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Andre Carvahlo: Memoria De Amiba
by Bruce Lindsay
Early inspiration comes to jazz musicians in a number of ways. Many can remember the first time they heard Miles Davis or Charlie Parker, others recall their first encounter with Ella Fitzgerald. Bassist André Carvalho has vivid memories of the amoeba--vivid and important enough to name his second album in honor of the unicellular creature, Memória ...
MoFrancesco Quintetto: Maloca
by Chris Mosey
A maloca is an ancestral long house used by Indians in the Amazonian jungle to receive outsiders and exchange knowledge and ideas. Italian bassist Francesco Valente became fascinated with the idea of the maloca on a trip to Brazil, Bolivia and Peru. A close perusal of the album cover reveals him doing a ...
RED Trio: Rebento
by John Sharpe
Piano trios which accentuate the abstract facets of the format have become increasingly widespread in recent years, although boasting a legacy which stretches back to the pioneering outfits of British pianist Howard Riley in the late 1960s with bassist Barry Guy. Foremost among the current roll call, which includes Frenchwoman Eve Risser, Spaniard Agusti Fernandez, and ...
Luis Lopes Humanization 4tet: Live in Madison
by Glenn Astarita
Respectively, Portuguese artists Luis Lopes (guitar) and Rodrigo Amado (saxophone) are known for aggressive tactics and forward motion at almost any tempo. There's nothing sheepish about this live date, recorded in Madison, WI. And there's no looking back as the band seemingly loaded up on energy drinks for this high-impact set. Lopes' variable use of distortion ...
Joao Paulo Esteves Da Silva & Jazz Orquestra de Matosinhos: Bela Senao Sem
by Chris Mosey
João Paulo Esteves Da Silva's compositions, while owing much to the folk and classical traditions of his native Portugal and something to Gil Evans' writing in the 1950s, on occasion display quite breathtaking originality. If modern, post-Salazar Portugal has a musical identity it is surely contained in these wordless, questing songs emerging from ...
Rodrigo Amado's Motion Trio + Jeb Bishop: The Flame Alphabet
by John Sharpe
Remember free-bop? While there's no hard and fast definition, the term was used to encompass jazz boasting a written head, often at rapid bebop tempo, which subsequently opened up harmonically and rhythmically, but without straying completely off the map. Think some of the freewheeling Blue Note discs of Sam Rivers and Andrew Hill or some of ...
Insubordinations celebrates Swiss-Portuguese connections
by John Eyles
Since its inaugural release in 2006, the Swiss Insubordinations label and net label has issued over sixty albums, dedicated to improvised and/or electroacoustic music, as free-of-charge downloads and as limited editions on CD or CDr. Refreshingly, all Insubordinations releases remain fully downloadable under creative commons license. If that were not enough, Insubordinations is also ...
Sara Serpa / Ran Blake: Aurora
by Eyal Hareuveni
Portuguese vocalist Sara Serp's follow-up to Camera Obscura (Inner Circle, 2010), with renowned pianist Ran Blake, retains the fresh and irreverent approach of their debut. A former student of Blake's the two never sound obvious or predictable, even when they are interpreting popular jazz standards. Their versions offer deeper and often innocent insights to some of ...
Fado em Si Bemol: Fado... With a Pinch of Jazz
by Ana Francisca Gonçalves Pereira
Jazz reinvents itself every day, in any way, like a chameleon transforms Itself to match its surroundings. It is thanks to this ability that jazz's place in the world has been firmly cemented; from a musical point of view, there seem to be no physical or spiritual boundaries to what musicians can arrange with ...
Hugo Carvalhais: Particula
by Eyal Hareuveni
Portuguese bassist Hugo Carvalhais creates a highly personal musical universe on this, his sophomore release. His compositions draw inspiration from the American free jazz of the sixties, the sonic experimentalism of saxophonist John Zorn and guitarist Fred Frith, and European chamber jazz, but do not surrender to any of these formative influences. Furthermore, Carvalhais chooses a ...
