{"id":470,"date":"2014-11-02T20:56:58","date_gmt":"2014-11-02T20:56:58","guid":{"rendered":"http:\/\/www.luislopes.pt\/?page_id=470"},"modified":"2016-06-18T18:13:09","modified_gmt":"2016-06-18T18:13:09","slug":"humanization-quartet-1","status":"publish","type":"page","link":"https:\/\/www.luislopes.pt\/?page_id=470","title":{"rendered":"LISBON BERLIN TRIO “The Line”"},"content":{"rendered":"
\"linha\"<\/h5>\n

 <\/p>\n

\"CF312CD-COVER\"Clean Feed 312cd<\/a><\/pre>\n
personnel:<\/h3>\n
Lu\u00eds Lopes – electric guitar
\nRobert Landfermann – Double Bass
\nChristian Lillinger – Drums<\/p>\n
cd tracks:<\/h3>\n
\n
1.\u00a0Dark Suite (prologue)
\n2.\u00a0Vertigo \u266b<\/span><\/a>
\n3.\u00a0Mother Snake \u266b<\/span><\/a>
\n4.\u00a0Dark Suite (epilogue)
\n5.\u00a0The Line \u266b<\/span><\/a>
\n6.\u00a0Schwarzwald<\/p>\n<\/div>\n
release information:<\/h3>\n
\n
Recorded May 25th 2014 by Wolfgang Stach at Maarweg Studios, Cologne, Germany
\nMixed\u00a0and Mastered June 2014 by Joaquim Monte at Namouche Studios, Lisbon, Portugal
\nProduced by Luis Lopes<\/span>
\n(Speechless) covert and design\u00a0by\u00a0Travassos. Executive production by Pedro Costa for Trem Azul<\/span><\/p>\n
press release:<\/h3>\n
Usually, free improvisation and conceptual music live as far as we can imagine when thinking about the differences between a music practice built from intuitive spontaneity and another one resulting from a complex and intellectualized definition. In the case of the second album by the Lu\u00eds Lopes Lisbon-Berlin Trio (Robert Landfermann and Christian Lillinger representing the German side) there\u2019s a rare mix of the two approaches. \u201cThe Line\u201d derives from the notion of time like a broken line of events, considering all the last scientific considerations that past, present and future doesn\u2019t really exist. The music here happens as an interrupted sequence, with no beginning or end, as if this CD is a little fragment of eternity. In the middle ground from free improv and noise (yes, noise: Lopes\u2019 guitar feedbacks and distortions make us recall Masayuki Takanayagi), other sub-themes appear: the mysterious supra-human entity in \u201cVertigo\u201d, the serpent-city (Lisbon) of \u201cMother Snake\u201d, the nightmares of \u201cDark Suite\u201d and the demons and witches of \u201cSchwarzwald\u201d. Impressive.<\/p>\n
\"linha\"<\/h5>\n
Reviews:<\/h2>\n
“Signataire de plusieurs albums m\u00e9morables ces derni\u00e8res ann\u00e9es, \u00e0 la t\u00eate de diverses formations, Luis Lopes a le don de convoquer de belles coalitions pour faire exister la musique qu\u2019il a imagin\u00e9e. Ainsi, \u00ab What is When \u00bb avec Adam Lane et Igal Foni en 2009, \u00ab Afterfall \u00bb avec Joe Giardullo, Sei Miguel, Benjamin Duboc et Harvey Sorgen en 2010, le premier opus du pr\u00e9sent Lisbon Berlin Trio en 2011 (tous trois sur Clean Feed), \u00ab Electricity \u00bb et \u00ab Live in Madison \u00bb du Humanization 4tet (sur Ayler en 2010 et 2013, avec Rodrigo Amado et les fr\u00e8res Aaron et Stefan Gonzalez) ou le quartette Big Bold Black Bone \u00ab Clouds Clues \u00bb (Wide Ear Records, 2013, avec Marco von Orelli, Sheldon Suter et Travassos) sont des \u0153uvres abouties et chatoyantes, avec pour d\u00e9nominateur commun un guitariste incisif, orf\u00e8vre de la distorsion, sculpteur d\u2019ambiances sonores aux reliefs roides, \u00e9galement capable d\u2019apart\u00e9s prolixes puisant dans le vocabulaire du jazz comme dans celui du rock. Le trio s\u2019est produit au festival Jazz em Agosto en ao\u00fbt 2014, pour un set privil\u00e9giant les drones muscl\u00e9s, si l\u2019on peut se figurer un tel oxymore. Lopes convie l\u2019auditeur \u00e0 une nouvelle odyss\u00e9e vertigineuse avec \u00ab The Line \u00bb. Les sources d\u2019inspiration des compositions sont \u00e0 trouver dans les sciences