Recorded on May 7th 2023 in Lisbon.
Recorded, mixed and mastered by João Madeira.
Water drawings by Dilar Pereira.
Graphic design by Carlos Santos.
Production by Ernesto Rodrigues.
REVIEWS
Dripping offers a like-minded, free improvised meeting, featuring violist Ernesto Rodrigues (father of Guilherme), Belgian guitar hero Dirk Serries (who mastered and released on his label Zwosch, Zwosch & Zwosch), double bass player João Madeira, who recorded, mixed and mastered this session in Lisbon in May 2023 and collaborates regularly with Ernesto Rodrigues and Guilherme Rodrigues, and percussionist Oliveira. The atmosphere of this session is intense, closer at times to the fiery energy of a free jazz meeting, but also surprises sometimes with its playful rhythmic sensibility, even swinging one. Rodrigues (who also employs a crackle box), Series and Madeira keep feeding each other with bold ideas within tight and nervous dynamics until it is almost impossible to know who is producing which sounds of its string instrument while Oliveira colors this ecstatic commotion with imaginative percussive touches. Eyal Hareuveni (Salt Peanuts)
In principle, a "classic" Ernesto's quartet, with the crême de la crême Lisbon section, including my beloved João Madeira and José Oliveira. But, this is not all -- something is outstanding here, and this is the presence of the phenomenal Dirk Serries on archtop guitar. His lines are absolutely incredible, outstanding, and not comparable to anything else. The quartet presents a kind of suite in nine movements, "Dripping I-IX". Again we encounter here the "total music" of Ernesto: a mixture of free improvisation, free jazz, free minimal music, free contemporary chamber music, you name it. All movements are of medium or short length, from lass than 3 to more than 8 minutes. In fact, the longest track, "Dripping IV", lasting eight and a half minutes is my favorite. One of the best records of Ernesto's operation in recent years! Maciej Lewenstein
In mei 2023 vertrok gitarist Dirk Serries richting Portugal voor een aantal concerten met saxofonist José Lencastre. In Lissabon kwam hij onvoorzien terecht in gezelschap van gelijkgestemde lokale improvisators als Ernesto Rodrigues, João Madeira en José Oliveira. Dit verhaal werd nu uitgebracht onder de titel ‘Dripping’.
‘Dripping’ is het zoveelste bewijs van de hechte samenhang in de grote internationale improvisatiefamilie. Zonder vastgelegde afspraken maar gewoon door eenzelfde interesse en visie vinden ze elkaar op onverwachte tijdstippen en plekken. Datum van deze ontmoeting was 7 mei 2023. Locatie: de studio van João Madeira in Lissabon. Figuranten: Ernesto Rodrigues, Dirk Serries, João Madeira en José Oliveira.
Iedereen is meteen aan zet maar niet volgens geijkte patronen, alhoewel. De kaarten worden verdeeld in overeenstemming met de spelregels van de improvisatie en die zijn luisteren, introduceren en reageren. De drie snareninstrumentalisten laten zich graag van hun meest assertieve kant horen. Contrabassist en violist wisselen af door gebruik van hun strijkstuk terwijl Serries op zijn manier voor rafelige bluestinten zorgt. Percussionist Oliveira krijgt eveneens een bepalende rol toebedeeld in deze microkosmos. Kers op de taart is de spannende “bruitage” van ‘VIII’.
De zoekende en aftastende teneur van de negen dialogen (genummerd van I tot IX) is inherent aan deze vorm van improviseren. Doordat elk zijn eigen signatuur heeft, blijft een dergelijke opname steeds boordevol verrassende invalshoeken. De cd-uitgave, met artwork van Dilar Pereira, is beperkt tot 100 exemplaren en is ondertussen bijna uitverkocht. U weet wat te doen. Georges Tonla Briquet (Jazz’Halo)
Nel mare magnum delle produzioni discografiche di questa costola di liberi improvvisatori portoghesi (documentate anche su 4DaRecord), ecco questo nuovo cd in quartetto con al centro le corde, con le stesse percussioni che operano su un piano ben più squisitamente timbrico-atmosferico che non ritmico. Il risultato - lo diciamo ogni volta che ci troviamo di fronte a lavori del genere - ha un andamento fisiologicamente cangiante, proprio sul piano degli esiti, soprattutto qui, visto che il procedere conserva una sorta di aplomb che non esclude certo momenti più nervosi, anche turbolenti, ma si tiene comunque lontano da incroci enfatici o convulsi. Si possono così apprezzare in particolare gli episodi secondo, terzo e ottavo dei nove totali (indicati appunto da I a IX), dove certi arzigogoli che altrove non mancano (pur moderatamente) cedono il posto a un dialogare più pieno, reciprocamente ricettivo, in cui il totale ha il sopravvento sugli spunti (pur spesso pregevoli) dei singoli. Sì, perché non può che essere questa la finalità di incontri di questo tipo: un interscambio, di marca evidentemente free, che oltrepassi ciò che ognuno potrebbe offrire di sé, a favore di ciò che solo dalla somma delle varie individualità, specie lungo questi crinali, sempre particolarmente rischiosi (se tali rischi si vogliono cogliere), in cui il feedback fondato sull’immediato, sull’appena percettibile, ovviamente sulla capacità di ascoltarsi, possono dare un senso al tutto. Cosa che qui accade spesso. Bazzurro (Musica Jazz)
In het eerste van de negen titelloze delen van ‘Dripping’ horen we allereerst Madeira, met kunstige, maar ook stroeve grepen. Al snel voegen de twee andere snaarinstrumenten zich erbij, met nauwelijks van elkaar te onderscheiden klanken. En tot slot klinkt Oliveira’s percussie in een redelijk chaotisch aandoend klankspel. In het tweede stuk mag Oliveira beginnen, terwijl we verderop uitgebreid het spel van zowel Serries als Rodrigues op hoog tempo kunnen bewonderen. Net over de helft slaat de sfeer om en stapt het kwartet over op een innemend klanklandschap. En ook in het derde deel overheerst, op enkele uitschieters na, het subtiele snarenspel. Heel bijzonder is ook het begin van het vierde stuk, een overtuigend klankspel. In het vijfde, zesde en zevende stuk overheersen weer de meer dynamische, vrij abstracte klanken, de grote diversiteit aan snaren komt hier prachtig tot zijn recht. In het achtste en het negende stuk is er in het begin weer wat ruimte voor meer subtiele klanken, al loopt ook hier verderop de spanning weer op. Ben Taffijn (Nieuwe Noten)
Ernesto Rodrigues (Lisbon, August 29th 1959) has been playing the violin / viola for 50 years and in that time has played
all genres of music ranging from contemporary music to free jazz and free improvisation, live and in the studio.
The relationship with his instruments is focused in sonic and
textural elements as well as the use of extended techniques....more
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