Clocks & Clouds

Clocks & Clouds

Clocks & Clouds

"On Clocks and Clouds, Portuguese trumpeter Luis Vicente is joined by two-thirds of the RED Trio, pianist Rodrigo Pinheiro and bassist Hernani Faustino. Marco Franco, who started out drumming in metal bands, takes the place of Gabriel Ferrandini.

Clocks and Clouds refers to Ligeti's composition of the same name, which itself was a reference to philosopher Karl Raimund Popper's essay "On Clocks and Clouds." Popper wrote of natural processes that can be measured exactly ("Clocks") and those that are indefinite and can only be described in approximation ("Clouds").

Based on my limited experience with the RED Trio's music, I thought Clocks and Clouds was going to be a minimal, lower-case affair. Boy was I wrong, but gladly so, because this is a free improv record that has some muscle.

Vincente does a nice job expressing himself through both traditional and extended techniques, with the open horn and with a mute. Pinheiro sounds like two piano players at times, exploring the extremes of both the lower and upper registers of his instrument. The RED Trio is a group that's never really clicked for me for some reason, but with Franco in the driver's seat things really take flight. The whole group engages in lightening quick reactions to each other, and sounds animated and more assertive than I expected. Now I need to go back and reassess RED Trio's catalog, especially their recording with Nate Wooley, Stem.

Based on Popper's definitions, Clocks and Clouds is probably more "Clouds", an indefinite, in-the-moment process, but the structures the group creates in the moment work. If you're looking for free improv that's not afraid to get boisterous at the proper times, Clocks and Clouds is for you."-Craig Premo, Improvised Blog Spot

Musicians

Luis Vicente (trumpet)
Rodrigo Pinheiro (piano)
Hernâni Faustino (doublebass)
Marco Franco (drums)

Credits

Credits

Release date
March 22, 2014
Label
FMR Records - FMRCD371-0214
Disc format
CD

Reviews

They not only move as one, and sound as one, but the music has this inherent emotional beauty that is not a sought effect, but an integral quality of these artists' skills, yet one that can only appear through interplay with like-minded artists having the same skills, the result of their love for sound and music, and that love, that is far beyond demonstrating skills, or virtuoso pyrotechnics, is probably the core essence of 'it', this mysterious marrow of musical magic, this enigmatic essence of expressive aesthetics, this brilliant expansiveness of breathtaking intimacy.