Rodrigo Amado

Motion Trio
European Echoes 004

Amado/Kessler/Nilssen-Love

The Abstract Truth

European Echoes 003

Turning a cliché on its head, it’s evident with these CDs that familiarity breeds creativity. For while Portuguese saxophonist Rodrigo Amado’s session with American bassist Kent Kessler and Norwegian drummer Paal Nilssen-Love is only good, his Motion Trio disc with two fellow Lisbon musicians is exceptional.

A photographer as well as an improviser, Amado has been committed to advanced music for years, as a member of the Lisbon Improvisation Players and collaborating with American jazzers such as bassist Ken Filiano and cellist Tomas Ulrich; he even recorded an earlier trio session with Kessler and Nilssen-Love.

However it appears as if his concept of real-time composition works best with cello, considering the technical versatility local experimental polymath Miguel Mira brings to the date. American-Portuguese drummer Gabriel Ferrandini is only in his early twenties, but having played in noise as well as electro-acoustic bands and ad hoc with the likes of American corniest Rob Mazurek and German saxophonist Alfred “23” Harth, he mates rhythmically minimal texture with intensity of the Energizer Bunny when he plays.

Sticking to tenor saxophone on Motion Trio – he also plays baritone on Abstract Truth – Amado still squeals and squeaks with glossolalia and multiphonics, snakes upwards to altissimo pitches and slides downwards to mid-range just as quickly. Discursive and quirky, his lines sometimes resemble the streets twisting upwards from many port cities: squares and passages that narrowly avoid dead ends.

Throughout six long tracks Mira’s multi-string cornucopia of techniques and patterns complements the reed textures. With circular motions, the cellist often pushes his string spiccato still further, not only subdividing his output with shuffles and woody stops, also exposing partials, and ricocheting between sharp slippery slices and sul ponticello chording. He doesn’t neglect walking at points either.

A tune such as “Radical Leaves” makes it obvious when Ferrandini lays out. But this is necessary most of the time. Anti-bombastic, the drummer’s usual ratcheting beats are made up of pauses and rumbles as much as smacks, ruffs and rebounds. With a heritage that encompasses Brazil and Italy as well as Portugal and the U.S., the percussionist’s sly shakes and rattles suggest native South American as well as Iberian rhythms. Somehow also this classic trio formation brings out Sonny Rollins echoes, at least in Amado’s use of note pecking and the swift injections of melody snatches. Tonguing a hard reed, he honks, spits and splinters lines into fuzzy multiphonics.

Together the three reach a climax with the final “In All Languages”, the title of which appropriately reflects the band members’ backgrounds. Constantly chromatic and contrapuntally layered, each musician’s part cumulates in a dense and viscous crescendo, which while nearly opaque allows the colors of each instrument to shine through.

Similar cooperation is evident o the other CD – recorded almost exactly a year earlier – with Amado’s Rollins admiration also evident, but spread between two horns. Kessler, close playing partner of Chicago saxophonist Ken Vandermark in the reedist’s numerous groups, constantly steadies the instant compositions by walking and time keeping. One of the world’s busiest drummers, whose adaptability is such that he can back up such widely disparate saxophonist stylists as Peter Brötzmann and John Butcher without fissure, Nilssen-Love is additionally more upfront in his playing than Ferrandini is in his. Nevertheless the Norwegian is subtle as well. Here he backs up the saxophonist’s irregular altissimo jumps, repeated tone clusters and intensity vibrato with mid-range cymbal claps, rim shot snaps and snare undulations. Not only that, but while at points Nilssen-Love’s strokes can also sometimes be as thick as telephone poles and vibrate with a military-style gait, his shuffle beats are sensitive enough to mix it up with Amado’s and flat-line note substitution and coloration.

