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[...] Of a more radical nature are the improvisations by I Treni Inerti. Two trumpet players (Matt Davis and Ruth Barberán) and an accordion player, Alfredo Costa Monteiro. There is some pretty radical playing going on, both on the trumpet and on the accordion. Tones are produced that are not likely to link back to the original sounds these instruments are known for. Unlike «Assemblage», I Treni Inerti sometimes go way out the extreme, holding tones for some time at quite some volume and sometimes it sinks to the level of inaudibility. Their tension lies in a somewhat different area then «Assemblage»: more in the shock surprise of dynamics. But overall this has turned out into a very nice work as well. Frans de Waard (Vital Weekly)

A pair of trumpets - Matt Davis and Ruth Barberàn - plus Alfredo Costa Monteiro on accordion: this is "I treni inerti", italian translation of "Inert trains" and, of course, a palindrome name for the trio. Here, nothing can be judged for its appearance, for the musicians seem intent to analyze the organic results of their alchemy through (and around) their body more than any kind of tonal/harmonic context: just think that the first "real", long note coming out of your speakers is after about 10 minutes from the CD's start. The whole concept is based on what you'd call the "new silence" current of improvisation: a lot of space, rare moments in which a form or a line seems to take over, only to disappear in the no man's land of forgotten memories. This is a record that can be enjoyed at medium volume, mixing it with your ordinary everyday activities; otherwise, you should seat in front of this creature in utter silence, try to find an impossible definition for it.   Massimo Ricci (Touching Extremes)

The amazing I Treni Inerti «Ura», the result of the recording of the trio of Alfredo Costa Monteiro on accordion (of the unique Cremaster fame), Ruth Barberán on trumpet and Matt Davis on trumpet, this is a recording that since the first time I listened to it not only did it capture me, I’d say blasted me instead… I must admit here that (as some of you might know) that I’m really strange regarding recordings of trumpets, saxes, clarinets, whatever wind instruments in general, perhaps this is the reason why I admire more the “new school” of improvisation compared to the old school, whose greatest part anylonger sounds more free jazzy to me rather than free improv, anyway that’s my point of view, of course as you might there are always people & recordings that can balance both “schools” in such as way or better to say in such a recorded way that someone can mention a recording as a reference record. And this is what I believe for «Ura», it is a recording that can be classified under any “school” you want to, be it the new improv school, the old improv school, I dare to say that can be classified under a “classic” or an “experimental” school, a recording where at the moment that you think that silence reigns over it, its sounds came from nowhere to blast you not with their “loudness” on the contrary w/ their well crafted atmosphere that sometimes sound like a hiss, or others like scratches or whatever, or the bizarre moods created upon listening to Matt (?) playing his trumpet’s keys while Ruth (?) (or vice versa) makes such a lowercase hissing trumpet sound that you find yourself yelling out of pleasure. This is a recording that really is of those cases that I say “I’m in love” with & of those cases where the instruments are used in a way to overcome their own sound and the three of them truly achieve it the outmost way. It’s universe is so unique and amalgamatic that I strongly believe that yourself too upon listening to it will say that this is a “classic” not because of a “classic” like sounding but due to the actual term of the word, as it doesn’t have an “expiry date” on it as many other “products” of nowadays have… allow me then to say A MASTERPIECE!  Nicolas (Absurd)

Dois trompetes e um acordeão são utilizados neste disco que junta o inglês Matt Davis, a catalã Ruth Barberán e o português radicado em Barcelona Alfredo Costa Monteiro. Dificilmente, no entanto, concluímos que se trata efectivamente desses instrumentos, pois os três músicos concentram-se na sonoridade do ar - o ar do sopro nos trompetes antes que qualquer nota seja tocada (o que não impede que, por vezes, toquem, mas apenas por vezes) e o ar dos foles do acordeão, sem que se pressione alguma tecla (no caso de Monteiro, é muito mais raro que ele o faça). E eis aqui mais um exemplo da impossibilidade de identificar uma música minimal (que não minimalista) com estas características como mais um produto da corrente a que se vai chamando de “micro-improvisação”. O propósito de «Ura» não é seduzir o silêncio mas construir um outro mapeamento dos sons instrumentais, enquadrados a nível do detalhe. A atitude é radical, mas absolutamente nada gratuita. Antes pelo contrário, o enfoque destas peças é tal que, se não fosse a intensidade encadeada, poder-se-ia falar de um certo cerebralismo a propósito deste tipo de abordagem. Mas como tudo aqui palpita de vida e sensitividade, utilizar tal palavra não faria sentido, pois os nervos depressa substituem a mente. Rui Eduardo Paes (JL)

