A Late Evening in the Future cs601

Rounding out this rather oblique survey of recent (& otherwise) Rodrigues releases, let me also mention A late evening in the future more specifically: It was recorded by a quartet in Berlin (with Rodrigues himself also on zither) in October 2018, and likewise (per Sitsa) projects an affective calming, there focusing more on central figures (rather than counterpoint or generalized spanning): The feel of A late evening in the future thus recalls the similarly string-based Dethick (as discussed here last month) rather closely for me, whereas its sparse focus can recall Golden towers and electric frictions (among many Rodrigues albums) per above. Finally, as also mentioned in a summary last month, larger productions from CreativeFest #12 are appearing, most recently a new String Theory album (of eighteen musicians), Krypton(as another rather singular, surging wave), as well as a new Suspensão nonet, Rayon Blanc — again reaffirming a focus on quiet (& the tension within or between notes, in an ongoing interrogation of musical continuity per above) & even fragility (perhaps akin to that of the latest IKB, there via biological figuration). So although Rodrigues has been producing albums with more presence lately — & a variety of weaponry largely (or at least sometimes) depends upon audibility — he's also reasserting an emphasis on ambivalent articulation, quietness & restraint — i.e. affirming the fragility of so many relations in our world. (And I expect to be discussing some other smaller, perhaps more intimate, releases soon.) Todd McComb's Jazz Thoughts

A subtle album of acoustic interaction recorded at Berlin's Noiseberg from the quartet of Miriam den Boer Salmon on violin, Ernesto Rodrigues on viola & zither, Fredrik Rasten on acoustic guitar, and Guilherme Rodrigues on cello & percussion, sounding almost electronic in their frictional technique and harmonic overtones, ebbing and flowing from active interaction to tranquil discourse. Squidco

A quartet of strings with occasional percussion supplying mostly quiet, sound-based (as opposed to melodic or rhythmic based) improvisations. As is the usual case with releases on Creative Sources, the beautiful recordings bring out the detailed nuances and frequent harmonic ghosts. The brief title track lets us know what we're in for, as massed bowing congeals into a thick block of hiss and sing, growing slightly louder and heavier over its 4 and a half minute running time, with faint beating skirting the edges; succinct. "Being — Or Remaining" features a more pointillistic approach at first, plucks and knocks and very quiet string bounce with high-pitched chords and sporadic strums. Ebbing into near silence and what could possibly be chair creaks, before starting off again with drum-head patter and pizzicato strings building to near full-throated all-in; a bell sounds.

I can imagine that many people nowadays engage in this sort of collective improvising as a thing in itself to do. A way to pass time pleasurably in the company of friends. The playing here is however of a very high caliber, engaged in by folks with heightened listening abilities. The flow of the pieces makes perfect sense, and rewards close attention. Jeph Jerman (The Squid's Ear)

"A Late Evening in the Future" was recorded in October 2018 at Noiseberg studio in Berlin. This time Ernesto and Guilherme are joined by the old collaborator, Fredrik Rasten on acoustic guitar and Mirian den Boer Sálmon. The quartet plays four songs, combining the sound of bowed string instruments with the acoustic guitar. Ernesto additionally plays zither, while Guilherme -- percussion. "Being - Or Remaining?", lasting over 28 minutes, is the highlight, combining as expected free minimal music, with improvise contemporary chamber music. I like also "The Earth Might Be Uninhabited", a piece with an Oriental touch. Maciej Lewenstein