Percolation cs616

Continuing, not yet released on CD (but already on Bandcamp) is Percolation by a new mixed sextet of Ernesto Rodrigues (viola), Yu Lin Humm (cello), Philippe Trovão (tenor saxophone), Pedro Frazão (euphonium), Andre Hencleeday (piano) & Ryoko Imai (bass marimba, percussion): The sort of quietly layered articulation of the single movement recalls Stratus in some ways, but also involves new participation & a generally acoustic setting. (I say "generally," because I do believe that some lowercase mic'ing is at work.) Also, as with e.g. Suspensão, there's a focus on dynamic balance, here with various reduced forces active much of the time — until a full-bore ending that seems almost out of place. Among the other musicians, Hencleeday is the only one I've mentioned here, and he's appeared in several contexts with Rodrigues, but Humm & Imai have also appeared in some larger ensembles (& have fine moments here, e.g. the marimba producing a hum that sounds almost electronic). Of the previously unknown performers, Trovão mostly plays a textural role on tenor, but apropos the previous paragraph, Frazão is quite prominent at times on euphonium: After some initially quiet scuffling & tinkling, he calls out strikingly against the texture, seeming to set the mood.... The ensemble tends to be careful & precise in its interactions in general, injecting a renewed tautness into the style, but I'm also not sure about the balance of the overall sextet, e.g. pairing piano with marimba.... Still, Percolation seems to point to some new ensemble ideas & articulations. Todd McComb (Medieval .org)

"Percolation", recorded in the same place in December 2018, can be considered as continuation/expansion of the Octopus Ensemble to include more brass and reeds. Percolation is a septet, with four members of Octopus Ensemble and three new ones, playing tenor saxophone, euphonium and vibes/percussion. The free minimal music is still there, but there are significant excursions toward contemporary chamber music, and free improvisation. The sound of different instruments are separated more clearly that usual, so one can identify better solo, duo and collective improvisations of tenor or euphonium. For me this is another masterpiece of the Rodrigues family. Maciej Lewenstein