[...] There's another connection here; Assumed Possibilities' cellist Mark Wastell and harpist Rhodri Davies frequently collaborate with trumpeter Matt Davis (in Broken Consort, and there's also an Erstwhile release in the pipeline with Phil Durrant), and Davis is one of two trumpeters featured in I Treni Inerti, the other being Ruth Barberán. The third member of the group, Alfredo Costa Monteiro, plays accordion, but if you think a two trumpet / accordion line-up sounds like a recipe for some knees up TexMex, you'd damn well better think again: «Ura», recorded and mixed along the coast in Barcelona in July 2002, is one of the most challenging and austere explorations of extended techniques since Davis' own extraordinary solo outing Mute Correspondences CDR on Confront a while back (now completely unobtainable.. reissues anyone?). The trio's unswerving dedication to charting the nether regions of their instruments' potential as sound sources is such that "normal" trumpet and accordion sounds, on the rare occasions they actually appear (there's a killer moment at 9'43" in "Osso"), sound as otherworldly and alarming as a blast of Merzbow might in the middle of a Mozart slow movement. Of course, strange new sounds for their own sake don't make for good music, a fact that Barberán, Davis and Monteiro are well aware of. Each of the four pieces on offer here is as structurally solid as the metal gantry depicted on the album cover. Ura is certainly not something you'd want to put on the beatbox to accompany your barbecue, but there's certainly just as much meat to get your teeth into here. Strongly recommended.  Dan Warburton (Paris Transatlantic)

Diventa sempre più difficile continuare a descrivere certe esperienze improvvisative di tipo radicale che poco concedono ad ogni tipo di compromesso, ma che, al contrario, sembrano voler mantenersi fedeli ad una linea di totale ricerca timbrica, più che fondare le basi di un nuovo linguaggio. L'etichetta portoghese Creative Sources sembra voler continuare a percorrere questa strada senza (per ora) il benché minimo ripensamento. Il trio I treni inerti, ovvero un duo di trombettisti, Matt Davis e Ruth Berberán, che si accompagnano al fisarmonicista Alfredo Costa Monteiro, si tiene ben distante dall'immagine sonora che strumenti come questi potrebbero evocare. Si tratta, in poche parole, del consueto omaggio all'approccio più materico e informale (ma soprattutto freddo) che ormai attraversa la quasi totalità delle esperienze improvvisative mondiali. Un rimpianto lo lascia senz'altro l'idea che tra le esperienze passate, la "linea" che si è imposta è proprio quella anglo-tedesca, a scapito di quella olandese, più vivace, ma soprattutto più umana. Michele Coralli (Altremusiche)

It seems that the merits of what has been dubbed the “reductionist”, “lowercase”, “non-idiomatic” or even “quiet” current in early 2000s free improvisation will be debated over for a while, but what we can agree on is that its activists have fostered a newborn research in soundmaking with acoustic instruments that led to a redefinition of an instrument’s palette. Often the resulting sounds bears little to no resemblance with anything conceived as “traditional music” related to that instrument. Detractors often point out that since instrumentalists end up with a sonic substrate that is similar to and mistakable with all other acoustic instruments, why bother. But «Ura» is filled with strange, audacious and utterly puzzling sounds arranged in a way that lets them resound side by side and lets you weight and compare them to your ears’ database. I Treni Inerti is an Italian palindrome (a word that reads the same from beginning to end and end to beginning) meaning "The Inert Trains". One can hardly think of a better name for this group. The image of a static machine fits the picture painted by the two trumpets of Matt Davis and Ruth Barberán, and the accordion of Alfredo Costa Monteiro. The trumpet has been at the core of the reductionist movement, thanks to Franz Hauzinger and Axel Dörner (and horns in general played a key role in the development of this new language) so by now we are accustomed to the sound of clickety keys and breath in brass, but how to approach it from the accordion’s perspective was (and remains!) a mystery. Except for a short passage in “Ara” where a single note is stuttered, no sound can be associated to the instrument. What is Monteiro doing? Is it him scratching the metal grid? Playing the keys with the bellows completely closed? Tapping and rubbing the body of the instrument with his fingers? Listening to «Ura» is not guaranteed to answer any questions. In fact, more pop up every time. François Couture (AMG)

