David Maranha/Rodrigo Amado

February 3, 2025

Wrecks
Nariz Entupido. NE 020

The Attic & Eve Risser
La Grande Crue
NoBusiness NBCD 170

Constantly seeking new challenges, tenor saxophonist Rodrigo Amado, one of Portugal’s most accomplished improvisers, often does so by playing with new associates ranging from Joe McPhee to Alexander von Schippenbach. He’s done so again with these sessions. Wrecks, a one-track application of electro-acoustic drones, links his reed skill with those of electric organist David Maranha, a veteran practitioner of such blocky undulations, who has played with the likes of David Grubbs. Meanwhile La Grande Crue adds innovative French pianist Eve Risser to the already constituted Attic trio, filled out by Dutch drummer Onno Govaert and Portuguese bassist Gonçalo Almeida

An exercise in blending circular breathed, shakes and split tone of the saxophone with the mutated undulations of  the organ, “Wrecks” move through several section at varied tempos and pitches. At points Amado projects extended techniques up and down the scale – resonating from altissimo screams to low-pitch snarls – to brush up against metallic-tinged buzzes and rustles that stream from the organ. Although the dense textures suggest concentrated overlapping, the saxophonist manages to insert vestige of his usual reed approach as well. Segueing within and around the drone block, Amado isolates tongue flutters and tongue stops for saxophone statements that touch on lyricism  without abandoning purposefulness and without approaching screech mode. While the program seems to have no real beginning no definite ending and is built up by constantly repeating motifs, contrapuntal organ switches and reed breaths, differing dynamics and coloration reveal palimpsests of various hues. Eventually the pressurized organ circuitry and elevated reed vibrations end with loud, unbridled dissonance that spills onto silence.

Closer to the way the saxophonist usually organizes sessions of instant compositions, La Grande Crue’s four tracks are given a richer texture by Risser’s pianism which isolates staccato key progression, soundboard echoes, unexpected decorations and linear patterning with the same finesse. Her experience encompasses small group improvisations and large ensemble compositions, with forays into Rock-like power and lyrical impressionism avoiding fissure as well.

As in past trio sessions, Govaert and Almeida provide the equilibrium that cements the ongoing sound explorations. Even if the saxophonist and pianist approach unbridled frenetic motifs, the two rhythm players provide a grounded influence. The drummer specializes in cymbal splashes, bass drum rumbles and thick ruffs, while the bassist resonates back-and-forth thumps with the odd spiccato arco swill. Thus Risser’s occasional keyboard stabs and umps Amado’s altissimo squeaks and triple tonguing can evolve without the sequences abandoning linear movement.

“Peau” offers the most expressive story telling with Riser’s inserted and interjected key plinks and pops setting up a dialogue with Amado’s sharp bites and flattement, leading to sequences of passionate near swing. Meanwhile the extended “Phrase” has an alternating staccato and smooth theme introduction that links strummed inner piano strings with moderated reed flutters and reflux as the saxophonist builds up an elongated response that bounces from intense squeaks to reflective stutters. Eventually calm is affiliated with creativity. Highlighting equivalent dynamism from all four, the piece reaches a dramatic climax of patterned completion.

Whether you prefer your Amado in an exploratory duo or in more common – but not conventional – group integration, there’s much to savor on both discs.

–Ken Waxman

Track Listing: Wrecks: 1. Wrecks

Personnel: Wrecks: Rodrigo Amado (tenor saxophone) and David Maranha (organ)

Track Listing: Grande: 1. Corps 2. Peau 3. Phrase 4. Pierre

Personnel: Grande: Rodrigo Amado (tenor saxophone); Eve Risser (piano) Gonçalo Almeida (bass) and Onno Govaert (drums)