The Distant Sound Within cs535

Regarding the quartets involving both Ernesto & Guilherme Rodrigues, of course, with two differentiated guests, one perceives "at least" a trio-style interaction, even when the two Rodrigueses employ styles that seem to be in continuity with one another: Most recently, like RRR, The distant sound within seems to be a relatively straightforward followup album, in this case to Nuc Box Hums (recorded the prior October in Berlin, and discussed here in March 2017), with one ensemble substitution, in this case Adam Pultz Melbye for Adam Goodwin on bass. (And whereas Pultz Melbye hasn't been a regular on Creative Sources, he has already appeared here e.g. with Rotozaza Zero, and most recently on Loud, as discussed this past June.) In both cases, the quartet is completed by Kriton Beyer, previously on daxophone, and more recently on harmonium & objects. The distant sound within, which also involves a series of short tracks (as did Nuc Box Hums, both sets with track titles, perhaps due to Beyer), likewise includes some intriguing textural explorations (such as a kind of composite "raspberry"), as well as reference to interiority, but is also surely the less exciting (& challenging) album of the two. (So it might also be praised for its relative accessibility....) Later in the album, there are some passages showing more "traditional" combinations of strings & harmonium, such that the latter might be taken for organ or accordion... these also tend to involve more continuity & momentum via ostinato, etc. Farther afield, evoking a more romantic stylistic orientation, Ignis Fatuus involves Ernesto & Guilherme Rodrigues with Tristan Honsinger & Klaus Kürvers — to yield another "variant" string quartet, this time with two cellos & bass (& of course viola in the top part): Kürvers has already appeared here, both e.g. on Creative Sources (most recently around Discoveries, discussed here last October, i.e. approximately when Ignis Fatuus was being recorded) & elsewhere (first on Rotations from the double bass quartet Sequoia, mentioned in December 2014). But the more widely known performer is cellist Honsinger, and he seems to bring more traditional, even folksy, priorities or orientations: I had mentioned him briefly with In The Sea last August, but Honsinger first appeared on Creative Sources with Laura, released earlier this year (& likewise recorded last October), a rather "popular" album revolving around ballad forms (& so rather uncharacteristic for Ernesto Rodrigues — although not necessarily for e.g. Axel Dörner). Ignis Fatuus is also rather different, a less austere or minimal album than most frequently appears here from Creative Sources, although it can also involve a heavy dose of classical austerity (& dissonance) at times, usually amid lively counterpoint. (Its lively thematic concerns are thus more akin to e.g. 20th century classical string quartets, including their characteristic incorporation of "other" folk materials... Honsinger's vocal contributions aside.) Perhaps it will attract a different audience, and indeed Honsinger (on whose birthday Ignis Fatuus was recorded) appears to be popular in other niches.... Post-romanticism aside, it's a rather meaty album, particularly (I would think) for someone who isn't familiar with Rodrigues. (Todd McComb's Jazz Thoughts)

Three strings--cello from Guilherme Rodrigues, double bass from Adam Pultz Melbye, and viola from Ernesto Rodrigues--plus harmonium and objects from Kriton Beyer, in a live performance at Kuhlspot Social Club in Berlin, each of the 9 movements a concentrative work named with a three-letter onomatopoeia, as the players draw sound from a mysterious dark distance. (Squidco)