I Treni Inerti è l’ultimo gruppo entrato nell’orbita dell’ottima Creative Sources, etichetta portoghese creata da Ernesto Rodrigues; sono in tre e rispondono al nome di Matt Davis (trumpet), Ruth Barberán (trumpet) e Alfredo Costa Monteiro (accordion). La loro è una musica improvvisata e concreta, dura e ruvida che si spinge indietro nel tempo fino a ridursi a suono primitivo, al tempo stesso arrivo e nuovo punto di partenza. Una circolarità, quella della loro musica, suggerita anche dalle parole palindrome usate per i titoli. E’ un suono che abbiamo imparato a conoscere grazie ai lavori dei due Nmperign, Rhaney e Kelly; al pari della loro, le sonorità di «Ura» sono un rincorrersi di note sottili e sbuffanti, di brusii microtonali e di sospiri rauchi, di lunghi silenzi e urla strozzate in gola. Le istanze jazz sono annullate; quando si cerca (o forse ci arrivano per sbaglio) un approdo alla melodicità, il massimo che possono fare è liberare dalle loro trombe un suono simile a quello delle sirene di una nave o spingere l’accordion nel tentativo di suonare arie folk trasfigurate e ormai dimenticate dal tempo. Un disco ostico ma anche affascinante e coinvolgente, consigliatissimo a chi ha già frequentato questi territori ma, una volta tanto, anche ai neofiti (da qualche parte dovranno pur iniziare). Alfredo Rastelli (Kathodik)

Oh no, you’re saying, not another trumpet/trumpet/accordion improvising trio! Well, yes, and the results are quite positive. Not unexpectedly, Matt Davis and Ruth Barberán (trumpets) and Alfredo Costa Monteiro (accordion) don’t often produce sounds normally associated with their respective instruments but they do fashion a knotty, consistently absorbing soundscape full of clattering keys, breath tones, buzzes and clicks and devote enough attention to contrasting slivers of noise to make this a very rewarding outing. In fact, it’s regrettable to even feel obliged to announce this or that relatively unique instrumental grouping as it becomes increasingly beside the point as this area of music progresses. Yes, you’ll hear certain sounds, combinations of timbres, potential attacks that are new and or innovative, but with the plethora of musicians, wielding every conceivable instrument or variation thereof, does it really matter? It still comes back to the concept and/or inherent musicality of the persons involved and that’s where, happily, the joy and excitement is to be found herein. Barberán (I believe from Barcelona) and Monteiro from Portugal are fine examples of the recent upsurge in activity from that neck of the woods and each display finely attuned and wide-ranging sensitivity, the latter feeling free to occasionally introduce recognizably accordion-esque notes when they serve a purpose but also proving proficient in the art of strangled wheezes and the percussive capabilities of his squeezebox. It’s finally about creating a convincing aural space, something that sounds entirely natural and unforced, as though the listener had entered a room where such noises and notes were an organic outgrowth of the environment. I Treni Inerti (“Motionless Trains”, if I’m freely translating from the Italian properly) accomplish this with grace and imagination. Brian (Bagatellen)

[...] Un autre label portugais, Creative Sources, développe une esthétique proche de celle de Sirr, mais dans le domaine acoustique. L’album «Ura» de I Treni Inerti a été réalisé grâce à trois instruments (deux trompettes et un accordéon) dont les expressions les plus minimalistes ont été solicitées. Il n’est pas question de les entendre sur leurs territoires habituels. Ce sont des bribes de souffles qui servent de départ aux phrases qui s’émancipent sur des circonvolutions, des silences comme les respirations du bois qui craque, des stratifications et des encoches dans le tissu. Denis Bayer (Fear Drop)

