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Tutti

by HumaNoise

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1.
Path 1. Saturday afternoon 16:24
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2.
Path 2. Sunday afternoon 21:17
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3.
Path 3. Sunday evening 16:09
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about

Recorded direct to digital stereo by Harald Christ during HUMANOISE congress# 28 on July 1st, 2nd & 3rd 2016, Kunsthaus Wiesbaden.
Graphic design by Carlos Santos.
Production by Ernesto Rodrigues.

A gathering of international improvising musicians over 3 days in Wiesbaden, playing in every possible combination from early afternoon into the evening, makes for an intensely alive hothouse for spontaneous music. Through the challenges and triumphs of each musicians journey during the festival, the Music took it's own surprising, sometimes bewildering, and often bewitching course, with each musician making and taking space, listening and calling to each other, creating shifting and volatile landscapes, or entering rooms to be explored in great detail.
These tutti's from Humanoise Festival #28 expose a captivating process of human collective musicianship, where the individual musicians lose and find themselves in service to something far greater than the sum of their parts.

REVIEWS

HumaNoise Tutti is an opportunity to hear Rodrigues in a large group that’s not of his own devising—though there is often such complex and varied activity here, it would be misleading to evaluate it in the context of any one individual. The HumaNoise Congress is an annual gathering of international musicians in Wiesbaden, Germany, who over the course of several days play in every combination and as a group à la Derek Bailey’s Company weeks.
HumaNoise Tutti features three long performances of the full decet, which morph from clamorous counterpoint to restive drones to faint whispers and flits of sound. A rundown of the instrumentation gives an idea of the aural diversity: electronics, French horn, accordion, cello, extended saxophone, contrabass clarinet, double bass, viola, percussion, trumpet. There’s a broad range of musical experience and temperament here, though as with much modern free improvisation, close listening and the suppression of individual virtuosity in the service of atmosphere is the rule (although Souchal opens “Sunday Evening” with a lyrical and rather direct turn on trumpet). In the 21st century, we’re starting to see how lessons from the many “factions” of free improvisation that have arisen over the last 50 years might be pooled into a larger musical practice, one that transcends—or at the very least bridges—idiosyncratic philosophies, scenes, and techniques. Dan Sorrells (The Free Jazz Collective)

credits

released January 1, 2016

Korhan Erel – electronics
Elena Margarita Kakaliagou – french horn
Jonas Kocher – accordion
Hannah Marshall – cello
Dirk Marwedel – extended saxophone
Theo Nabicht – contrabass clarinet
Ulrich Phillipp – double bass
Ernesto Rodrigues - viola
Wolfgang Schliemann – drums
Nicolas Souchal – trumpet

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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. ... more

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