physiques, la litt\u00e9rature, la philosophie \u2013 et la musique. Anthony Braxton, Stephen Hawking, Fernando Pessoa, Robert Musil, Jean-Paul Sartre et Albert Camus ont questionn\u00e9 les myst\u00e8res du temps et de l\u2019existence sous diff\u00e9rents angles et selon leurs domaines respectifs, et dont cet album (\u00ab The Line \u00bb ou \u00ab la ligne \u00bb renvoie \u00e0 la repr\u00e9sentation lin\u00e9aire du temps de m\u00eame qu\u2019\u00e0 la remise en cause de cette perception) se veut le reflet. Cela passe par les \u00e9lans du leader, anguleux et inattendus mais toujours lisibles, tel un Eddie Hazel ayant troqu\u00e9 les fumig\u00e8nes contre le scalpel. Cela passe par la com\u00e8te Christian Lillinger (partenaire de Joachim K\u00fchn et Pascal Niggenkemper), batteur flamboyant que l\u2019on qualifierait volontiers d\u2019indomptable si des passages comme Dark Suite (Epilogue) ne r\u00e9v\u00e9laient de s\u00e9rieuses aptitudes \u00e0 la d\u00e9licatesse. Cela passe par la robustesse de Robert Landfermann (qui c\u00f4toie John Scofield sur \u00ab The Trio meets John Scofield \u00bb, Pirouet Records et retrouve Lillinger aux c\u00f4t\u00e9s d\u2019Achim Kaufmann sur \u00ab Gr\u00fcnen : Pith and Twig \u00bb chez Clean Feed, tous deux publi\u00e9s fin 2014). Si sa contrebasse gronde doucement la plupart du temps, elle claque avec v\u00e9h\u00e9mence lorsque la situation l\u2019exige \u2013 on n\u2019irait pas lui chercher noise. Impressionnant alliage de force et de finesse, voici donc une nouvelle et tonifiante r\u00e9ussite \u00e0 l\u2019actif de Luis Lopes et de ses acolytes. \u00a0David Cristol – Improjazz<\/em><\/span><\/p>\n
\u2014<\/p>\n
“El guitarrista portugu\u00e9s\u00a0Luis Lopes<\/strong>\u00a0lanza su segundo trabajo discogr\u00e1fico como l\u00edder del\u00a0Lisbon Berlin Tr\u00edo<\/strong>, es decir,\u00a0Robert Landfermann<\/strong>\u00a0al contrabajo,\u00a0Christian Lillinger<\/strong>\u00a0a la bater\u00eda y el propio\u00a0Luis Lopes<\/strong>\u00a0a la guitarra.\u00a0The Line<\/em>\u00a0<\/em>(Clean Feed, 2014) es un disco bruto y agresivo. Desde la portada se avisa que lo que contiene el disco, para nada pretende ser del agrado de todo el mundo. Un trabajo oscuro. Penetrante. Que a m\u00e1s de uno le puede parecer una locura sin sustancia. OK, toda opini\u00f3n puede respetarse. Pero no la compartir\u00eda. El tr\u00edo, bajo la batuta del guitarrista, juega limpio (aunque parezca una contradicci\u00f3n). No hay desfachatez ni impostura. Los seis cortes del disco son puros. Con gran fuerza po\u00e9tica. Con gran dramatismo y radicalismo. Muy en consonancia con la actitud y musicalidad del\u00a0punk<\/em>. Uno puede perderse y encontrar. O encontrarse y perder la cordura. El disco puede que sea un ejercicio en el que se pone a prueba al que se quiera someter, de igual forma funcionar\u00eda a la inversa. Seis \u00fanicos temas en los que el tr\u00edo nos sumerge en su l\u00fagubre ambiente a trav\u00e9s de \u201cDark Suite (Prologue)\u201d. Minutos en los que poco a poco nos dejamos llevar por el grave sonido del contrabajo, que realmente nos retrotrae a una especie de submundo en el que, aunque es algo cercano a lo terror\u00edfico, uno se siente a gusto. \u201cV\u00e9rtigo\u201d cambia el tempo. El nombre del tema es bien significativo. El tema empieza con melod\u00eda obsesiva hasta entrar de lleno en una improvisaci\u00f3n de\u00a0Luis Lopes<\/strong>\u00a0sobre un ritmo endiablado y esquizofr\u00e9nico de bater\u00eda. \u201cMother Snake\u201d es una absoluta locura de doce minutos en los que la libre improvisaci\u00f3n act\u00faa como tal. Tres ejemplos (de los seis) de lo que nos encontramos en el global del disco. Hay que descubrir el cincuenta por ciento restante.\u00a0La madre serpiente muerde. Nos muerde. Tal vez nos pone a prueba. No es f\u00e1cil llegar a la concentraci\u00f3n necesaria para poder disfrutar en tal torrente de notas agresivamente ejecutadas. Hay que buscar el momento adecuado. Si no se encuentra, mejor olvidarlo. En mi caso personal, entro. Sufro. Me obsesiono. Salgo por momentos cuando hay necesidad de aire. Pero me conozco y vuelvo. Lo necesito.” \u00a0TomaJazz, por Jesus Mateo Rossel\u00f3<\/em><\/a><\/span><\/p>\n