«Ura» por su parte presenta el trabajo de un trío internacional afincado en Barcelona. Miembros y cabezas visibles del IBA ?Improvisadores de Barcelona Asociados-, I Treni Inerti se ciñen algo mas a la libreimprovisacion mas ambient en la onda de la escuela berlinesa. Un acordeonista portugués, Alfredo Costa Montero (colaborador de Superelvis, miembro de Cactus o de los electrolocos Cremaster y con varios discos a solo en su haber) lo suficientemente heterodoxo como para tocar con, sobre, bajo, tras… pero no exactamente el acordeón; y dos sopladores que lo hacen a través de una trompeta, la "local" Ruth Barberán (diversos proyectos en el entorno IBA) y el británico Matt Davis (London Improviser Orchestra, por ejemplo y con disco a solo grabado en Barcelona). Así pues pocos sonidos claramente reconocibles como procedentes del instrumento nominal. Pese a que solo han hecho en nuestro país algunas actuaciones Barcelona y Madrid (la colaboración de IBA y Musicalibre) teniendo en cuenta que han actuado en prestigiosos foros al otro lado de los Pirineos (Instant Chavirees por ejemplo) y que editan en un sello portugués ¿no deberíamos de hablar de un grupo de proyección internacional. Hagámoslo como de una grupo comprometido con una propuesta seria.
Parafraseando a un maestro en esto de la música y la libreimprovisación "ningún sonido es inocente".
Jesus Moreno (Toma Jazz)

Two trumpets and an accordion recorded in Barcelona last year. We’re touching here the borders of few genres, from Improvised to exprimental and composed contemporary music. If this music has an obscure side it also stands as a question to me. First of all because here each instrument is played in a rather extended, stretched way but also because it’s hard to underline the exact path of it. It is indeed surprising, never falling where you could expect it to. Just as an example, it’s often played very quietly but still it remains very powerful and dense or it seems improvised but at the same time sounds very organised. It’s in many ways poetic but not exactly extatic. Should I go on like that trying to explain it or simply leave it happen in my ears? The instruments are reaching certain limits, it starts to crackle or sounds like ready to break, then silence comes again, deep breathing, pauses, restart, etc ... it’s maybe just a crossroad or a state of the artists here involved. I can’t tell and the more I listen to this trio, the more I want to leave away any form of understanding. It works, it exists, very simply, it’s here played. Noël Akchoté (Skug)

British trumpeter Matt Davis has been less visible in recent years than Germany’s Axel Dörner and America’s Greg Kelley, but his contribution to the world of extended trumpet technique is just as deserving of attention, even if his solo CD-R «Mute Correspondences» (Confront) is long out of print. In a letter to The Wire 233, Davis provided some valuable insights into his aesthetic stance, particularly his attitude to expressivity, and «Ura» gives listeners the chance to hear them in practice. The trio I Treni Inerti finds him in the company of second trumpeter Ruth Barberán and accordionist Alfredo Costa Monteiro, both based in Barcelona. Monteiro also deploys his prepared guitar work with Ferran Fages in Cremaster. A certain rough grain to Ura’s sound belies a strong affinity with the electronic medium. As Davis writes in a rather austere manifesto, the music of I Treni Inerti exists in “continuous movement between audible and imperceptible, intimate and shared, silence and presence, stillness and change ? as the palindrome the trio has chosen as its name suggests”. Their painstaking exploration of every potential use of their instruments as sound sources is such that “normal” trumpet and accordion sounds, on the rare occasions they actually appear, come over positively surrealistic. Silence plays a fundamental structural role throughout, a concern for sustained sonority and a density of texture clearly differentiates the resulting music from the “oops you missed it” school of Japanese lowercase Improv. As architecturally rigorous as the metal gantry on the album cover, the music is fragile and delicate without being intimate. Dan Warburton (The Wire)

