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about

Recorded on June 15th 2007, at Tcha Tcha Tcha Studio, Lisbon, Portugal.
Recorded by Luís Delgado.
Mixed and mastered by Ernesto Rodrigues and Carlos Santos.
Graphic design by Carlos Santos.
Production by Ernesto Rodrigues.


La sorpresa, nel jazz, è solitamente definita attraverso
caratteri che ne precludono l'effetto di paura.*

Davide sparti - Musica in Nero (2007), p. 174 / Bollati Boringhieri Editore

* Within the context of jazz, "surprise" usually refers to something
unexpected and yet not necessarily frightening.

translated by Davide Sparti



"LYRICAL"

Fear
Blows me up like a bagpipe
And if I begin the song
I can never bring it to an end.

Demosthenes Agrafiotis

translated by Georges Economou


"LÍRICO"

O medo
enche-me como gaita-de-fole
e se começo a canção
não paro mais

translated by Alípio C Neto


Dedicated to Rachele, Carla and João Alberto Carvalho

Thanks to Der kleine Hans + Hemmung, Symptom und Angst + Siegfried + Archilocus of Paros

REVIEWS

Une suite d'improvisations dynamiques avec quelques excursions 'électro-acoustiques'. Free music! Jerome Noetinger (Metamkine)

Saído na passagem de 2008 para 2009, o novo disco encabeçado por Alípio C. Neto apanha-nos de surpresa, mesmo considerando que este desfecho já estava anunciado. Se o nível de qualidade não está longe do do anterior “The Perfume Comes Before the Flower” (ou seja, bem lá em cima), este é o título em que o saxofonista luso-brasileiro se entrega finalmente de corpo inteiro às práticas “avant-garde” que o seu trajecto mais recente ia prometendo. Distanciando-se das referências bop ouvidas com os grupos Wishful Thinking e IMI Kollektief, Neto entra aqui num território de cruzamentos entre o free jazz, as novas tendências da livre-improvisação e a música contemporânea que funciona não tanto pelos pontos em comum que as três vertentes possam ter, mas pelos contrastes jogados a preceito que os respectivos factores identificatórios, em termos de recursos e linguagens, encerram.
A este nível, a inclusão de Dennis González neste quinteto, se podia parecer estranha antes de ouvir a música, funciona excelentemente. Vindo do universo free bop, o trompetista do Texas ora intervém na colectiva fabricação / organização de som (um achado, as sequências em que fala enquanto toca o seu instrumento na peça mais longa do disco, “Fear 2: Void and Voices”), ora faz aquilo que dele se espera, a oportuna introdução de planos melódicos e idiomáticos, embora sempre breves ou de carácter fragmentário.
Os Rodrigues, pai e filho, constituem o eixo do que aqui se ouve, num trabalho de exploração intuitiva das capacidades da viola e do violoncelo, continuamente aplicando técnicas extensivas e remetendo-nos para alguma composição erudita actual. O inventivo e versátil baterista britânico Mark Sanders coloca-se entre as estratégias de actuação da dupla de cordofones e da dupla de sopros, somando-se aos primeiros para trabalhar texturas ou dando lastro aos segundos para os momentos mais orgânicos e intensos. Nesse sentido, é um garante de equilíbrio e a cola que junta todas as peças. O mentor desta sessão, por sua vez, é o que parece totalmente apostado em tornar esta proposta musical mais “figurativa” (por oposição a “abstracta”), incidindo as suas intervenções no timbre e no fraseio distintivo do jazz, com muita liberdade de movimentos, mas também de forma objectiva. O resultado desafia os exclusivismos estéticos a que vamos assistindo, o que é bastante positivo, e consegue excitar-nos os tímpanos. Bravo! Rui Eduardo Paes

A quintet with those Rodrigues' again, Alípio C Neto on soprano and tenor, Dennis Gonzalez on trumpet and voice and Mark Sanders manning the drums. To the extent they engage in incendiary free improv, it works very well, as well as anything in the area you're likely to encounter, due in no small part to Gonzalez whose innate lyricism is a lovely thing to hear. When they tone things down, it's OK, if less bracing. But a strong disc overall, well-balanced and imaginative. Brian Olewnick (Just Outside)