Examples of how the trio operates at top form appear on “Universe Unmasked” and “A Dream Transformed”. The former features snoring baritone buzzes from Amado as he expels broken-octave quacks and hiccupping runs – matched by burbling ruffs and rim shots from the drummer and muscular pumps from the bassist. The later features the saxophonist taking a mid-range and moderato tune and using it as a Trane-like depiction of every tone, color and pattern he can muster from the tenor, masticating and tonguing higher-and-lower theme variants. Adding the occasional altissimo bark, Amado’s microscopic investigation is aided by the drummer’s rim shots and Kessler’s string creaks.

The abstract truth about the Amado/Kessler/Nilssen-Love meeting is that it faithfully captures another meeting among first-class improvisers from different countries. But the interaction among Lisbon hommies makes The Motion Trio an even more memorable CD.

-- Ken Waxman

Track Listing: Abstract: 1. Intro/The Red Tower 2. Clouds and Shadows 3. Human Condition 4. The Kiss 5. Universe Unmasked 6. A Dream Transformed 7. The Enchanted Room 8. Enigma of the Arrival

Personnel: Abstract: Rodrigo Amado (tenor and baritone saxophones); Kent Kessler (bass) and Paal Nilssen-Love (drums)

Track Listing: Motion: 1. Language Call 2. Testify! 3. Radical Leaves 4. As we move … 5. Ballad 6. In All Languages

Personnel: Motion: Rodrigo Amado (tenor saxophone); Miguel Mira (cello) and Gabriel Ferrandini (drums)

March 18, 2010

Amado/Zíngaro/Ulrich/Filiano

Surface
European Echoes 002

Photographer as well as saxophonist, Lisbon-based Rodrigo Amado frames this CD as a salute to the work of one lensman he admires: Stephen Shore known for his deadpan depiction of banal American scenes and object. Decorating the booklet with four of his own photos of New York, Amado combines with three string players for a restrained interface which is much more low-key than anything you’d find in Manhattan.

Perhaps reflects the incongruity of recording 13 free improvisations in Portugal’s capital that try to create a sound picture of everyday New York, the participants are split between New York and Lisbon residents. Besides Amado who plays alto and baritone saxophone, the other Portuguese is viola and violinist Carlos Zíngaro. The two Americans are cellist Tomas Ulrich and bassist Ken Filiano.

The saxophonist has recorded with Zíngaro and Filiano in the Lisbon Improvisation Players (LIP). Yet the presence of Ulrich’s cello and the absence of drums and another horn – which in the LIP has included such certified New York downtowners as trombonist Steve Swell and drummer Lou Grassi – means that there’s a tendency toward romantic prettiness in the performance which is in variance with the unvarnished images of both photographers. Luckily Ulrich and Zíngaro especially use extended techniques, both pizzicato and arco, to bring unexpected strength to unison harmonies, as well as playing pointed solos. As powerful an anchor here as he has been for players ranging from multi-reedist Vinny Golia to trumpeter Dennis González, Filiano’s solidly rhythmic walking mostly negates the need for a percussionist.

To this end the string work, while sometimes gently vibrated and aiming for bel canto is heard more-often-than-not staccato and in double or triple counterpoint with the other strings, rather than evolving in harmonic unison. Squirming sul tasto tones saw back and forth from the lower-pitched strings, which often roll, rumble and scratch to mix it up with mellow tongue flutters from the baritone saxophone. Elsewhere Zíngaro’s spiky, squeaking coloration evolves mano à mano with Amado’s strident alto saxophone vibrations. In essence the reedist calls on different models for each of his horns. His mid-range growls and snorty, but very tonal intermezzos, suggest Gerry Mulligan. Meanwhile his disorderly trills and tongue flutters seem to relate to early Ornette Coleman or Jackie McLean of the mid-1960s, when McLean was enamored with Coleman’s style of the time.

What this ultimately means for the performances is that between the saxophonist’s split tones and side-slipping plus the spiccato and sliding multiphonics created by the strings, enough connective coloration is exposed to keep any of the pieces from dragging. A consistent level of fortissimo runs and abrasive counterpoint among the foursome also introduces unexpected passages of eventually connective fissures.