\u2014<\/p>\n
“Neste seu segundo t\u00edtulo, o\u00a0Lisbon Berlin Trio<\/em>\u00a0d\u00e1 um passo al\u00e9m, trazendo um cap\u00edtulo mais inflamado e urgente \u00e0 sua m\u00fasica. O power trio liderado pelo guitarrista portugu\u00eas Luis Lopes (com ele est\u00e3o o baixista Robert Landfermann e o baterista Christian Lillinger, ambos alem\u00e3es) destila uma energia sem retoques, centrada e direta. Pode-se falar em noise, rock, free, improvisa\u00e7\u00e3o: todos esses elementos est\u00e3o presentes, oscilando de uma faixa a outra. O disco abre com uma esp\u00e9cie de introdu\u00e7\u00e3o, mais lenta e pontilh\u00edstica (\u201cDark Suite \u2013 Prologue\u201d), para depois a ruidosidade se espraiar pelas duas pr\u00f3ximas faixas, fechando a sequ\u00eancia com \u201cDark Suite \u2013 Epilogue\u201d. Entre essas duas pontas, est\u00e1 \u201cMother Snake\u201d, que concentra os picos dissonantes do \u00e1lbum, em um resultado que deveria deixar mestre Masayuki Takayanagi bem satisfeito. J\u00e1 \u201cVertigo\u201d busca outro caminho, com o seu circular tema de abertura e encerramento impregnando os sentidos, mostrando tamb\u00e9m a habilidade de Lopes quando decide compor.” \u00a0FreeForm, FreeJazz, por Fabr\u00edcio Vieira<\/a><\/span>\u00a0\u2217\u2217\u2217\u2217(\u2217)<\/span><\/em><\/p>\n
\u2014<\/p>\n
“Masayuki Takayanagi used to encourage his students to have their own guitar trio, seeing it as the definitive ensemble for a guitarist to be able to learn, experiment within and lead.\u00a0 This was the unit that he felt his students could be ambitious with, the trio equally providing the basic elements of melody, harmony and rhythm.\u00a0 Many guitarists enjoy working within a traditional trio format of bass, drums & guitar and there are many great albums that have pushed the boundaries whilst using these instrumental forces.\u00a0 Luis Lopes is no different in this respect and he has previously released two excellent albums using the trio to great effect:\u00a0What is When<\/em>\u00a0with Adam Lane & Igal Foni as well as the first album by the Lisbon Berlin Trio, comprising of Christian Lillinger (drums), Robert Landfermann (bass) & Lopes himself on guitar.
\nSo it was with great excitement and expectant anticipation that I approached this album, especially after the excellent debut, which was a near masterpiece within the genre and complete with the same line-up.
\nThe opener is\u00a0Dark Suite (Prologue)<\/em>\u00a0providing a quiet and gentle, but slightly sinister start to the album with its tentatively bowed double bass, delicate percussion and diminished guitar motives.\u00a0 The feeling of this piece being revisited, altered and expanded further on its sister track\u00a0Dark Suite (Epilogue)<\/em>\u00a0later in the album.\u00a0 At the heart of this album is the thirteen minuteMother Snake<\/em>, a busy, industrious and chaotic sounding piece, which is full of energy during the first half of the track.\u00a0 The second half continues with the noise based material but in a continuous drone based way, discarding the more pointillistic texture of the beginning and creating an over-arching binary form where the two textures both contrast and compliment each other.\u00a0 Unlike the debut where there was a fine balance between the flowing free jazz playing and the forays into free improv,\u00a0The Line<\/em>\u00a0places its emphasis slightly more on the noise-based materials and fragmented free improvisational textures.
