Rodrigo Amado: Wire Quartet

Rodrigo Amado
Wire Quartet (Clean Feed; 2014)
Rodrigo Amado (sax)
Gabriel Ferrandini (drums)
Hernâni Faustino (bass)
Manuel Mota (guitar)

A Rodrigo Amado release is always going to be filled with some excitement. And Wire Quartet is definitely exciting and does not disappoint. A wonderful line up that features members of Red Trio and the increasingly rewarding, Manuel Mota. 

Wire Quartet consist of three very extended pieces. "Abandon Yourself" opens the album with slow building introduction where each member moves gently with well place focused notes. The piece moves into its second structure when Amado and Mota both let loose and Faustino and Ferrandini follow making this section of the piece the most chaotic and beautiful. The tone settles in the latter stages as each musician has their own moment to rise above. Great compositional/leadership work here from Amado allowing the members the freedom to craft the passages within the outlying structure.

Blues-like yet still encompassing sense of moving far beyond, "Surrender" has lots of free movements with Mota's guitar screeching like Branca, Bailey or Thurston Moore rolled into one. Amado's rolling tones and the some atmospheric brush-work from Ferrandini add a nice shine to the track. While on the closing number, "To The Music," Amado really let's loose with some terrific tones and patterns that feel like Ayler or Braxton. Mota's guitars wails alongside Amado but never overpowers the piece.

Wire Quartet is a rock album with jazz undertones. It loud, fierce and abrasive like any other Amado record. Similar to Amado's work with Luis Lopes but here we get the added touches of a fantastic quartet that pours even more muscle to Rodrigo Amado's compositions. Which I didn't think was possible. And the results are excellent and frankly--bloody brilliant stuff!

Luis Lopes: Live In Madison / Noise Solo

Luis Lopes (guitar)                                         Luis Lopes (guitar)
Live in Madison (Ayler Records; 2013)        Noise Solo (lpz Records; 2013)
Stefan Gonzalez (drums)
Aaron Gonzalez (bass)
Rodrigo Amado (sax)

This year we get treated with two distinct and very inspiring documents from guitarist, Luis Lopes.

Live in Madison features material from Lopes' Humanization Quartet and their two studio albums (Electricity and Humanization 4tet). The live dates as usual brings out more from an already improvisational group of musicians. But this time you can really feel the urgency in the music. In addition the attention to direct and fun in which the musicians would exude throughout the night.

One of the tracks from the original studio albums, "Big Love" has raw and fierce quality in this live setting. Amado and S. Gonzalez riff and explode with notes flying all over the place. Drawing counter to the subdue and quietly quick chords both Lopes and A. Gonzalez are illuminating in the background. While all improvised, they come together in a beautiful crash sound that steadies itself nicely in the closing minutes.

"Dehumanization Blues" has become the bedrock piece of their live performances. And here at the Madison show it's no different. Amado's long staccato notes in the beginning announce the forcefulness of the piece. This plays out well with each demonstration on grand scale how enormous this piece can get. I imagine this could almost be a twenty minute piece on its own. With varying improvised moment of its own.

Look for a new construction of sound, Luis Lopes tends to deliver every time. The intensity of the mid-section of "Dehumanization Blues" is a perfect jumping off point for Luis Lopes second release this year a completely solo project, Noise Solo.

Noise Solo is an experiment in the directions and deconstructions of sound, genre and perception. The vinyl only release is intriguing at its heart. And reflective upon conclusion. While based on the idea of noise, the album keeps a serene calm throughout the evening.

The opening movement is like a broken smoke detector being thrown down a well. There's static. There's chord changes. There's passages that are portraits in rock extreme and finally there's the element of adventure. In a similar notation that you have no idea what will come next, Luis Lopes delivers the unconventional solo album filled with found sounds and passage in progress.

But in the end--Noise Solo is something for the listener to determine on their own. It's an idea but also a free expression which will have a different effect on each listener. Not for the faint and heart. But rewarding for those who take the ride.