The main drawback with the CD however, is that even the lengthiest track seem slightly unfinished. It’s as if the four finally turned to fortissimo cadenzas, creaking cross textures or concurrent thumping and pumping actions to liven up an inconclusive finale.

Taking the CD title literally, Surface doesn’t define the level of improvisations on the disc. Much of it is notable and interesting. But in order to attain with this group the same level of excitement and commitment each of the four has achieved individually or with different aggregations, digging much deeper into the improvisational conception would be necessary.

-- Ken Waxman

Track List: 1. Uncommon Places 2. Natural Bridge 3. The City 4. Luzzara 5. Calculators 6. Room 28 Surface Suite: 7. Eat 8. Talk 9. Look 10. Sleep 11. Walk 12. Trail’s End 13. Art is Truth

Personnel: Rodrigo Amado (alto and baritone saxophones); Carlos Zíngaro (violin and viola); Tomas Ulrich (cello) and Ken Filiano (bass)

February 7, 2008

LISBON IMPROVISATION PLAYERS

Motion
Clean Feed CF025CD

Ever shifting, the personnel of the Lisbon Improvisation Players (LIP) this time out encompasses an American-Portuguese accord. MOTION unites LIP’s core – alto and baritone player Rodrigo Amado and drummer Acácio Salero – with two Americans – bassist Ken Filiano, longtime playing partner of folks like multi-reedist Vinny Golia and guitarist Dom Minasi; plus ROVA sax quartet’s Steve Adams on sopranino and tenor saxophones.

Operating as they’ve been playing together for years this two-sax/two rhythm quartet shows that regional differences between improvisers are quickly disappearing – if they ever existed at all. Naturally Amado and Salero aren’t just any musicians, both players have extensive improv credentials. Locals, guitarist Nuno Rebelo and violinist Carlos Zíngaro plus Americans, trombonist Steve Swell and drummer Lou Grassi have recorded with the saxophonist. The drummer, who also plays saxophone, was part of LIP’s three-sax line-up in 2000.

That configuration might be why Amado and Adams complement one another –

frequently improvising with two or three other reeds that quickly gives you an understanding of the horns’ limitations and expansions. Another factor is that the four had just finished playing Jazz en Augusto after doing a bit of jamming in a local club.

Though a committed outcat, Amado’s temperate Gerry Mulligan-like status often comes to the fore among extended horn techniques. On a ballad like “All the Things We Are”, for instance, at points stentorian honks give way to mellow flutter tonguing. No matter what Amado plays, Adams sticks to him, decorating many of the baritonist’s lines with eerie-sounding sopranino trills. Not that anything fazes the rhythm section.

Billowing thick cadences from the large horn bring out stout pizzicato pulses from the bassist; while ney-like keening from Adams merely cause Filiano to up the tension with swelling, shuffle-bowed lines. For his part Salero sticks to resonating drags, ruffs and flams, stroking not hitting his cymbals and snares.

“Copy This” on the other hand is built on abrasive, metallic string activity alternating with harmonica-type squeals leaking from Amado’s alto saxophone. Here Adams’ more sinuous sopranino peeps draws out Berimbau-style vibrating scrapes from the drummer and near vocalizing from Filiano’s strings.

With both saxes either in double counterpoint or improvising in broken octaves there are points where it’s difficult to assign specific sounds to either – or even the bass or drums. When the reed pitches concentrate and thicken however, it’s up to Filiano with his woody, sul tasto mode or Salero’s slapped rim shots and rolls to disconnect the pitches to move the tunes onward.