\nIt certainly seems that this trio is Luis Lopes\u2019 experimentation unit that forges ahead with the sonic explorations that his other projects might benefit from in a more refined and subtler way.\u00a0 Having said that I much prefer the rough forms and purely creative play that the Lisbon Berlin Trio has to offer over that of his other work.\u00a0 This is at times a demanding album and due to the selection of materials that are worked with it is not as immediate as the debut, but the eventual pay-off is nearly as great.” \u00a0Free jazz Blog\u00a0By Chris Haines<\/a><\/span>\u2217\u2217\u2217\u2217<\/span><\/em><\/p>\n
\u2014<\/p>\n
“Luis Lopes is one of the most exciting, original avant electric guitarists to emerge from the European scene in recent years. His work with the Gonzalez family and on his own (reviewed here and on the Gapplegate Music Blog, type in search boxes for specific reviews) has shown him at the forefront of all-over avant noise-and-note players today.<\/p>\n
Now he comes at us with the (I believe) second recording of his Lisbon Berlin Trio on a recent album called\u00a0The Line\u00a0(Clean Feed 312). It brings Luis together again with two excellent open improv players in Robert Landfermann on acoustic bass and Christian Lillinger on drums. Robert amplifies and at times distorts his bass so that the three make some supercharged free almost-metal sounds.<\/p>\n
This is a 30-some-odd minute EP that goes pretty thoroughly over-the-top with go-for-bust barrages of free sounds. Luis is very amplified and uses all the resources of the overdriven guitar to create a post-Sharrockian landscape of feedback, on- and off-the-string sound colors and dynamic displays of outside virtuosity. Robert seconds him with bowed and pizzicato distortions and harmonics that create a very dense thicket of excitement. Christian is a whirlwind of aggressive sound outside of a set pulse. There are more quiet moments too, which are no less interesting to hear. And the sum total shows us a very creative Lopes who can construct challenging melodically-harmonically out line weaving as well as vivid noise color.<\/p>\n
The three together make an extreme cacophony that is as exhilarating to hear as it is enveloping of all your musical senses.<\/p>\n
A terrific blast of sound! If you revel on the fringes of the outside realm, this one is definitely for you. Excellent! \u00a0Gapplegate Guitar and Bass Blog by Grego Applegate Edwards<\/em><\/a><\/span><\/p>\n
\u2014<\/p>\n
“La pochette de The Line,\u00a0le second album du Lisbon Berlin Trio ne laisse gu\u00e8re de doute quant au contenu. Le power trio du grand guitariste lusitanien Luis Lopes est une chevauch\u00e9e dans des recoins sombres, peupl\u00e9s d’esprits inqui\u00e9tants et frappeurs. C’est tout le sens de ce corps suplici\u00e9 qui tient encore le couteau avec lequel il s’est tranch\u00e9 le cou.
\nAu del\u00e0 de cette limite, perdez toute esp\u00e9rance.
\nLa mise en sc\u00e8ne est morbide et inqui\u00e9tante, mais elle \u00e9voque plus les photos montages des Surr\u00e9alistes que les d\u00e9collements sordides. Le propos suit cette tangeante
\nUne rodomontade, en quelque sorte. Une fa\u00e7on outr\u00e9e d’exprimer un jusqu’au-boutisme de l’\u00e9nergie qui meut cette puissante machine du jazz europ\u00e9en \u00e0 laquelle le label Clean Feed\u00a0est fid\u00e8le. Quelle \u00e9quipe, il faut bien le dire!
\nLe guitariste lusitanien n’est plus \u00e0 pr\u00e9senter dans ces pages…\u00a0Le comparse habituel du saxophoniste Rodrigo Amado, que ce soit dans le trio de ce dernier ou dans le formidable Humanization 4tet\u00a0est l’un des grands ma\u00eetres de l’\u00e9lectricit\u00e9 en Europe ; l’un dont la guitare est un g\u00e9n\u00e9rateur de son tout autant qu’un prolongement hexog\u00e8ne de la main. Le geste est pr\u00e9cis et sec comme peut l’\u00eatre celui de Julien Desprez, mais il ne d\u00e9fait jamais d’un blues acide, m\u00eame sommaire, ce qu’on constate ais\u00e9ment sur un morceau comme “Vertigo”.
\nSur ce morceau, la guitare s’applique \u00e0 ass\u00e9ner un ostinato tr\u00e8s hendrixien suivi de pr\u00e8s par la contrebasse de Robert Landfermann dont chaque corde claque comme une sentence.
\nLisbon Berlin indique deux capitales, un seul axe, celui des cordes qui enjambent les nations. Une base, rythmique mais pas seulement, qui joue la coh\u00e9sion et le coeur palpitant. Les deux allemands Landfermann et le batteur Christian Lillinger jouent ensemble depuis des ann\u00e9es. On les retrouve avec Leimgruber par exemple, ou dans le Grund\u00a0de Christian Lillinger, qui sortit il y a quelques ann\u00e9es un disque, \u00e9galement chez Clean Feed.
\nLillinger n’est pas un inconnu des lecteurs de Sun Ship. On retrouve notamment ce dernier avec Ronny Graupe ou le Vision 7\u00a0de Pascal Niggenkemper o\u00f9 il faisait montre d’une grande sensibilit\u00e9 qui se transforme ici en une attention de chaque instant.
\nThe Line est un disque qui ne laisse pas un instant de r\u00e9pit. Il est b\u00e2ti sur une construction faite de soudaines acc\u00e9l\u00e9rations et de temps plus atones, o\u00f9 parfois seul un bourdonnement vient remplir l’atmosph\u00e8re d’inqui\u00e9tude. C’est tout le sens des deux “Dark Suite”. Le premier album, plus color\u00e9, portait uniquement leur nom. Il avait cette m\u00eame capacit\u00e9 \u00e0 sonder chaque sillon de la masse du silence, chaque repli ou pouvait se planquer un frottement ou un crissement pour en faire une musique de rupture, attentive et nerveuse.
