Münster cs875

My somewhat belated review of Mistika jpeg oscillations from last month does then suggest a comparison already with the new Münster (recorded in that city, also last month) from Ernesto Rodrigues & Guilherme Rodrigues, now joined by Erhard Hirt on electric guitar & electronics. Hirt continues to be known from a prior era, specifically with the quartet Xpact, the reboot of which (basically fire music, particularly from the sax...) hasn't actually struck me much. But his newer collaborations are bringing a sophisticated (tactile...) sense of electronics into different musical-textural orientations, as with Münster — which begins in plaintive mode, twittering through mysterious gossamer relations.... First here from Hirt though was Especially For You (reviewed September 2023), from Bead Records & originally conceived as an Xpact II session (but ending up more ephemeral...), then Trails (from Creative Sources, recorded April 2024), another quartet (also without horns, reviewed here July 2024) — and then, also earlier this year, Hirt released the trio albums Shifting Types of Amazement (from FMR, recorded June 2024, with Udo Schindler as one of two clarinets) & e.g. Extended Guitar Trio (recorded October 2024 with Hans Tammen & Nick Didkovsky, out on Handaxe...). Münster with the Rodrigueses is even more recent, and of course continues their own series of trios with distinguished musicians (e.g. guitarist Olaf Rupp & RRR, first noted here August 2018...), including seemingly taking up some concerns from the earlier quartet (also with electric guitar & electronics...): Mistika jpeg oscillations has much more bass, but both involve senses of both alien landscape & transportation, or perhaps even of alien transportation. (And senses of motion are also senses of musical momentum?) I'd already noted a "train tracks" vibe for the earlier album, but then a listening companion spontaneously described some middle sections on Münster as recalling sounds of "racing pods" from the first Star Wars prequel.... There's indeed also a naturalistic sense to Münster too, so typical of Ernesto Rodrigues, sometimes more mechanical here (e.g. hocketing or percussive, e.g. in a sort of third movement scherzo...), but coming to involve smoother sections as well (plus e.g. broad glissandi). Electronics can be quite active, but not necessarily loud, meaning they require attention to bring out other facets (not unlike the often quiet Carlos Santos from many Rodrigues releases...), and in general it's the richness of the sonic relations (over a relatively short length) that forges a detailed & distinctive musical tapestry. So I'm not sure how or where bizarre or even extraterrestrial ecosystems fit, but (after some ominous moments early...) Münster does end up seeming like a figuration of human redemption. Todd McComb's Jazz Thoughts