URA's members -- two trumpeters and an accordionist -- are firmly in the reductionist universe. During the course of the trio's four improvisations many would be hard pressed to hear any of the instruments' distinctive timbres. Referencing so-called classical and electronic music as well as improv, texture, space and silence is more significant than melody, tone or narrative exposition.
One trumpeter, London-based Matt Davis, is British and someone who works in similar silence-supporting groups like Broken Consort with prepared harpist Rhodri Davies. The other, Ruth Barberán, is Catalan, and a member of the IBA, an independent collective committed to the improvisation arts. Accordionist Alfredo Costa Monteiro was born in Portugal but has lived in Barcelona since 1992. A visual artist as well as a tabletop guitarist, he also has a duo with Spanish feedback mixing board stylist Ferran Fages. There are times, in fact that the extended buzzing tones and elongated silences on I TRENTI INERTI sound as if they could be created from electronics.

Most instructive is the sound on "Aérea", at slightly more than 19 minutes the CD's longest track. As a steady, percussive rhythm develops, perhaps advanced by striking the accordion's valves, the two trumpeters create a uniform commodious tone, as if they're blowing through their bells without touching the valves. While the output varies from nearly translucent oxygen clouds to understated snarls, what could be a drum stick blow is heard, once then twice. Could Monteiro be attacking his instrument or is he using a nutcracker in an inventive way?

Soon it appears as if one trumpeter is emphasizing a single tone, rolling spittle through the bell, while the other produces cheeping shrills as if he (she?) has unscrewed the mouthpiece and is sounding it alone. After one scrapes along the horn's metallic body, a mechanized, higher-pitched drone stops and starts. Bisected by the brassfolks' breathes and rumbles, the sound finally reconstitutes itself as a squeeze box, dissolves into silence, then gets so loud it takes on air raid siren dimensions. Following this lead the trumpet tones turn grainier as well, allowing the listener to actually hear the sounds of pure air. Miniscule squeals arise from one trumpet, percussive rat tat tats from the other, along with what could be items placed and pulled along the accordion's metal reeds.

"Osso" includes reed sounds that more properly could be attributed to a woodwind, while tongue flutters, tongue slaps, bee-buzzing timbres and the perforation of air currents against brass finish arise from the trumpeters. Eventually scrapes get louder and more expansive before disappearing.

Continuing in this showcase of stops, starts and nearly inaudible silences, among the squeezed and air fluttering on "Level" are rattles and a definite hiccup -- origin unknown. An extended whistle tears through the proceedings along with what could be the drone of a mosquito in a tube. What could be the shaking of dice upon the accordion keys contributes, while a trumpeter seems to expend more time scraping and manipulating the horn's finish then expelling air through the bell. A close parallel to this would be to consider the microtonal explorations of trumpeters like American Greg Kelly and German Axel Dörner and multiply them by two.
Ken Waxman (Jazz Weekly)

A través del sello portugués Creative Sources se edita este mismo año «Ura», el primer disco oficial de I Treni Inerti: Ruth Barberán (Barcelona) y Matt Davis (Londres), en las trompetas, y Alfredo Costa Monteiro (Oporto) al acordeón. 
El trío tiene una forma especial de afrontar la tímbrica a base de microtonos, consustancial a una importante cantidad de ingredientes que pueden considerarse cercanos en la investigación sonora, en el caso de I Treni Inerti, con una tendencia radical y, sin duda, muy arriesgada en la práctica musical, que requiere de elevadas proporciones en compenetración, intuición, escucha, concentración,... donde el silencio juega un papel pactado y esencial. Un trío que trabaja mucho con ambientes y sonidos encontrados, principalmente, en el soplo de aire a través del metal, el propio silbido de boquillas, en la manipulación y utilización de objetos y soportes, que se transforman en eventuales sordinas; la campana introducida en agua...; en el singular uso del fuelle de un viejo acordeón, que reposa sobre las rodillas, donde se concentran y acumulan armónicos que acaparan el espacio sonoro cuando el instrumento se despierta, chirriantes sonidos y efectos sonoros provocados con el arco u otros objetos, pequeños objetos probados y reprobados por la ortodoxia. 