Que le trompettiste Texan Dennis Gonzalez et le percussionniste Mark Sanders (Birmingham) se retrouvent ensemble dans le sudio Tcha3, il n’y a là rien d’étonnant. Mark Sanders a collaboré avec Keith Tippett, Marcio Mattos et Elton Dean lesquels ont joué et enregistré un Dennis Gonzalez Dallas-London Sextet (Catechism/Daagnim 1987, un des premiers cédés de free jazz). Sanders a aussi travaillé avec le violoniste portugais Carlos Zingaro dans le ZFP Quartet (Bruce Finger’s avec Mattos et S.H. Fell). Voici maintenant une collaboration avec d’autres cordistes portugais : les Rodrigues père et fils, Ernesto au violon alto et Guilhermo au violoncelle. Ernesto Rodrigues est le responsable de Creative Sources. La présence et la sonorité du saxophoniste Alipio C. Neto évoque avec une certaine coïncidence au soprano et au ténor, le légendaire Charles Brackeen, compagnon de Dennis Gonzalez dans les années’80 et aujourd’hui disparu. Le même Charles Brackeen avait enregistré le fabuleux disque « Dance » (Paul Motian Trio ECM 1977 avec le bassiste David Izenson). D’ailleurs, dans Fear 1- Pulsion (17: 26), le premier mouvement du triptyque qui compose Paura, Mark Sanders évoque la manière free de Motian dans cet album : espace, clarté et invention. Après avoir travaillé avec un grand nombre d’improvisateurs de la « nouvelle » génération, notoires ou inconnus de la tendance « minimaliste- réductionniste »…etc de Mathieu Werchowski et Rhodri Davies à Jean-Luc Guionnet et Christine Sehnaoui, les Rodrigues changent de cap en conviant trois free jazzmen à cette Construction de la Peur. Les cinq musiciens ont trouvé un superbe équilibre toujours en mouvement et leur entente est optimale. Les deux cordistes font merveille. Ils se fondent dans les échanges jazz libre avec leur approche sonore spécifique telle quelle a déjà été documentée à de nombreuses reprises par Creative Sources. Non seulement, Ernesto a réalisé un travail extraordinaire avec son label C. S. , il est surtout un violoniste (alto) de la trempe des Phil Durrant, Jon Rose, Charlotte Hug et Malcolm Goldstein. Dans la longue deuxième pièce du triptyque Fear 2 – Void and Voices (37:52), les voix se mêlent, s’étirent et explorent leurs timbres et leurs densités. Le rythme s’est complètement dissout dans une stase déchirée. Dennis Gonzalez n’est pas en reste, les vibrations de l’air dans les tubes de sa trompette font écho au vrillage précis de l’archet sur les cordes du et aux effets de souffle de Neto. L’interaction du quintet est particulièrement réussie. Le final, Fear 3 – Paura - Lyrikon, plus élégiaque, est dédié au poète grec Demosthène Agrafiotis. Au total, une superbe rencontre de musique libre assimilant plusieurs phases de l’évolution des musiques improvisées pour en offrir le meilleur de chacune d’elles. Un régal. Jean-Michel van Schouwburg (Improjazz)

Demosthenes Agrafiotis schrieb die Zeilen Fear blows me up like a bagpipe / And if I begin the song / I can never bring it to an end und ALÍPIO C NETO (Saxophone), DENNIS GONZÁLEZ (Trompete), ERNESTO & GUILHERME RODRIGUES (Viola bzw. Cello & Radio) sowie MARK SANDERS (Schlagzeug) ließen sich dadurch anregen zu PAURA The Construction of Fear (cs 139). Der brasilianische Saxophonist ist durch einige Releases auf Clean Feed, dem anderen Lissaboner Label, bekannt geworden, und, wie auch der texanische Trompeter, mit Jazz, der nichts Erschreckendes hat, höchstens etwas Unerwartetes und allenfalls Alarmierendes. Hier verweist Neto auf Freud und den Fall des kleinen Hans und seiner Pferdephobie. Meine Symptome deuten eher auf eine Plinkplonkphobie. Damit die akut wird, braucht es freilich ‚fürchterlichere‘ Auslöser als die ‚unheimlichen‘ Geräusche von ‚Void and Voices‘, dem breiten Mittelteil von PAURA, das damit nach dem jazzigen Auftakt ‚Pulsation‘ die programmatische Wendung nimmt ins Schaurige. Lange Haltetöne bilden nach einer gespenstischen halben Stunde im Märchenwald eine scheinbare Brücke aus dieser ‚Kinderschreck‘-Zone, in der man aber doch haften bleibt, bis stakkatohaftes Gegeige den Bann löst. Nur um einen erst recht einer schnaubenden, stöhnenden und gespenstisch gegeigten Kakophonie auszuliefern. Nun, John Cale hat uns eingeschärft, dass Furcht unser bester Freund ist, Langeweile aber von Übel. Diese Gefahr besteht hier absolut nicht. Die Spannung bleibt sogar über den abrupten Schluss hinaus bestehen und macht PAURA zu etwas Speziellem im Repertoire von Gonzales, der hier furchtlos abseits seiner Inspiration Band, seines NY Quartets und seines familiären Yells At Eels-Projekts faucht und spotzt, und zu einer der wenigen CS-Musiken, die bei mir einen Wiederholungszwang auslösen. Rigobert Dittmann (Bad Alchemy)

