Laura cs502

Num outro registo, o disco “Laura” junta um trio de cordas com um trio de sopros. Do lado das cordas estão, além de Guilherme Rodrigues (violoncelo), Ernesto Rodrigues (viola) e Tristan Honsinger (violoncelo). Já a equipa de sopros junta Axel Dörner (trompete), Mia Dyberg e Pierre Borel (ambos no saxofone alto). Gravado em Berlim, em Outubro de 2017, este disco reúne um total de sete temas. Não se trata de confronto de famílias de instrumentos, o grupo trabalha a partir da soma das ideias individuais, o sexteto vai alimentando uma comunicação fluida, lançando ideias, sem medo do confronto, raramente se fixando numa ideia sonora única, favorecendo a multiplicidade de ideias em simultâneo, em permanente desafio e evolução (atenção à convulsão sónica depois dos vinte minutos do segundo tema, "Zusammen gehen", o mais longo do disco). Mais um volume para a sólida discografia de Guilherme Rodrigues, que continua a crescer a uma velocidade vertiginosa. Nuno Catarino (Bodyspace.net)

An exciting meeting of multi-generational and multi-national, forward-thinking free improvisers performing live at Klub Demboh in Berlin in 2017, from the sextet of Axel Dorner (trumpet), Mia Dyberg (alto saxophone), Pierre Borel (alto saxophone), Ernesto Rodrigues (viola), Tristan Honsinger (cello) and Guilherme Rodrigues (cello). (Squidco)

Sextet improv recordings from a live gig in Berlin in 2017, utilizing two saxophones (Pierre Borel, Mia Dyberg), trumpet (Axel Dörner) and three strings (Tristan Honsinger, Ernesto Rodrigues, Guilherme Rodrigues). One hears plenty of textural rubbing, with a bit of repetition, or a recurrence of idea in places, something you don't hear all that much in improvisation. There's a lot of fairly quick switching from alien sounding extended technique to conventional playing, abetted by quick wits and attentive ears.
The album title Laura makes reference to the 1944 film Laura featuring Gene Tierney, evident from the album cover and from the episodic nature of the pieces. The album as a whole has that kind of cohesion in short bits that conjures up scenes in one's imagination. Some bits sound composed, so of-a-piece is the playing here. There's a general feeling of modern-day chamber music pervading, which is not a bad thing at all.
The titles are all in German, translations of which give a vague picture of the proceedings: "Heat Among All", "Go Together, Laura!", "Where Have You Been?", "The Monster Awakens", "Relieve The Storm"... these give an even larger impression of their cinematic exercise. Jeph Jerman (The Squid’s Ear)