Quelque chose prie la patience des nuages cs734

 

 

 

 

 

 

 

 

And that sense of tension is then reformed & refigured, extended by a quintet context on Quelque chose prie la patience des nuages (recorded at the beach in Colares, the next day), i.e. by adding Luisa Gonçalves (piano) & CS mainstay Carlos Santos (electronics) to the prior trio: Although I hadn't noted it here, Gonçalves already appeared with Rodrigues (& Santos) on Melt (& I'd actually reviewed another quartet album by that name, that from "Hearth" appearing first on Clean Feed, April 2021), taking up what seems to be a recent theme, but also adding a sort of icey quality through crisp piano. (Also from mid-2021, Rodrigues evokes a similar sort of post-Cage idiom in Flat Music — also including Parrinha in its quartet with piano & percussion, as it happens. Stark & smooth are two other apt adjectives for this album that seems to seek radicality in a sort of post-Wandelweiser mode....) Quelque chose prie la patience des nuages projects less of a twisting thicket than an airy backdrop, however — perhaps recalling e.g. Stratus, including via the latter's sometimes wispy, sometimes brighter colors... — and suggests a sort of windswept landscape (cloudscape?) at times. It's also the longest of these albums, in two weighty (weightless?) tracks, its quasi-tonality & temperament (although softened by understated electronic manipulation...) imposing a more extended canvas... often distended, sparse & eerie (process-like?), but sometimes more active (or even searing via high clashes). The piano & electronics might almost be said to present a broad, contoured canvas for the clarinet & strings trio, but there's also a sense that the trio is accompanying Gonçalves at times (or elaborating the latter, i.e. into smaller spaces...). And beyond the clouds evocation per se, Stratus does remain a significant prefiguration here — & is actually another album on which Parrinha had appeared. (These releases might also be characterized as drawing upon themes & techniques of spectral music, albeit in improvising contexts....) Indeed, he'd also appeared already with Rodrigues on the quartet album Backlighting (first mentioned here in August 2018), where this sort of delicate, translucent blend of timbres was first put at the center of an interaction (or at least in this way...). A sense of cloud, moonlight, and shading in sometimes-muted colors thus comes to figure an ongoing musical strand in this space.... Todd McComb's Jazz Thoughts