“Shipping News” offers up a finale where Filiano’s arco sweeps and strumming, double-stopping plus Salero’s speedy paradiddles give shape to the surging call-and-response reed fluttering and punctuation. All this leads to a coda of vibrating, siren-type irregularly pitched tones from both saxes, completed by a swelling, low-pitched arco continuum from Filiano. Still pumped, Amado needs to have the last word – or, more properly, note. Following one minute of silence after the concluding quartet tone is sounded, he returns for a luscious yet unpolished postlude of alto saxophone improv.

It appears as if he couldn’t let go of the session and you may not want to either.

-- Ken Waxman

Track Listing: 1. Perpetual Explorers 2. Motion 3. All the Things We Are 4. Wrist Action 5. Copy This 6. Shipping News

Personnel: Rodrigo Amado (baritone and tenor saxophone); Steve Adams (sopranino and tenor saxophones); Ken Filiano (bass); Acácio Salero (drums)

May 30, 2005

RODRIGO AMADO/CARLOS ZÍNGARO/KEN FILIANO

The Space Between
Clean Feed CF 015CD

Unwieldy to the extreme in the wrong hands, the baritone saxophone is more likely to be found anchoring a big band reed section than improvising in a small combo. Even less common is its participation in experimental sessions.

Yet it was Portuguese bari-man Rodrigo Amado, leader of the Lisbon Improvisation Players collective who organized this memorable exercise in real-time composition. Of course, he did bring along his alto saxophone for some tonal variety and in terms of musical insurance, his associates are two of the most accomplished practitioners of the style. American bassist Ken Filiano, whose associations include a longtime partnership with multi-reedist Vinny Golia, blends elements of jazz, improv and New music in his playing. While classically trained Portuguese violin master Carlos Zíngaro has played and recorded with other top-flight stylists ranging from British saxophonist Evan Parker to French bassist Joëlle Léandre.

That Amado, whose facility allows him to impel mellow legerdemain from his instrument of choice, holds his own in this fast company - - and elsewhere with the likes of trombonist Steve Swell and drummer Lou Grassi -- is tribute enough to his talents.

Someone who is able to express Gerry Mulligan’s mellowness in a more advanced context, Amado’s tone on the big horn can often be described as temperate. Even on a piece like “Horn, Strings & Sound”, where he can’t resists the odd billowing honk, his pacific retort is nothing like the scurrying of excited field mice pitches which the strings produce.

In contrast, power fields such as “In We Walked Out” consolidate his trumpeting tones, constant intensity vibratos, reed biting, and slurred repeated note patterns into a noise symphony worthy of the 1960s New Thing. The bassist contributes swelling spiccato bow strokes, and by the end, all eight strings are sawing away as the saxman heads for stratospheric territory.

The violinist’s work can range from portamento sweeps that are almost clichéd in their classical timbres, to grating spirited runs that have a lot more in common with avant fiddler Billy Bang than Jascha Heifetz. On alto saxophone, Amado follows a similar pattern, often proffering a sweet tone that sounds as if he’s quoting a half-remembered standard. Conversely, on pieces like “Around the House”, his straightforward tone is studded with the sort of sounds that only come from overblowing and end with shrill honks. Filiano moves up and down his strings, sometimes hitting all four strings with his bow, while Zíngaro’s fizzy decorations create an elevated continuum. A veteran of many bands with Léandre, the fiddler isn’t fazed by bass virtuosity in any musical field.

Even on “Shadow Lines”, the longest track, Zíngaro is able to sound out a dancing airy solo that never gets scratchy even when he’s operating at an elevation way above the violin’s usual modulations. Later his double-stopping suggests speedy Bluegrass fiddling, with his output met by bass thumps and tugs from Filiano that clearly resonate individual notes. Above all this Amado performs with a wide vibrato to give himself added heft and the ability to glide over the swelling arco strings.

With his unique alto tone that sometimes sputters like comb-and-tissue paper buzzes and his part-legit smooth, part strained overblown sax tone, Amado proves on this CD that he’s a reed player whose name should be noted internationally.

