ranging improvisational tactics, inhabits a tightknit if not cloistered community, partially by default due to its avant-garde underpinnings. With the album moniker This Is Our Language, eminent Portuguese saxophonist Rodrigo Amado imparts a bond or connection to free-jazz pioneer Ornette Coleman's fifth album, This Is Our Music (Atlantic, 1960). Legendary saxophonist, trumpeter Joe McPhee consummates the frontline, as the overall muse encapsulates a hybrid exposition of temperate and supersonic explorations amid nods to ...
Continue ReadingRodrigo Amado: This Is Our Language
by John Sharpe
The title of Portuguese saxophonist Rodrigo Amado's latest offering pays unmistakable homage to the late Ornette Coleman. This Is Our Music (Atlantic, 1961) constituted one of Ornette's uncompromising early manifestos, while In All Languages (Caravan of Dreams, 1987) served to reveal both the differences and the similarities between his classic quartet and the electric Prime Time band. Although the music on this selection of five unfettered inventions bears little overt relationship to Coleman's oeuvre (even his seminal Free Jazz contained ...
Continue ReadingRodrigo Amado: This Is Our Language
by Mark Corroto
It was only a matter of time before this session was to be. Portuguese tenor saxophonist Rodrigo Amado had, for years, been gaining the attention of American players, and recording his Motion Trio with guests such as Peter Evans and Jeb Bishop. When he conceived of this quartet, it was hand-in-the-glove fit. The title, This Is Our Language seems to refer to Ornette Coleman's This Is Our Music (Atlantic, 1961) and In All Languages (Caravan Of Dreams, 1987). ...
Continue ReadingRodrigo Amado Motion Trio & Peter Evans: The Freedom Principle
by Alberto Bazzurro
Inciso anch'esso a Lisbona, però in studio, due soli giorni dopo (quindi il 18 marzo 2013) il Live in Lisbon recensito di recente, questo nuovo lavoro del trio plus del sassofonista portoghese, pur fondandosi sempre sull'improvvisazione senza rete, presenta tuttavia strutture più rigide (almeno questa è l'impressione che ci trasmette), compassate, formalmente tornite. I brani si mantengono su lunghezze ragguardevoli (dai dodici ai ventisette minuti) e tutto sommato, anche per la durata complessiva dell'album (Live in Lisbon ...
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