FAROESTE Encontro de Música de Câmara Contemporânea e Improvisada Domingo | 18 Jul'18 | 18:00 Casa da Cultura | Céu de Vidro Parque Dom Carlos I Caldas Da Rainha Contr: 3 ou > ++++++++++++++++++++ >SPIRES THAT IN THE SUNSET RISE (us) >THE ATTIC (pt) ++++++++++++++++++++ SPIRES THAT IN THE SUNSET RISE Ka Baird - multi inst. Taralie Peterson - multi inst. Desde 2001 que Spires That in the Sunset Rise inquietam e emocionam audiências com a sua alquimia sonora particular. Descritas por Jack Rose como uma “Sun City Girls feminina”, STITSR tem contribuído com uma inclinação diferente para o movimento New Folk, incorporando várias influências da vanguarda e da world music em seu som. As comparações vão desde as Raincoats a Meredith Monk, a Comus ou a Harry Partch. Seu álbum mais recente, Beasts in the Garden, foi descrito por Marc Masters como “algum tipo de colaboração Terry Riley / Angus MacLise há muito tempo perdida, igualmente devotada à repetição divina e ritual de busca de centro.” Com oito álbuns completos, alguns lançamentos laterais e vários esforços a solo, a banda é agora o duo de multi-instrumentistas Ka Baird e Taralie Peterson, que recentemente orientaram a sua evolução para o território dos instrumentos de sopro. A solo, recebemos em 2017 "Sapropelic Pycnic" (Drag City), de Ka Baird, e "Repetitives in Illocality" (Feeding Tube Records) de Louise Bock, alter ego de Taralie, lançado em maio de 2018. No entanto, as conspirações da dupla nunca cessam de fato, tendo aproveitado este mês de Junho para uma residência na Pioneer Works em Nova York, onde trabalharam e gravaram novas composições. --------------------- Since 2001, Spires That in the Sunset Rise have been unsettling and thrilling audiences with their brand of sonic alchemy. Described by Jack Rose as a “female Sun City Girls,” they contributed a different slant to the New Folk movement by incorporating various avant-garde and world music influences into their sound. They have been compared to artists ranging from the Raincoats to Meredith Monk to Comus to Harry Partch. Their most recent album, Beasts in the Garden, was described by Marc Masters as “some kind of long-lost Terry Riley/Angus MacLise collaboration, equally devoted to divine repetition and center-seeking ritual.” They have eight full length albums, a few side releases, and several solo efforts. The band is now the duo of multi-instrumentalists Ka Baird and Taralie Peterson. They have toured the United States, Canada, and Europe many times and have recently pushed their evolution into the territory of woodwinds. They have collaborated with musicians in the realm of pure improv, worked with dancers, and been involved in various theatrical productions. Ka Baird and Taralie Peterson have both been busy with solo projects (Ka Baird's "Sapropelic Pycnic" released Oct 2017 on Drag City and Louise Bock's "Repetitives in Illocality" released May 2018 on Feeding Tube Records). However the duo's conspirational creations have never truly ceased, and this June they will enjoy a residency at Pioneer Works in NYC to work on new compositions and recording them. https://www.kabaird.com/ http://feedingtuberecords.com/artists/louise-bock/ ++++++++++++++++++++++++++++++++++++++ THE ATTIC Gonçalo Almeida - contrabaixo Rodrigo Amado - sax tenor Marco Franco - bateria Gonçalo Almeida (contrabaixo) tem desenvolvido o seu percurso entre o jazzcore (Albatre, Spinifex, Ikizukuri), o jazz de câmara (Lama) e a improvisação livre (The Selva); Rodrigo Amado (saxofone) é conhecido pelo seu free jazz com sólida matriz no hard bop, nas formas do Motion Trio, do Wire Quartet ou das suas associações a músicos como Joe McPhee, Kent Kessler e Chris Corsano; Marco Franco (bateria) tem uma presença disseminada por várias frentes, do jazz “mainstream” (Rui Caetano Trio) ao rock “indie” (Memória de Peixe), passando por projectos caracterizados ora pela invulgaridade dos seus conceitos, como os Mikado Lab, ora pela abordagem experimental da improvisação, caso do seu duo com Nuno Rebelo. A música de “The Attic”, registo discográfico do trio que surgiu no topo de muitas listas internacionais de melhores discos do ano, vai do introspectivo ao visceral, num leque de abordagens bem largo que conta, por um lado, com uma quase bucólica introdução de contrabaixo, em exploração de harmónicos, e pelo outro com explosões de energia sobrevoadas por um sax tenor em “stream-of-consciousness”. As variações de um extremo ao outro acontecem em minutos, nunca os desfechos sendo previsíveis. Os três músicos estavam em fogo, motivados pelo processo de descoberta de uma linguagem comum que tinham encetado, e a música – magnífica, arrebatadora – reflecte isso mesmo. https://goncaloalmeida.bandcamp.com/album/the-attic-nobusiness-tombed-visions-2017 --------------- "The Attic unites three Portuguese musicians who are making a name for themselves beyond their native land. Now based in Rotterdam, bassist Gonçalo Almeida works with a range of European artists, but may be best known as leader of the Lama Trio, with trumpeter Susana Santos Silva. Saxophonist Rodrigo Amado probably enjoys the highest profile, befitting his activity with his own Motion Trio, which has featured as guests trumpeter Peter Evans and trombonist Jeb Bishop, as well as with his cooperative quartet with Joe McPhee, Chris Corsano and Kent Kessler. Completing the threesome is drummer Marco Franco, heard with Clocks And Clouds and improvising foursome Deux Maisons. Although Almeida contributes charts to many of his bands, this outfit operates firmly in the free jazz/improvised music continuum favored by Amado. Across five selections recorded live, the trio demonstrates a determinedly democratic ethos in which each of the members benefits from lots of legroom, as well as equal billing in the unfettered exchanges. Almeida often reveals a melodic core to his playing even in the outside situations, shown nowhere better than in his marvelously engaging unaccompanied introduction to "Shadow," where he delves into cello register sonorities and exquisite harmonics, tempered by wavering abrasion. That track continues with Amado's dissonant pinched tenor saxophone cry, before opening into brooding tenor incantations paced by harmonious bass counterpoint. Each of the first three cuts builds from one or two instruments in spacious dialogue, until reaching foot to the floor intensity. "Spring" starts with Almeida's slurred pizzicato and Franco's tappy timbral spurts, then bass overtones picked like chimes, before Amado sets down a folk-inflected line which he repeats to hypnotic effect. The longer "Board" takes a more rollercoaster trajectory but arrives in the same promised land giving a pulpit to Amado's sermonizing tenor, speaking in tongues, and clattering drums. "Nail" leaps in at the level where most pieces end, as Amado seesaws between gruff flexing and altissimo cries over roiling undercurrents. It's exciting, passionate, and energetic, suggesting a fertile future waits for this particular aggregation." ALL ABOUT JAZZ By JOHN SHARPE ++++++++++++++++++++ Cartaz de Nayara Siler a.k.a. Animal Sentimental ++++++++++++++++++++++++++++++++++++++++++++++++++ Apoio Junta de Freguesia da Nossa Senhora do Pópulo | Atelier Arte e Expressão | Centro de Artes | Caldas da Rainha