-- Ken Waxman

Track Listing: 1. Nothing/New Thing 2. The Space Between 3. Meters 4. Around the House 5. Off Breaker 6. Tripplets 7. Shadow Lines 8. Horn, Strings & Sound 9. In We Walked Out

Personnel: Rodrigo Amado (alto and baritone saxophones); Carlos Zíngaro (violin); Ken Filiano (bass)

February 9, 2004

LISBON IMPROVISATION PLAYERS

Live_Lx Meskla
Clean Feed 007

ERNESTO RODRIGUES/MARCO FRANCO/JOSÉ OLIVERA
23 Exposures
Creative sources CS 003

While no one outside of a few die-hard British musos would claim that jazz and free improv are completely antithetical, over the past two decades, they have in many instances become separate musics. To be simplistic Jazz is concerned with telling a story to the best of your technical ability; improv is about making -- or proving -- a point, utilizing whatever methodology you feel is best. For the true music fan neither of these attributes should be scorned.

Because of this dichotomy though, a group of younger musicians now must carefully slip between the two idioms, the way others in their generation play both jazz and pop, or jazz and Latin music or jazz and so-called New music. This can be a necessity, as well, when the scene for such sounds is even smaller then in large jazz centres such as New York, Chicago Paris or London. Soprano saxophonist Marco Franco, for instance, is featured on both these CDs of experimental music from Portugal. But on LIVE_LXMESKLA he’s working the free jazz side of the fence, whereas 23 EXPOSURES is pure improv. Similarly his two partners on the first disc and four on the other one walk a comparable tightrope.

Product of the Lisbon Improvisation Players (LIP), LIVE features a saxophone-heavy band organized by alto and baritone player Rodrigo Amado and drummer Acácio Salero. Incorporating different strains of experimenting Portuguese musicians, its output lists towards the freebop side of the free spectrum. Leader Amado played with Franco in guitarist Nuno Rebelo’s electro-acoustic Vitriol and in Ploplopot with alto and soprano saxist Paulo Curado. He also has an association with pianist Rodrigo Pinhiero, a colleague of the more experimental free improv types on 23 EXPOSURES, violinist Ernesto Rodrigues and percussionist/ guitarist José Oliveira. Amado and Salero played in a quartet with ROVA’s Steve Adams and New York bassist Ken Filiano, while the baritone player and Curado have recorded with that bassist, and other Americans, trombonist Steve Swell and drummer Lou Grassi.

Best indication of LIP’s lineage is the more than 11½ minutes of “Blue Humans”, which allows each member to expand on his technique. Here the herd of saxophonists do a little dance of aural congruence, then go off playing different lines simultaneously. There are some smooth soprano saxophone trills, an altoist producing neo-R&B honking and a third -- possibly Amado -- getting into some speedy triple tonguing. Moving from subtle rim shots and open palm drum head caressing to muscle-laden straight sticking, Salero produces enough power for two drummers, one of whom seems capable of replicating Native American Indian rhythms.

“This is Our Music”, with its echo of Ornette Coleman’s 1960 album is where bassist Pedro Gonçalves finally steps forward. Perhaps he’s literally doing so, as a buzzing rumble is created as he goes through his dark, solid solo. His chiming plucks than become the leitmotif of the rhythmically powerful main theme directed by the horns. As tones slide up and down, the high-pitched reeds trills and the baritone produces some stomach tightening growls.

Amado is most notably when his facility allows him to motivate his instrument with a tenor saxophone’s range. On “Song for Bluiett”, however, a sonorous salute to the Wold Saxophone Quartet (WSQ) bottom man, Hamiet Bluiett, his tone is properly resonant, buoyed only by echoing bass plucks and light hi-hat sizzles.

The harmonies produced by the reeds -- including Salero who joins in on saxophone on “Conversation Piece” -- is impressive is smaller does. Still with all the technical advances from reed explorers, one would have hoped a distinctive 21st Century Portuguese music could have been exhibited. That’s something to wait for in the next LIP release. In terms of praise and blame, as well, with two men playing soprano saxophone and two on alto, noting solo order somewhere would have been fairer and clearer.