Two years ago, Brazilian saxophonist Alício C Neto released a great album on Clean Feed with 'The Perfume Comes Before The Flower", now he goes a step further into avant-garde territory on Ernesto Rodrigues' Creative Sources label, equally Portuguese. Ernesto Rodrigues plays the viola, and his son Guilherme cello, Dennis González plays trumpet (and vocals) and Mark Sanders drums. Father and son Rodrigues are of course well-known for their experimental take to modern music, Sanders is one of the finest drummers in the European free improv scene, but adding González to the band was a very clever move. Against and in the context of the unusual and weird sounds that the string and percussion create, Neto's staggering expressivity and González' emotional lyricism form a wonderful counterbalance. These five musicians are not a natural match, yet their openness to each other and their musical skills for interaction are strong enough to make this an incredibly powerful and creative piece of music. Spread over three long tracks, they dive deep into the meaning of fear, evoking the feeling slowly, gradually, like something that creeps into you, full of surprises, but then rather of the mind, getting you off-balance and into unwanted places. But this is surely not a horror movie, that lives on cheap effects and lack of subtlety, quite the contrary, nuance, finesse, and a sensitive approach to how music can sound different while still striking an emotional chord is the main angle here. This is not music that will make you comfortable, it will suck you up, it will create distress, you will be glad and relieved and sad to hear some long lyrical phrases by González, but then they are replaced by some agonizing wails by Neto, which also dissapear, and you stay with the darkness created by off-beat drums and the extended technique sounds of the viola and cello. And through the quite uncanny and eery sounds, beauty emerges, once you get acquainted with the musical universe they create, once you accept what is going on and stop rationalizing, the artistry opens like a flower, not releasing sweet scents, but a dark and terrifying beauty. No, these guys are not a natural match, but for the music presented here (and it is not jazz, really), they are no doubt the perfect match. Stef (Free Jazz)

Dennis González has spent time touring and recording in Portugal in recent years, and The Construction of Fear marks his first effort for Lisbon’s Creative Sources label. It’s nice to hear the trumpeter playing with violist Ernesto Rodrigues and his son Guilherme (cello and radio). Along with tenor/soprano saxophonist Alípio C. Neto and percussionist Mark Sanders, they make up Paura. They play music that is a bracing amalgam of scratchy Euro improv and bright lyrical declamations. Unlike a lot of music in this area, Paura doesn’t play with the kind of obsessive detail-driven retreat from expressionism that often creates tedium. Rather, they combine a feel for the meaningfully small with a feisty energy (a winning fusion that characterizes the opening piece). González can really show his range in such a setting: his soft wheezing and overtones on the spacious opening minutes of “Fear 2” make for a tasty synthesis of AACM genre-gestures and London insect music. Neto and G. Rodrigues provide fine contrast with a series of gutturalisms and insistent groans that glue things together. The album as a whole has a nice suite-like structure, with sweet’n’sour tutti passages that suggest chamber compositions, and lots of sub-groupings (the father/son strings are especially tight in the middle sections), all culminating in the slashing, thudding conclusion. Jason Bivins (Signal to Noise)

An atypical combination of talents: Alípio C. Neto (saxes), Dennis González (trumpet, voice), Ernesto Rodrigues (viola), Guilherme Rodrigues (cello, radio) and Mark Sanders (drums). The only thing that puzzles me is the rather preposterous theory about surprise and fear in jazz expressed by a Davide Sparti in the inside leaflet and, for good measure, rendered incorrectly in English from the (already incomprehensible) original. But Italy is the country in which books and movies have a different meaning than in the rest of the world due to the hard-to-believe incompetence of translators, so no big news here. Instruments exists, thank god, to deliver us from words and this particular project sounds great: strong, determined, both muscularly affirmed and barely whispered, the improvisations suggesting indeed that kind of anxious feeling that what’s unknown and/or unexpected elicit in frail minds. The timbral melange is at times exceptional, the corpulence of Neto and González versus the fascinating meagreness of the Rodrigueses with Sanders acting as a gifted master of percussive ceremonies. There’s no trace of mellifluousness in this intriguing crossing of free jazz and EAI dipped in theatrical stir, and which defies the inevitable conventions of unrehearsed music for its large part. Massimo Ricci (Temporry Fault)

