Immobility and Movement, by Bertrand Denzler, Ernesto Rodrigues & Abdul Moimême

Immobility and Movement

by Bertrand Denzler, Ernesto Rodrigues & Abdul Moimême

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	1.	I 36:02		buy track
	2.	II 19:28		buy track

about

Recorded on June 23rd 2019 by Joaquim Monte at Namouche Studio, Lisbon.
Mix & master by Carlos Santos & Ernesto Rodrigues.
Photo by Benjamin Denzler.
Graphic design by Carlos Santos.
Production by Ernesto Rodrigues.

REVIEWS

An exquisite and mysterious album of free improvisation merging acoustic and subtle electroacoustic elements, from the trio of Bertrand Denzler on tenor saxophone, Ernesto Rodrigues on viola and Abdul Moimeme on electric guitar & objects, recording in the studio for this extensive work in four parts that transitions between moments of transfixing sound and cautious motion. Squidco

"Immobility and Movement" has a similar concept: it is a trio with Ernesto and Abdul "supporting" a tenor saxophonist, Bertrand Dentzler. It is indeed to some extend
true, but the album is in fact more balanced: the contributions of the tenor, the viola and the electric guitar are on equal footing. In this sense the music is more globally organizing soundscapes and the end effect is more novel and exploratory: a XXIst century free improvised John Cage/Giacinto Scelsi music... Maciej Lewenstein

The use of speech to outline unorthodox acoustic processes has turned into an authentic constraint for this writer. As decades pass through recordings and performances that capitalize on the less explicit attributes of timbre, one grows an immediate awareness of implications that remain unique depending on the subject's susceptibility. In practice, certain sounds provide answers to questions that were never really asked because, to some extent, we had guessed that the primary universal laws revolve around the varying vibrational combinations of matter.
What's truly useful to say to someone who might not detect what you just detected? One must be prepared for something that is there in evidence, but which many refuse to acknowledge. However, those who are into substance simply keep probing the ground (or rather, the air), using an instrument for emissions that disclose the presence of a pulsating core. Bertrand Denzler (tenor sax), Ernesto Rodrigues (viola) and Abdul Moimême (electric guitar and objects) belong in this field of instrumental connection. What they engendered here is a spirit>body>sound cascade that yielded results worthy of profound respect.
Aided by the very title we identify a consistency with what happens at various levels of interplay, including the focus of the involved parties. We clearly envision the immense potential that simmers within the human envelope, while also noticing the oscillation of dynamics from near-zero to serendipitous intensities. What the three manage to elaborate when their telepathic conjunction occurs is nothing short of remarkable. This improvisation comprises countless hints of intuitive comprehension, embellished by nuances of resonance sometimes inscrutable, elsewhere absolutely transparent. Music of subtle conflicts disseminated across a beautiful togetherness, explicating a modicum of knowledge as the freedom of spontaneousness is left to those who hate finely articulated platitudes.
The painful realization that it is impossible to express and do much more than time allows often causes a stasis of action. This stagnation may save precious mental energies, yet it is still dangerous, as it can lead to a lengthy standstill of the entire system. Restoring the fighting stance, in that case, is an arduous task. In such challenging moments for the maintenance of the inner balance, an album like Immobility And Movement is a small lifesaver. It needs tranquility, but it stimulates activity. Massimo Ricci (The Squid’s Ear)

credits

released September 29, 2020

Bertrand Denzler - tenor saxophone
Ernesto Rodrigues - viola
Abdul Moimême - electric guitar & objects

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about

Ernesto Rodrigues Lisbon, Portugal

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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