{"id":4742,"date":"2017-07-13T10:45:00","date_gmt":"2017-07-13T09:45:00","guid":{"rendered":"http:\/\/wasserbassin.com\/site\/?post_type=product&p=4742"},"modified":"2018-09-22T21:13:07","modified_gmt":"2018-09-22T20:13:07","slug":"almeida-amado-franco-the-attic-cd","status":"publish","type":"product","link":"https:\/\/www.wasserbassin.com\/site\/product\/almeida-amado-franco-the-attic-cd\/","title":{"rendered":"Gon\u00e7alo Almeida\/Rodrigo Amado\/Marco Franco – The Attic – CD"},"content":{"rendered":"

Portugal\u2019s avant-jazz scene continues to surprise and delight. Recorded in the loft space at SMUP, a pioneering arts venue in the Lisbon satellite of Paredes, “The Attic”<\/strong> brings together three of the country\u2019s finest improvising musicians: bassist Gon\u00e7alo Almeida<\/strong>, tenor saxophonist Rodrigo Amado<\/strong>, and drummer Marco Franco<\/strong>. Amado\u2019s star is on the rise, following 2015\u2019s excellent “This Is Our Language” with Joe McPhee, Kent Kessler and Chris Corsano, and last year\u2019s superb offering from his own Motion Trio. He\u2019s a generous collaborator, and “The Attic” is as much Almeida and Franco\u2019s show, with the bassist\u2019s elegant and powerful playing often setting the scene.<\/p>\n

\u2018Shadow\u2019 opens with a beautiful bowed solo. Playing in the instrument\u2019s higher register, Almeida teases out elegant melodic phrases, shaded with darker double stops. There\u2019s a beautiful clarity and light to this piece, with its modal harmonies giving rise to lines that remind me at times of European folk forms and minimalism. Amado plays the tenor in a pinched altissimo that sounds uncannily like a stopped trumpet, but for the fluidity of the steps, adding to music\u2019s heightened sense of otherness. By the end, he\u2019s making like Pharoah Sanders at his most blissful, giving a spiritual jazz sermon from some holy mountain.<\/p>\n

If Franco is a subtle presence on the quieter tracks, his colouristic approach takes on a fauvist intensity on \u2018Board\u2019, where he scurries around the kit, firing off short fills and accents over a free pulse. Combined with Almeida\u2019s rock solid bass strut, it gives the music a non-linear momentum, so it breathes and flexes, rather than tearing off in a single direction. \u2018Nail\u2019 comes in hard, with Amado blowing in a classic free jazz style over Almeida\u2019s dark and woody bass. Franco\u2019s drums crash, rumble and splash, but his light touch ensures each hit lands with a gymnast\u2019s agility, rather than a blunt force. Amado alternates between high, strangulated tones and guttural honks, filling the gaps with cheeky staccato triplets. Yet while some saxophonists would deliver such sounds with macho volume and blare, Amado plays them with a subtler, rounded tone. He\u2019s authoritative but never domineering, serving the collective improvisation.<\/p>\n

Stewart Smith – THE QUIETUS<\/p>\n

NoBusiness Records<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

NoBusiness Records<\/strong><\/p>\n

\n

Portugal\u2019s avant-jazz scene continues to surprise and delight. Recorded in the loft space at SMUP, a pioneering arts venue in the Lisbon satellite of Paredes, “The Attic”<\/strong> brings together three of the country\u2019s finest improvising musicians: bassist Gon\u00e7alo Almeida<\/strong>, tenor saxophonist Rodrigo Amado<\/strong>, and drummer Marco Franco<\/strong>. Amado\u2019s star is on the rise, following 2015\u2019s excellent “This Is Our Language” with Joe McPhee, Kent Kessler and Chris Corsano, and last year\u2019s superb offering from his own Motion Trio. He\u2019s a generous collaborator, and “The Attic” is as much Almeida and Franco\u2019s show, with the bassist\u2019s elegant and powerful playing often setting the scene.<\/p>\n

\u00a0\u25ba CLICK HERE TO LISTEN<\/a><\/p>\n

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