"The Construction of Fear" firmowana przez formacje Paura brazylijskiego saksofonisty Alipio C. Neto , w jej skladzie pojawiaja dwaj muzycy dobrze znani z lam Diapazonu: trebacz Dennis Gonzales i perkusista Mark Sanders oraz Ernesto i Guilherme Rodrigues, dowodzi, ze idiom sprzed lat wciaz moze byc atrakcyjny i co wazniejsze efektywnie wykorzystany. W suicie "Fear" odzywa insect improv spod znaku Spontaneous Music Ensemble, slyszalne sa równiez echa nagran kwartetu Braxton-Jenkins-Smith-McCall. Free jazz ozeniony z dwudziestowieczna kameralistyka, przefiltrowany przez pryzmat swobodnej improwizacji zostaje podany z niemal elektroakustyczna wrazliwoscia na brzmienie. Calosc moze nie jest bardzo oryginalna, ale muzycy zagrali z wyczuciem i co wazniejsze nie obok siebie, ale ze soba. Tadeusz Kosiek (Diapazon)

O “line up” dá ares de equipa allstar: Alípio C Neto (saxofones soprano e tenor), Dennis González (trompete), Ernesto Rodrigues (viola), Guilherme Rodrigues (cello, rádio) e Mark Sanders (bateria). E se os nomes estão em destaque, a música envereda logo ao início por caminhos algo próximos do jazz, de onde vêm os músicos que compõem este quinteto (excepção feita aos Rodrigues): Alípio é um incendiário saxofonista, líder dos projectos IMI Kollektief, Wishful Thinking e de um quarteto “novaiorquino” (três bons discos Clean Feed); González é um brilhante trompetista que desfila a história do jazz, do bop à vanguarda, com notas sempre polvilhadas de lirismo; Sanders um activo baterista da cena britânica, colaborador de Evan Parker, Derek Bailey, Lol Coxhill e Ken Vandermark (entre inúmeros outros). Com estes músicos rotinados nas estratégias de comunicação jazzística a música acaba por fluir para algumas soluções previsíveis, mas nunca deixa de ser rica em ideias, intensa. No entanto, os músicos sabem quebrar esta ideia pré-concebida, fixando universos estáticos, absorventes, longe de tudo o que lhes conhecíamos (atenção à primeira metade da segunda faixa, “Void and Voices”), para depois nos voltar a surpreender com abordagens mais expansivas, assim favorecendo a expressão instrumental individual. Na sua plena diversidade e riqueza de ideias, este será, sem dúvida, um dos melhores registos da história da Creative Sources. Nuno Catarino (Bodyspace)

O “line up” dá ares de equipa allstar: Alípio C Neto (saxofones soprano e tenor), Dennis González (trompete), Ernesto Rodrigues (viola), Guilherme Rodrigues (cello, rádio) e Mark Sanders (bateria). E se os nomes estão em destaque, a música envereda logo ao início por caminhos algo próximos do jazz, de onde vêm os músicos que compõem este quinteto (excepção feita aos Rodrigues): Alípio é um incendiário saxofonista, líder dos projectos IMI Kollektief, Wishful Thinking e de um quarteto “novaiorquino” (três bons discos Clean Feed); González é um brilhante trompetista que desfila a história do jazz, do bop à vanguarda, com notas sempre polvilhadas de lirismo; Sanders um activo baterista da cena britânica, colaborador de Evan Parker, Derek Bailey, Lol Coxhill e Ken Vandermark (entre inúmeros outros). Com estes músicos rotinados nas estratégias de comunicação jazzística a música acaba por fluir para algumas soluções previsíveis, mas nunca deixa de ser rica em ideias, intensa. No entanto, os músicos sabem quebrar esta ideia pré-concebida, fixando universos estáticos, absorventes, longe de tudo o que lhes conhecíamos (atenção à primeira metade da segunda faixa, “Void and Voices”), para depois nos voltar a surpreender com abordagens mais expansivas, assim favorecendo a expressão instrumental individual. Na sua plena diversidade e riqueza de ideias, este será, sem dúvida, um dos melhores registos da história da Creative Sources. Nuno Catarino (Bodyspace)

credits

released June 15, 2008

Alípio C Neto - soprano & tenor saxophones
Dennis González - trumpet
Ernesto Rodrigues - viola
Guilherme Rodrigues - cello, radio
Mark Sanders - drums

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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.
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