«Ura» es un trabajo al que, por el oído, se llega a imágenes y conclusiones diversas gracias, precisamente, a una definición formal de música y lenguaje sonoro abiertos, abstractos, de amplios y significativos silencios inmersos en restricciones sonoras avocadas a propiciar iniciativas derivadas de sonidos improvisados de última hornada. 
Chema Chacón (Oro Molido)

Zapewne nie o to chodzilo muzykom, gdy postanowili nazwe swej formacji zaczerpnac z jezyka wloskiego, ale posluzenie sie wlasnie tym jezykiem sprawilo, ze mnie nagrania zawarte na "Ura" przywodza na mysl opowiadania Dino Buzzatiego oraz obrazy Giorgio de Chirico. Tak jak i one, muzyka tria Barberán, Davis, Monteiro jest niezwykle precyzyjna, z jednej strony ascetyczna, a z drugiej nadzwyczaj obrazowa. Tajemnicza i w pewien sposób niedopowiedziana rozciagnieta jest pomiedzy cisza a halasem. Pelna sprzecznosci, bo wypelniona napieciem i niepokojem jest równoczesnie wyciszona i stonowana, jest jednoczesnie statyczna i urozmaicona, calkowicie improwizowana, a zarazem niezwykle przemyslnie ukierunkowana, wrecz skomponowana. Kontrasty jednak nie tylko jej nie oslabiaja, lecz przeciwnie, wrecz wzmacniaja sprawiajac, ze staje sie wielowymiarowa i kompletna.
Muzyka tria wiele zawdziecza redukcjonizmowi - tej wyciszonej, wrecz introwertycznej, odmianie swobodnej improwizacji. Muzycy nie tylko nadzwyczaj kompetentnie posluguja sie nietypowymi - przede wszystkim tymi, których owocem jest dzwiek ledwie o ton glosniejszy od oddechu - sposobami artykulacji i umiejetnie nasycaja muzyke efektami sonorystycznymi osiagajac swoisty minimalizm formy przy jednoczesnym zachowaniu odpowiedniej "gestosci" brzmienia, lecz takze udanie wykorzystuja cisze jako pelnoprawny srodek wyrazu. Teoretycznie cale instrumentarium jest akustyczne -Alfredo Costa Monteiro uzywa akordeonu, zas Ruth Barberán i Matt Davis trabek - jednak dosc drastyczne i konsekwentne poszerzenie palety wydobywanych z nich dzwieków powoduje, ze uzyskiwane brzmienia z jednej strony czesto budza skojarzenia z tymi, które pochodzic moga z instrumentów elektrycznych, z drugiej zas z odglosami otaczajacego swiata. Plyty tej nie mozna jednak jednoznacznie przypisac konkretnemu nurtowi freeimprovu, poniewaz oto obok ciszy, pojawiaja sie fragmenty glosne, nawet wrecz bolesne w swej - nalezy to jednak przyznac, dosc krótkotrwalej - intensywnosci. To najczesciej wlasnie wówczas Barberán i Davis powracaja do naturalnych dzwieków swoich instrumentów. Szorstkie brzmienie trabek sprawia, ze w tych momentach muzyka osiaga surowe, chlodne, wrecz nieco klaustrofobiczne, piekno, w pozostalych jest bardziej onirycznie, ale równie urokliwie. Znakomita plyta na nieuchronnie zblizajace sie dlugie deszczowe wieczory i noce. Tadeusz Kosiek (http://www.diapazon.pl/)