With Live In Madison and Noise Solo, Luis Lopes has demonstrated two aspects of his arsenal that I've always enjoyed. The sense of creative musical thought and excellent collaboration. Two exciting new records well worth your investment. Get out there and pick them up.

Rodrigo Amado: The Flame Alphabet

Rodrigo Amado (sax)

The Flame Alphabet (Not Two Records; 2013)

Gabriel Ferrandini (durms)

Jeb Bishop (trombone)

Miguel Mira (cello)

I've come to learn that each Rodrigo Amado record is going to be exciting and a challenge. With his out Motion Trio added by Chicago trombonist, Jeb Bishop, Amado delivers another fun and energetic performance that keeps the ear attuned.

The Flame Alphabet is the quartet's first studio album, following their live debut, Burning Live At Ao Centro.

You would think that in the studio the vibe would be contained and little less vibrant. You would be sorely mistaken. The sound is still bold with lots of urgency. "Burning Mountain" and "Flame Alphabet" both have Amado in fine form. Tearing into notes and undulating patterns like a reincarnated Archie Shepp. Bishop flexibility allows for great interaction between both Amado and Ferrandini which makes for some excellent concentration on the listeners end. But it is extremely rewarding.

"Into The Valley" is a scaled back piece. Amado's horn is sparse, while the rest of group revolves around a small series of improvised tones. This all comes crashing against fierce lines delivered by Mira and Ferrandini as the track moves forward. "The Healing" closes the album with grace. A ballad the drifts gently on the waves of Amado's notes. But Bishop provides a tones that almost feels like a trumpet.

Rodrigo Amado's new ensemble is a spot-on quartet that delivers with every note. Detailed, intricate, electrifying and inventive from beginning to end. The Flame Alphabet is an album that you will come back to--again and again.

Rodrigo Amado: Burning Live At Jazz Ao Centro

Rodrigo Amado (sax)

Burning Live At Jazz Ao Centro (JACC Records; 2012)

Jeb Bishop (trombone)

Miguel Mira (cello)

Gabriel Ferrandini (drums)

A brief set but long in the compositional sense, Burning Live At Jazz Ao Centro, sees Rodrigo Amado in blistering form. This is a fierce recording of a live event that was probably exciting and very intense on concentration.

This group consists of Amado's Motion Trio augmented by trombonist Jeb Bishop (known not only for his own groups as well as his work with Ken Vandermark). For this live evening, Bishop provides strong, bold muscular lines that challenge the rest of the trio. "Burning Live" is just as it says--a fiery opener that later rounds into a rhythmic pattern that hovers almost blues-like thanks to Bishop. Ferrandini adds the abstract passages against Bishop's notes as both Amado and Mira quietly begin to re-emerge and set the piece aflame again. The quartet finally comes resting with calm clashes but still a heavy spirit.

"Imaginary Caverns" moves like a ballad but with the philosophy of free association. Quiet motifs soon rise and fall with Amado and Ferrandini's perspective on the harmonics. Midway through Amado's tone becomes a scorching mixture of Ornette Coleman/Albert Ayler. It's intense and beautiful but not for every ear. Bishop, Mira and Ferrandini beam with solid atonal exchanges that drain you until just the right moment when Amado returns to add some toppling hues to the closing bars.

Rounding out the evening is "Red Halo," led by Mira sounding fully focused and moving the group in a calm fashion toward the inevitable wall of sound. Mira's pace quickens while Amado and Bishop's dialogue starts to sound like one instrument. The quartet finally roll into one another in the final moments bringing an intense jubilant session to its logical yet bewitching end.

Truly, an absorbing performance and another very creative outing for Rodrigo Amado. There are only a handful of saxophonists on the European scene today that are as acute and descriptive as Amado. Burning Live At Jazz Ao Centro is a perfect example as to why. This same group will also have a new studio album out on Not Two later this year.