\nMais peut-\u00eatre n’y avait-il pas cette capacit\u00e9 \u00e0 se projeter en avant, cette rage sourde et int\u00e9rieure qui irradie “Mother Snake”, la longue pi\u00e8ce au centre de l’album. Cette pi\u00e8ce ma\u00eetresse qui s’insinue pour prendre toute la place, vorace.
\nAu centre, il y a cette bataille farouche entre les coups de boutoirs de la batterie et cette guitare qui se d\u00e9bat pendant qu’il semble que l’archet a le tranchant d’un couteau de c\u00e9ramique. Comme un serpent tueur, chaque mouvement est calcul\u00e9 et pr\u00e9cis, chaque attaque fait mouche, toute tentative de fuite est une certitude de s’ankyloser encore plus par la dose de venin. Comme le serpent, les ondulations du trio sont d\u00e9l\u00e9t\u00e8res et fascinantes tout \u00e0 la fois.
\nLa\u00a0mithridatisation scelle un sort qu’on imagine finalement enviable, avec ses couleurs tranch\u00e9es et franches aux allures d’hallucination. Le flux est color\u00e9, mais son environnement est sombre, c’est une certitude.
\nCar la for\u00eat dans laquelle le trio cavale est noire, comme cette “Schwarzwald” o\u00f9 la contrebasse ronfle sous les coups d’archets pendant que les cordes exacerb\u00e9es d’\u00e9lectricit\u00e9 de la guitare simulent une rupture \u00e0 chaque mouvement, fut-il infinit\u00e9simal. Au del\u00e0 de cette limite, il reste une esp\u00e9rance. Une lumi\u00e8re au bout d’un chaos savamment \u00e9tudi\u00e9.
\nLa certitude que ce trio ne s’arr\u00eatera pas en si bon chemin !<\/p>\n
Et une photo qui n’a strictement rien \u00e0 voir…” \u00a0Sun Ship Blog pour Franpi Barriaux<\/em><\/a><\/span><\/p>\n
\u2014<\/p>\n
“Another current concern, the Lisbon Berlin Trio,\u00a0however, finds Lillinger in uncompromising form. On\u00a0their sophomore album The Line, the threesome\u00a0gravitate towards the power trio default setting for\u00a0much of the 39-minute live program. Lillinger lays\u00a0down a churning barrage in the company of Portuguese\u00a0guitarist Luis Lopes\u2019 slashing distortions and bassist\u00a0Robert Landfermann\u2019s subterranean growl. \u201cVertigo\u201d\u00a0gives a flavor\u2014Lopes lays down a twisted metal riff\u00a0over busy bass and drums, spinning out variations that\u00a0merge into a barely differentiated wall of noise. But the\u00a0band does have something to say when they eschew\u00a0the heavy industry. The most captivating sections come\u00a0either in the build-up or wind-down. On the\u00a0introductory \u201cDark Suite (Prologue)\u201d Landfermann\u00a0conjures a menacing arco drone in tandem with\u00a0Lillinger\u2019s mysterious rustling and Lopes\u2019 chiming\u00a0guitar, which nonetheless creates a lovely mood.\u00a0Similarly, on the loose-limbed \u201cDark Suite (Epilogue)\u201d,\u00a0Landfermann\u2019s keening high register takes on an\u00a0attractive vocalized expressiveness while Lillinger\u00a0explores timbre and color with a litany of crackles and\u00a0rattles. Such episodes suggest there may be lots more\u00a0fertile ground for the trio to probe in the future once\u00a0they get the catharsis out of the way.” \u00a0New York City Jazz by John Sharpe<\/em><\/span><\/p>\n
\u2014<\/p>\n
“Was Lissabon volgens ooggetuigen anderhalf decennium geleden nog een kale woestenij wat jazz en ge\u00efmproviseerde muziek betreft, dan is de stad dezer dagen een van de boeiendste Europese steden voor dergelijke muziek, samen met Londen en Berlijn. Een van de vele boeiende muzikanten die er momenteel het mooie weer maken, is gitarist Lu\u00eds Lopes, die in navolging van o.m. Rodrigo Amado steeds intenser en frequenter gaat samenwerken met binnen- en buitenlandse collega\u2019s.<\/strong><\/p>\n