Az igaz·n ˆtletes elnevezÈs¾ I Treni Inerti egy h·romszemÈlyes projektet jelˆl, melynek tagjai a barcelonai Ruth Barber·n (trombita), a londoni Matt Davis (trombita) Ès az oportoi Alfredo Costa Monteiro (tangÛharmonika). A triÛform·ciÛ neve olaszul "mozdulatlan vonatokat" jelent, Ès keresve sem tal·lhatott volna mag·nak tal·lÛbb nevet ez az eddig alkalminak gondolt t·rsul·s, hiszen az Ura a statikuss·g tˆkÈletes megzenÈsÌtÈse. Nem t²lz·s azt ·llÌtani, hogy az I Treni Inerti felvÈteleinek a csend a legf¦bb szervez¦eleme, hiszen itt minden a folyton-folyv·st felbukkanÛ ¸ressÈg kˆrÈ szervez¦dik; gondoljuk e csendeket ak·r tÈtova megtorpan·soknak vagy ak·r olcsÛ hat·ssz¸neteknek, tÈny hogy a legszebb dolgok, a hangok elhal·sai Ès ²jj·sz¸letÈsei mindig az effektÌve hallhatatlan pontok kˆr¸l tˆrtÈnnek.
Az 56 perces lemezen helyet foglalÛ nÈgy improviz·ciÛt 2002 j²lius·ban rˆgzÌtettÈk a barcelonai Estudi 84 st²diÛban. A rˆgtˆnzÈsek felÈpÌtÈse egy·ltal·n nem szokv·nyos, nÈmi t²lz·ssal ak·r struktur·lis ²jÌt·srÛl is beszÈlhet¸nk: a nÈgy felvÈtel mindegyikÈt valÛban rendkÌv¸li mennyisÈg¾ csend Ès ¸ressÈg tagolja, mely hanghal·lok ut·n minden esetben kezdetben tÈtov·nak t¾n¦, majd egyre lend¸letesebb, intenzÌvebb ²jraindul·sok kˆvetkeznek, de csak azÈrt, hogy azt·n a hosszasan kitartott hangok ²jra Ès ²jra a hallhatatlans·gba s¸llyedjenek. Tal·n logik·tlannak, de legf¦kÈpp unalmasnak t¾nhet ez a nagylemeznyi hossz²s·g² ²jra Ès ²jraindul·s, de az Ur·t mÈgis ez a folyamatos t·volod·s teszi igaz·n megkapov·, hiszen az album egÈszÈt m·s sem teszi ki, mint a zenei hangok f·jdalmas lass²s·ggal valÛ szertefoszl·sa. A trombit·kkal el¦·llÌtott szuszogÛs-susogÛs hangok m·r jÛl ismertek (Axel Dˆrner, Franz Hautzinger, Greg Kelley stb.), az igazi kuriÛzum itt a k¸lˆnbˆz¦ prepar·tumokkal mÛdosÌtott tangÛharmonika segÌtsÈgÈvel lÈtrehozott puha neszek, vagy Èppen karcos zˆrejek, amik az album legÈrdekesebb hangjait adj·k. A lemez sor·n fel-felbukkanÛ kerepl¦, surrogÛ zajok is valÛszÌn¾leg a tangÛharmonik·bÛl sz·rmaznak, csak ²gy mint az ¸t¦sˆkre emlÈkeztet¦ fÈmes csikorg·sok, nyikorg·sok. De az ak·r hagyom·nyosnak is titul·lhatÛ f²jtat·sok Ès fals sÌpol·sok mellett sz·mtalan olyan nem-konvencion·lis hangz·s bukkan mÈg el¦ Monteiro harmonik·j·bÛl, amiket a legkevÈsbÈ sem v·rn·nk ett¦l a hangszert¦l.
LÈnyeges, hogy az Ura lemez sz¾k egy Ûr·j·t kiz·rÛlag kell¦ odakoncentr·l·ssal, "neki¸lve" Èrdemes vÈgighallgatni, hiszen viszonylagos halks·ga miatt h·ttÈrzenekÈnt - mint ahogyan a hasonlÛ stÌlusban sz¸let¦ munk·k t²lnyomÛ tˆbbsÈge - a legkevÈsbÈ sem funkcion·l!
’szintÈn, kedvelem Ès becs¸lˆm azokat a szerz¦ket Ès hangszereseket, akik megalkuv·sok nÈlk¸l viszik vÈgig ˆntˆrvÈny¾ Ès felettÈbb saj·ts·gos zenei elkÈpzelÈseiket, Ìgy az I Treni Inerti triÛ igaz·n szimpatikus, ·m egyben kÈtsÈgtelen¸l magamutogatÛ attrakciÛi, radik·lis improviz·ciÛi is m·r a legels¦ pillanattÛl kezdve leny¾gˆztek; Ès ÈrzÈseim szerint kiz·rt dolog, hogy ez csak egyetlen ember szubjektÌv vÈlemÈnye lenne... Dusted Hoffman (Improv.hu)