The Freedom Principle
| The Freedom Principle | ||||
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| Studio album by Rodrigo Amado Motion Trio + Peter Evans | ||||
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Publication |
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| Label (s) | NoBusiness Records | |||
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Format (s) |
CD |
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Title (number) |
3 |
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running time |
57:27 |
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| occupation |
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Rodrigo Amado, Danas Mikailionis |
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Studio (s) |
Narrouche Studios, Lisbon |
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The Freedom Principle is an album by the Rodrigo Amado Motion Trio with trumpeter Peter Evans . The recordings were made on March 18, 2013 in the Narrouche Studios in Lisbon and were released in 2014 on NoBusiness Records .
background
After a first trio album with his Motion Trio in 2012, Rodrigo Amado recorded two more albums with Jeb Bishop with Miguel Mira and Gabriel Ferrandini , Burning Live at Jazz Ao Centro (2012) and The Flame Alphabet (2013). On March 16, the Rodrigo Amado Trio performed with trumpeter Peter Evans at the Teatro Maria Matos in Lisbon ( Live in Lisbon , NoBusiness Records), before going into the studio two days later and recording three more tracks for the studio album The Freedom Principle .
Music of the album
The album's title track starts off choppy, with Amado beginning with short phrases , finally using Evans playing in circular breathing , "maintaining a curved line that hums and suddenly changes pitch like a bee." When Amado / Evans playing approaches, the friction is increased. Ferrandini hums percussively under them with a slight precision. Mira supported his game with an agile plucking, indicating an Afro-Islamic spiritual Gnawa - Groove suggestive, the author Tim Owen.
After eight minutes, Evans takes the first solo. “With remarkable agility, he changes from a front attack in a duo with Ferrandini via a controlled diminuendo ” to a series of licks that elicit a steady melancholy counterpoint from Amado . Then he leaves and lets the band leader build up a long, increasingly intense solo. At the halfway point of the piece a “collective intensity” arises before “all four players find reserves of endurance and individual character in a final fall”.
In “Shadows” (18:36) the quartet explores more “out” sounds. Tom Owen noted: “Evans plays in the air leak high register and Mira compensates for that with an aggressive bow game, while Amado purrs on the sidelines. Much energies, particularly Ferrandini's, are left unscathed, but the drummer eventually produces enough friction tinder for the collective to create sparks and then ignites the fire. After nine minutes, the abstraction cools down, there is more room for personal exploration, and this time Evans ignites, a will that keeps fellow travelers off safe paths. His final solo with full group support while Amado is sawing a seedy R&B riff is glowing, and the raw screaming of a final horn interplay makes for an exciting conclusion.
In the first 2½ minutes of “Pepper Packed” Evans presents himself with a solo that is self-contained; then you can hear a duo of Ferrandini and Mira, until Amado sets a low tenor note. Evans adds another comment, strengthens a unison head motif, and after Mira can work out his own contribution with Ferrandini as support, it is a muted Evans who slips the piece with a series of solos on the pocket trumpet . Then it is Amado who makes his claims on the terrain.
Track list
- Rodrigo Amado Motion Trio & Peter Evans - The Freedom Principle (NoBusiness Records, 2014)
- The Freedom Principle 26:46
- Shadows 18:38
- Pepper Packed 12:03
All titles are from Ferrandini, Mira, Evans, Amado.
reception
Amados Motion Trio's fifth album received consistently positive reviews; for Tim Owen ( ... on Sound ) it is an “excellent album”. The Avant Music News critic praised:
- “ The Freedom Principle is characterized by Amado's muscular work on a creative rhythmic basis that Evans roars on. The two horn players offer an elaboration on their respective instruments, creating a powerful, squeaky discrepancy in addition to the cascading interaction. Each of the four members of the group perfectly plays the expected forms of creative jazz, but also punctual sound effects and background noises. "
Eyal Hareuveni wrote in All About Jazz , the first piece, the 27-minute title track "The Freedom Principle", which broadened and diversified the powerful, passionate streak of the live performance that took place two days earlier. “Amado leads his trio in a patient yet searching interplay, and Evans soon joins them, increasing the temperature and intensity of communication. Both Amado and Evans challenge each other all the time, even in the most calm, contemplative places. Often the two sound in a dense, colorful dialogue and both fly over the constantly changing, nervous pulse of Mira and Ferrandini. Everyone concentrates on the structuring of a coherent sound envelope. ”In the opinion of the author, the following“ Shadows ”enable all those involved to emphasize their abilities to create a piece from experimental, tonal searches, which in its course implements the imaginative use of extended techniques highlights all. Evans opens the last piece, the shorter, 12-minute “Pepper Packed”, with a gentle, talkative solo trumpet as Mira and Ferrandini begin their own intimate and sensitive dialogue. When Amado joins in, he repeatedly emphasizes the intimate, relatively relaxed interplay, framed as a quiet, soulful ballad.
Stefan Wood ( The Free Jazz Blog ) said, " The Freedom Principle is an album full of energy." It is full of creativity and expression without feeling tired or lost. The title piece is a work that pulls the listener under its spell from the start. Amado plays like Sonny Rollins in free form, with Ferrandi as a complement, and then the others join in. Evans pushes Amado forward with a haunting tone, he interrupts, sometimes he lurks in the background, sometimes he plays next to the saxophone. About halfway between the two horn players there is an active dialogue that is reminiscent of the New Wave in the jazz scene of the late 1960s, in which they play on each other and then fold and rotate their music next to one another in rhythms and tones that stimulate interest of the listener.
There is a lot to digest and with repeated listening it becomes more rewarding. Shadows is an 18-minute plus volume experience, from the grandiose playing of Mira and Evans, playing almost in a whisper, the cello creaking and the trumpet mouthpiece, to a more aggressive and louder interaction when Amado and Ferrandini play along, The cello and saxophone vibrate, become very intense, then softly, then loud again, Evans in a full voice, stretching and pushing his instrument as far as it will go. In Pepper Packed (perhaps a tribute to Art Pepper , the author speculates), Evans begins with a solo, then with Ferrandini, then a duet with Ferrandini and Mira, and Amado finally mixes in with a more relaxed sound that is almost like a ballad works, but the rhythm section, on the other hand, plays this idea. On this last track you can hear Amado's influences and how skillfully he integrates them into his own sound.
Web links
- The Freedom Principle at NoBusiness Records
- The Freedom Principle at Bandcamp
- The Freedom Principle on Rodrigo Amado's homepage and other reviews
Individual evidence
- ↑ Rodrigo Amado Motion Trio at Discogs (English)
- ↑ a b c d e f Tim Owen: Rodrigo Amado Motion Trio & Peter Evans - The Freedom Principle + Rodrigo Amado - Wire Quartet. to sound, March 8, 2015, accessed on August 12, 2019 .
- ↑ Rodrigo Amado Motion Trio & Peter Evans - The Freedom Principle at Discogs
- ↑ AMN Reviews: Three From Rodrigo Amado. Avant Music News, August 3, 2014, accessed August 14, 2019 .
- ↑ EYAL HAREUVENI: EYAL HAREUVENI. All About Jazz, August 12, 2014, accessed August 14, 2019 .
- Jump up ↑ Stefan Wood: Rodrigo Amado Motion Trio & Peter Evans - The Freedom Principle. Free Jazz Blog, May 6, 2014, accessed August 7, 2019 .