Lopes\u2019 recentste plaat laat hem samen met het Lisbon Berlin Trio horen, waarmee hij in 2011 al een titelloze plaat uitbracht bij Clean Feed. In het voorjaar van 2014 kwam hij nog eens samen met de jonge Duitsers Robert Landfermann (bas) en Christian Lillinger (drums) om de plaat in te blikken. Bij dit trio laat hij, net als bij zijn\u00a0Humanization Quartet<\/a>, horen dat hij geen zuivere jazzmuzikant is. Lopes is perfect in staat om jazzy licks uit de oude doos af te haspelen, maar is duidelijk ook be\u00efnvloed door een generatie van noise-, rock- en\u00a0skronk<\/em>-gitaristen. Meer nog dan bij het kwartet kan hij hier dan ook helemaal uitpakken met een grillig kluwen van gegier, snarengegesel en knopjesdraaierij.<\/p>\n
The Line<\/em>\u00a0klinkt dan ook net iets agressiever en lawaaieriger dan zijn voorganger, ook al zet \u201cDark Suite (Prologue)\u201d je aanvankelijk misschien op het verkeerde been. Samen met de epiloog wordt immers vooral aan sfeeropbouw gedaan, met ge\u00efsoleerde, cleane gitaarnoten, voorzichtig gewrijf en geschuifel van Lillinger en een donker brommende en krakende bas, die vooral met de strijkstok bespeeld (en hier en daar misschien mishandeld) wordt. De twee stukken die verstopt zitten tussen die desolate horror laten een heel andere stijl horen: ongedurig en elektrisch knetterend, meer Sonny Sharrock en Thurston Moore, of de Japanse school van Takayanagi\/Yoshihide, dan John Scofield en Pat Metheny.<\/p>\n
\u201cVertigo\u201d zoekt het tussen heavy rock en loodware improvisatie, met een monsterlijk vervormde contrabas en een processiegang die gaandeweg ruimte maakt voor vrijer verkeer met een kletterend spel van Lillinger, die er enorm vinnig op los roffelt, eerder op snelheid en souplesse dan op kracht en geweld. Dit is dus geen doorsnee gitaartrio, met Lopes die hier en daar klinkt als een verwant van Nels Cline in Banyan. Het kloeke \u201cMother Snake\u201d is het sleutelstuk en een imponerende oplawaai van piepend en gierend gitaarspel dat uitgespeeld wordt tegen de betonmolenbas en de roffelfanfare van Lillinger. Merkwaardig genoeg slaat het iets na de helft helemaal om in een monotoon geschuur dat in de lijn ligt van Lopes\u2019 soloplaat\u00a0Noise Solo At ZDB Lisbon<\/em><\/a>: het gaat mechanisch grommen, zeuren en zelfs daveren. Een indrukwekkend intens hoorspel.<\/p>\n
De vierdelige suite krijgt dan nog een vervolg in twee bijkomende stukken: de titeltrack schiet voortdurend in spastische stuiptrekkingen, terwijl het wat minder volgestouwde \u201cSchwarzwald\u201d grilliger is, met grotere intervallen en aan\/uit-dynamiek. Een merkwaardig einde voor een plaat die de ingeslagen weg van zijn voorganger verder verkent, maar dan met extremere pieken en een compactere duur. Het samenspel is tegelijkertijd provocerend en energiek, maar vormt ook een samenhangend front om tegen te pletter te slaan. Live moet dit aankomen als een handgranaat die ontploft in je gezicht. Verdomd opwindend.<\/p>\n
Voor wie honger heeft naar meer, nog een paar recente releases waarop Lopes te horen was:” \u00a0Guy Peters – Enola Magazine<\/span><\/em><\/p>\n
\u2014<\/p>\n
“Da vasta produ\u00e7\u00e3o musical de Lu\u00eds Lopes tem-se destacado especialmente o trabalho ao leme do Humanization Quartet \u2014 com Rodrigo Amado e os irm\u00e3os Stefan e Aaron Gonz\u00e1lez. Paralelamente, o guitarrista lisboeta tem investido em muitos outros projectos, como \u00e9 o caso do seu trabalho a solo, o trio com Adam Lane e Igal Foni (que gravou\u00a0What is When<\/em>), o quinteto AfterFall (com Sei Miguel, Joe Giardullo, Benjamim Duboc e Harvey Sorgen), ou este Lisbon Berlin Trio, que amea\u00e7a agora tornar-se um caso s\u00e9rio na sua discografia.<\/p>\n
Na companhia de Robert Landfermann (contrabaixo) e Christian Lillinger (bateria), Lu\u00eds Lopes encontra neste contexto um espa\u00e7o amplo para expor a sua guitarra expansiva. Naquele que \u00e9 o segundo disco deste trio transeuropeu, Lopes volta a exibir uma linguagem que incorpora m\u00faltiplos recursos: o disco arranca num ambiente tranquilo, quase atmosf\u00e9rico; segue-se uma composi\u00e7\u00e3o forte e bem estruturada, com notas claras; para depois surgir uma guitarra suja, a despejar fa\u00edscas. Nunca se repetindo, guitarra, contrabaixo e bateria exploram uma imensa variedade de ideias e, apesar dessa diversidade, mant\u00eam uma coer\u00eancia invis\u00edvel: um permanente esp\u00edrito rock a conduzir toda a m\u00fasica.<\/p>\n
