Anthropométrie sans titre|cs263

The IKB Ensemble is named for International Klein Blue, a kind of synthetic ultramarine blue patented in 1961 by French painter Yves Klein, which he used in nearly 200 monochromatic paintings. Klein was attracted to the color because he saw it as largely bereft of associations outside of sky and sea, and thus able to withdraw from the viewer into a kind of immateriality or intangibility. It seems fitting then that the ensemble creating this subtly developing long piece, recorded in Lisbon in February 2014, should take its inspiration from Klein’s color.
Although IKB is a large ensemble—it’s composed of thirteen members playing strings, reeds, brass, percussion, electronics and even voice and accordion—it steps very lightly. Much of its activity is spent exploring timbre outside of pitch—key clicks, bowed muted strings, unvoiced air notes, wordless vocalizations—at low volume. When a clearly sounded tone asserts itself in the mix, as it does on occasion, the effect is almost startling. Even as it builds slowly and almost unperceptibly to a crescendo, the music is meditative in the way that looking at a monochromatic painting can be meditative. Daniel Barbiero (AMN Reviews)

Para o segundo registo do Ensemble IKB Ernesto Rodrigues (desta vez em violino barítono) volta a fazer-se acompanhar por uma grandiosa “big band”. Além de Guilherme Rodrigues, Miguel Mira, Bruno Parrinha, Nuno Torres, Carlos Santos e José Oliveira, que já tinham gravação do primeiro disco, juntam-se outros músicos de primeira linha da cena improvisada nacional. Neste disco tocam ainda: Yaw Tembe (trompete), Gil Gonçalves (tuba), Maria Radich (voz), Armando Pereira (acordeão), António Chaparreiro (guitarra eléctrica) e Rodrigo Pinheiro (piano). A estratégia adoptada para este disco é a mesma do primeiro registo, com os músicos a mostrarem uma incrível concentração, sussurrando ideias sem desfazer o novelo geral, numa impecável união colectiva. Entretanto acaba de sair mais um disco do IKB Ensemble, o seu terceiro, que tem por título Rhinocerus. A improvisação não pára. Nuno Catarino (Bodyspace)

A release from the large ensemble named for Yves Klein Blue, bother recorded in early 2014 with 13-14 musicians including the Rodrigues', Nuno Torres, Carlos Santos and others. One operating ethos of this group is, I take it, to produce a fairly quiet overall sound (an innately enjoyable characteristic of any large configuration); whether the relatively busy level of activity is desired or simply the outcome of the individual predilections of the members, I've no idea. In any case, the result is engaging on both sessions, with a subtle forward-moving sense imparted, helped along by discrete and lovely single note contributions from pianist Rodrigo Pinheiro and, I think, Ernesto Rodrigues on plucked baritone violin. "Rhinocerus" [sic] is more resonant (perhaps due to the space?), deep tones hanging in the air above the jittery, generally soft skittering below. While both recordings are fine, I enjoy the latter a bit more as it has a mysterious air about it, carrying subtle intimations of ritual. Brian Olewnick (Just Outside)

Référence faite à l’International Klein Blue, l’IKB Ensemble devra, pour qu’on lui reconnaisse une identité, lui aussi jouer de nuances. En faisant, par exemple, changer son personnel – qui voudra s’en convaincre pourra passer d’une page Creative Sources à l’autre : Rhinocerus / Anthropométrie sans titre / Rhinocerus, etc. –, mais pas seulement. Certes, les lentes suspensions que décrivait hier Luc Bouquet sont là encore, comme les précautions collectives et les louvoiements individuels. Mais les mouvements fébriles n’interdisent pas les déplacements.  

Si l’on tient compte du croquis reproduit dans le livret d’Anthropométrie sans titre, les musiciens de l’ensemble forment un demi-cercle à la gauche duquel on trouve Carlos Santos puis Maria Radich – dont la voix percera davantage. Ce sont eux, cette fois, qui semblent commander les interventions : celle du piano de Rodrigo Pinheiro, celle de la contrebasse de Miguel Mira… C’est un ballet, en quelque sorte, dont les transports et les bruissements répondent oui à la question suivante : est-il plus évident de céder à la tentation de disparaître lorsqu’on est si nombreux? Guillaume Belhomme (Le Son du Grisli)

Uma das fórmulas a que Ernesto Rodrigues deu mais atenção nos últimos tempos foi a do agrupamento de grande número. A sua VGO (ou Variable Geometry Orchestra) tem estado parada, devido às dificuldades logísticas envolvidas, ou seja, ao problema que é acertar as disponibilidades de tantos músicos, mas no seu lugar surgiu o IKB Ensemble. A premissa é interessante: como é que uma formação deste tamanho pode realizar o princípio de que “menos é mais”, reduzindo cada intervenção ao mínimo? Os resultados estão em três discos saídos quase de seguida, “Anthropometrie sans Titre”, “Rhinocerus” e “Dracaena Draco”. Rui Eduardo Paes (Jazz.pt)