"Zíngaro" / Mitzlaff / Viegas / Rosso

CD €12,00

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1 ­ This ordeal of yours (06:53)

2 ­ Cells and patterns (14:46)

3 ­ Genau (01:03)

4 ­ Ship of Fools (02:53)

5 ­ Who's there? (04:43)

6 ­ Little grey men (13:03)

7 ­ Last smudge of orange (03:58)

8 ­ Neverwhere (07:18)

Total Time (54:60)


"Zíngaro" / Mitzlaff / Viegas / Rosso 4tet ­ "Day One"

Carlos "Zíngaro" ­ violin

Ulrich Mitzlaff ­ cello

João Pedro Viegas ­ bass clarinet, clarinet, mouthpiece

Alvaro Rosso ­ doublebass

Recorded live @ Jazz ao Centro Clube in 2013/11/23, by José Martins

Mixed and mastered by Carlos "Zíngaro" at "ZNGR ­ Nature Mort Studio" Lisbon

Extra listening and advise by Emídio Buchinho.

Executive Production JACC Records


Texto introdutório por Stuart Broomer (em inglês)

"Take your time," the examiner said, tapping his foot, drumming his fingers on the desk, checking the clock on the wall and comparing it to his watch, "Take your time. I have all the time in the world."

The candidate began hesitantly: "Time in composition and time in improvisation are different. In composition, time is relatively simple, at least simplistically speaking. There is the time of composing which with luck proceeds in a straightforward manner; then there is the time of performance which is dictated by the composer or the conductor. When you hear a work repeated, there is more chance that you have changed than that the piece has, speaking of course platonically. "But improvised music takes in all the time for each musician involved. And then it privileges the experiential time of each listener. There is the time of ordering a cup of coffee, the time of the first harsh and stimulating sip, the time of caffeine seeping into the blood stream. The time of the traffic jam and the open road, the time of flight, yes, but also the time of the security check. All the time of memory and the time of concentrated effort to free oneself from memory in the instant of creation..."

"Could you be clearer...or at least, more specific?" the examiner asked.

"In the music before us, for instance, there is the time of the absolute first encounter, including even the sound check, and the network of new relationships. Three of the musicians, the violinist Carlos "Zingaro," the clarinetist João Pedro Viegas and the cellist Ulrich Mitzlaff were well known to each other, but João Pedro was introducing the bassist Alvaro Rosso to the others for the first time. There is the remarkably brief time it takes to get acquainted, the testing of each second."

"Could you be clearer still?"

"Think of the gap between "compliment" (cumprimento) and "complement" (complemento), the gap cognitive and temporal, and then the way these musicians both flatter and complete one another's thoughts and do so in the instants in which their sounds come into being. Think of the vibrating gaps between the strings' overtones and the clarinet's "odd" harmonic profile (1, 3 ,5, 7...). The music might sound like School of Vienna, uncannily so (or Bartok more so, the rhythm, the edge, the brilliance of "Zingaro"'s vibrato, the lyric warmth of Mitzlaff), but its methodology is School of Kansas City, circa 1936, the culture of the riff­­every musician here a master of the phrase initiated and repeated, then picked up in a system of mutual support (connections heard too in the round sound of Rosso's pizzicato, and the yawp of Viegas' bass clarinet, at once sonic heir to the sainted Eric Dolphy and the instrument's 19th­century Russian incarnation). Hear the velocity with which the music traverses western American fiddle music to erhu blues..."

"Excuse me. I think that in no time at all, we have no time at all."

Stuart Broomer, Canada 2014

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