Christian Lillinger \u00e9 um extraordin\u00e1rio jovem baterista, imaginativo e de uma expressividade exuberante. Mais discreto, Robert Landfermann cumpre no contrabaixo com toda a efici\u00eancia, sem nunca se esconder: ora embala com o arco, ora desafia a for\u00e7a da guitarra com a energia do pedal de efeitos. Com este segundo disco, Lopes mostra que a liga\u00e7\u00e3o com Landfermann e Lillinger n\u00e3o se trata apenas de um\u00a0flirt<\/em>\u00a0ocasional, tendo j\u00e1 evolu\u00eddo para uma rela\u00e7\u00e3o s\u00e9ria. E ainda bem, pois talvez seja este trio o ve\u00edculo onde o guitarrista melhor exprime a sua vasta amplitude s\u00f3nica.” \u00a0Jornal P\u00fablico, Nuno Catarino<\/span> \u2217\u2217\u2217\u2217<\/span><\/em><\/p>\n
\u2014<\/p>\n
“Guitarist\u00a0Luis Lopes\u00a0posted the following quote on his Facebook page, “art should comfort the disturbed and disturb the comfortable.” With that as his mission statement, the question arises: can one listen to his music with a sympathetic ear? Or more importantly, is discomfort the motivation and ultimately the goal?<\/p>\n
Lopes’ approach, like that of\u00a0Derek Bailey\u00a0and\u00a0Sonny Sharrock, is a sort of unbalancing take on the electric guitar. Like Bailey, he has written a new language (his own) for playing, and like Sharrock he can conjure tidal waves of noise. This is on display in solo performances and with his Humanization 4tet with\u00a0Rodrigo Amado, Afterfall with Joe Giardullo and in trio with Adam Lane.<\/p>\n
With his Lisbon Berlin Trio of bassist Robert Landfermann and drummer Christian Lillinger, he can realize a vision of jazz that ties together noise, rocked-out time sequences, and free improvisation. This disc follows their self-titled 2011 Clean Feed debut.<\/p>\n
From their inception, this band applies unease with collective aplomb.\u00a0The Line<\/em>\u00a0opens with the dirge-like bowing of Landfermann’s bass and the scratching of cymbals. This “Dark Suite (Prologue)” forewarns of a rough road ahead. Next comes the footslog opening to “Vertigo” that transmogrifies into a rock-laden surge of energy. The thunder of Landfermann’s bass is the background for a Lopes\/Lillinger duel on “Mother Snake,” that heightens with each melodic change. The music has a premonition it may implode (maybe explode) at any moment. The edge this trio develops is unmistakable and intoxicating. Disturbing here is good, or maybe this music comforts?” \u00a0Mark Corroto All About Jazz New York<\/em><\/span><\/p>\n
\u2014<\/p>\n
“Gitaristen Luis Lopes er en av de ledende, moderne jazzmusikerne fra Portugal. De senere \u00e5rene har han spilt med folk som Rodrigo Amado (som spiller p\u00e5 \u00e5rets Vossa Jazz i Norge), Sei Miguel, Stefan Gonz\u00e1lez, Adam Lane og Igal Foni, for den som er godt inne i den portugisiske musikken. Han er ogs\u00e5 en viktig stemme innenfor noise og og fritt improviserte musikken i hjemlandet.<\/p>\n
I hans Lisbon Berlin Trio m\u00f8ter vi han sammen med bassisten Robert Landfermann og trommeslageren Christian Lillinger, begge sterke stemmer i den Berlinske jazzen.<\/p>\n
Mesteparten av musikken er gjort av Lopes, mens tredjel\u00e5ta \u00abMother Snake\u00bb og sistel\u00e5ta \u00abSchwarzwald\u00bb er gjort av de tre i fellesskap.<\/p>\n
Luis Lopes er en gitarist i tradisjonen til Jimi Hendrix. En tradisjon han langt fra er det eneste som f\u00f8lger n\u00e5 om dagen. Mange av de unge gitaristene i Norden f\u00f8lger ogs\u00e5 denne tradisjonen, noe som gj\u00f8r at det er umulig \u00e5 h\u00f8re at Lopes kommer fra Lisboa. Han kunne like gjerne v\u00e6rt fra Humleb\u00e6k, Skj\u00f6vde eller Spjelkavik.<\/p>\n
Men han er en god gitarist, og musikken hans ligger mye n\u00e6rmere rocken enn Django Reinhardt, for \u00e5 si det litt fl\u00e5sete.<\/p>\n