If LIP relates to American saxophone quartets like the WSQ, then the music produced by the trio on the other CD can be said to have a British imprint. Concerned with sounds and silence and prefaced by a quote from John Cage about the fascination of noise, the disc has been compared to a photographic exposures. Showcasing greater or lesser sharpness of aural images, it’s part of a series of discs created by Rodrigues, who has a background in improv, classical and pop music, on violin and viola in collaboration with Oliveira and others such as cellist Guilherme Rodrigues and pianist Gabriel Paiuk.

Over the course of the 23 so-called exposures, which range in length from a little more than one minute to just over five -- with most in the two and three minute range -- reference points are the experimental tone scientist work done by Brit improvisers. Saxophonist John Butcher, violinist Phil Wachsmann, guitarist Derek Bailey and especially percussionist John Stevens come first to mind.

Steven’s non-hierarchical Spontaneous Music Ensemble ethos is echoed here, with each musician doing his best to contribute to the overall sound picture. On the longest track, the violinist exhibits a shrill human-sounding shriek that meet scratching, abrasive sandpaper percussion that soon turn to what appears to be the sounds of mice scampering through the studio. Franco dispenses a series of tongue-slaps that appear to have been born in his mouthpiece alone. Producing a modest, elongated sax tone, the finale winds down with violin strings slashed so quickly that the result resembles a tape machine running backwards.

With the tracks often melting together into many variations on a theme, the catalogue of varied and extended effects often precludes ascription of any one to any instrument. Franco offers bird-like chirps, percussive tongue slaps, spit-defined reed kisses and rhythmic key pops. Olivera highlights nagging cymbal pings, the pealing of tiny bells, the rattle of chains, a bow scratching on the cymbal’s metallic surface and what appears to be toys rolling on drum heads. On guitar, he seems to go Bailey one better, preferring a single note to a chord and a touch to a lick. What picking and plunking that is heard results from Rodrigues’ pizzicato work, which at times seems as if he’s turned the gut string elastic and is gradually using torsion, stretching and wrenching them until they’re on the cusp of breaking. His interest in post-serialism doesn’t preclude the odd, minute arco glissando that produces a so-called classical tone.

Most of the time, though, the reedist and fiddler proceed in such close proximity that the frequent elongated smears and split tones that define many section could come from either of their instruments. This is a challenging but ultimately satisfying listening experience.

Although Franco is the link between these two sessions, it will likely be the vision of the two leaders -- Amado and Rodrigues -- that will define Portuguese free music for years to come. However, with his foot --and reeds -- in both camps, the sax man will continue to be a crewmember on both voyages of discovery.

-- Ken Waxman

Track Listing: Lisbon: 1. Lisbon Improvisation Players 2. Blue Humans 3. Song for Bluiett 4. Memory of a Free Festival 5. Conversation Piece * 6. This is Our Music

Personnel: Lisbon: Marco Franco (soprano saxophone); Pedro Curado (soprano and alto saxophones); Rodrigo Amado (alto and baritone saxophones); Pedro Gonçalves (bass); Acácio Salero (drums, saxophone on*)

Track Listing: 23: 1. 01.31 2. 02.01 3. 02.20 4. 02.31 5. 03.16 6. 02.16 7. 01.22 8. 01.56 9. 02.18 10. 01.58 11. 05.02 12. 03.02 13. 02.53 14. 01.55 15. 03.13 16. 03.28 17. 02.57 18. 03.48 19. 02.11 20. 03.11 21. 02.14 22. 03.19 23. 02.31

Personnel: 23: Marco Franco (soprano saxophone); Ernesto Rodrigues (violin, viola); José Oliveira (percussion, acoustic guitar)

November 18, 2002