early reflections


Ernesto RODRIGUES . viola
Bertrand GAUGUET . alto saxophone
Ricardo GUEIRRERO . laptop
1. Wood :: 31:35
2. Stone :: 30:44

total time : 62 :19
Creative Sources • CSR258, 2014

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Rounding out this trio of releases is yet another trio, again with Rodrigues and Guerreiro on viola and computer but here including alto saxophonist Gauguet, two tracks, one studio and one live, from July, 2013. It’s unfair, of course, to treat these three releases as a triptych of any sort yet the temptation is there. Whereas “Asteres Planetai”, in a way, balanced on the edge of the Wandelweiserian, “Early Reflections” sems to consider the matter and then to resolutely opt for a fuller expression, one that, especially on the live track, “Stone”, acknowledges its surroundings but fills them to the brim nonetheless, leaving scant space unoccupied. A good decision, I think, to really thrust one way or the other and it pays off in the stronger portions here, especially in the intertwining of the saxophone (harshly breathy) and the computer, which create a seriously scouring force at times, prodded along by harsh pluckings from Rodrigues. When the music evanesces, as it does toward the end of “Stone”, there’s a fine sense of decompression, an earned release. This approach almost guarantees a rocky road but if and when things mesh, and they do here a reasonable amount of the time, the results carry an extra frisson of excitement. My caveat is unavoidable: that I’d rather hear this trio on an ongoing basis rather than form an opinion from a single recording. But as is, it’s another one I’d recommend hearing.  >> Brian Olewnick (Just Outside)

… A l’été 2013, en compagnie du saxophoniste alto Bertrand Gauguet, c’est une nouvelle variation sur les modes d’habiter l’espace (et d’y ménager… des espaces) qui s’invente : moins autarcique, plus ouverte vers l’extérieur et aux « silences », mais sans drame néanmoins, elle joue subtilement des plans, tenant compte de l’environnement (du studio en wood et du lieu de concert en stone) que viennent modeler et modifier chuintements, fuites ou exhalations. Dans leur fine plasticité, et parfois leur nudité, ces gestes impeccablement pensés et posés témoignent d’une acuité d’écoute qui finit par gagner l’auditeur ; les jeux de clapets et de tuyères, les perçantes ondes perchées, les brouillards de fréquences, font délicatement vibrer et osciller les horizons.  >> Guillaume Tarche (Le son du grisli)