Jeg f\u00e5r litt f\u00f8lelsen av Vernon Reid og bandet Living Color i de to f\u00f8rste l\u00e5tene \u00abDark Suite (Prologue)\u00bb og \u00abVertigo\u00bb, f\u00f8r frijazzen og noisemusikken overtar i tredjel\u00e5ta \u00abMother Snake\u00bb. Her viser han for alvor at han ogs\u00e5 mestrer denne typen av fritt improvisert musikk.<\/p>\n
B\u00e5de Landfermann og Lillinger er helt med p\u00e5 Lopes\u2019 krumspring, og s\u00e6rlig Lillinger h\u00f8res ut som han trives i det frie landskapet.<\/p>\n
I \u00abDark Suite (Epilogue)\u00bb tar de det helt ned, selv om det h\u00f8res ut som Lillinger ikke helt har f\u00e5tt det med seg i starten. Her f\u00e5r jeg nesten en f\u00f8lelse av Terje Rypdal Trios legendariske l\u00e5t \u00ab\u00d8rnen\u00bb. Det er melodi\u00f8st og vakkert i starten, f\u00f8r de lar det hele mer eller mindre oppl\u00f8ses. Interessant og finurlig l\u00f8sning.<\/p>\n
Tittelsporet \u00abThe Line\u00bb er tilbake til det fritt improviserte. Hakkende gitar over frittg\u00e5ende bass og trommer. Bassen er litt for lavt mikset, etter min mening, noe som merkes godt i denne l\u00e5ta. Men de tre er helt p\u00e5 linje og kommuniserer bra b\u00e5de her og i de andre l\u00e5tene.<\/p>\n
Platen avsluttes med trioens \u00abSchwarzwald\u00bb, nok en relativt frittg\u00e5ende sak. N\u00e5 har jeg aldri v\u00e6rt i Schwarzwald i Syd-Tyskland, men hvis denne l\u00e5ta pr\u00f8ver \u00e5 beskrive landskapet, folket eller omr\u00e5det, s\u00e5 tror jeg ikke det st\u00e5r \u00f8verst p\u00e5 min sommerferieliste de kommende \u00e5rene. Lopes gitarteknikk, s\u00e6rlig i de frieste l\u00f8pene, blir kanskje litt ensformige etter en stund. Han bruker p\u00e5 mange m\u00e5ter den samme teknikken hele veien, med raske korte partier og urymisk, men kreativt pausebruk. I de l\u00e5tene hvor han lar rocken rulle, s\u00e5 f\u00f8ler jeg at det sitter mer.<\/p>\n
En trio som mer enn gjerne kan f\u00e5 spillejobb p\u00e5 for eksempel All Ears-festivalen i Oslo. Der hadde de passet perfekt inn.<\/p>\n
En spennende plate, som dessverre blir litt for ensformig p\u00e5 noen av sporene, men interessant \u00e5 h\u00f8re at slik musikk ogs\u00e5 lages i Portugal.” \u00a0SALT PEANUTS by Jan Granlie<\/em><\/span><\/p>\n
\u2014<\/p>\n
“Landfermann\/Lillinger forts\u00e4tter att leverera p\u00e5 skivan The Line. Den tredje medlemmen, och ledaren i Berlin Lisbon Trio, \u00e4r som sagt portugisen Lu\u00eds Lopes p\u00e5 elgitarr och nu \u00e4r det helt annan musik det \u00e4r tal om. Vi f\u00e5r distad elgitarr, distad kontrabas, mer rock, mer ov\u00e4sen och mindre dynamik. L\u00e4ttheten som fanns i trion med Kaufmann \u00e4r som bortbl\u00e5st och \u00e5terfinnes endast i Lillingers mjukh\u00e5rda touch. Lopes har ett gammalt tr\u00f6ttsamt rock\/fusion-sound som mest maler p\u00e5. Han tar lite f\u00f6r stor plats och saknar den d\u00e4r riktiga fingertoppsk\u00e4nslan. Tur att han har ett s\u00e5 f\u00f6rbaskat bra \u201dkomp\u201d, f\u00f6r Lopes \u00e4r tyv\u00e4rr den svagaste l\u00e4nken, och som vi alla vet \u00e4r en kedja inte starkare \u00e4n sin svagaste l\u00e4nk. S\u00e5 trots Landfermann\/Lillingers hj\u00e4lteinsatser blir The Line en ostimulerande skiva.” \u00a0sound of music by by Joacim Nyberg<\/em><\/span><\/p>\n
\u2014<\/p>\n
Luis Lopes Lisbon Berlin Trio:\u00a0The Line<\/em>\u00a0(2014, Clean Feed): electric guitarist, plays the feedback as much as the guitar, w\/bass-drums from Grunen [cd]:\u00a0A- <\/strong><\/span>\u00a0<\/em>(Best Guitar Players 2014: Luis Lopes, Raoul Bjorkenheim, Anders Nilsson) \u00a0Tom Hull<\/em><\/span><\/p>\n
\u00a0\"linha\"<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":416,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-470","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=470"}],"version-history":[{"count":43,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/470\/revisions"}],"predecessor-version":[{"id":2007,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/470\/revisions\/2007"}],"up":[{"embeddable":true,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/416"}],"wp:attachment":[{"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}