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<\/p>\n Lu\u00eds Lopes \u2013 electric guitar 1, 2, 4, 6 recorded 24th<\/sup> September 2007 by Jim Clouse on Park West Studios, Broklyn, New York. 3, 5, 7, 8, 9 recorded 1st<\/sup> July 2008 by Cisco Salgado e Miguel Guia on Som de Lisboa Studios, Lisbon, Portugal.\u00a0 Mixed by Joaquim Monte at Namouche Studios, Lisbon, Portugal, March 2009. Mastered by Luis Delgado. Produced by Lu\u00eds Lopes. Executive production by Trem Azul. Design by Travassos. Photography by Cristina Cortez.<\/p>\n “<\/span>Portuguese guitarist Luis Lopes is joined by Israeli drummer Igal Foni and East Coast bassist Adam Lane on What Is When, another notch in the proliferating subgenre of guitar-based improvised power trios of late, along the lines of Scorch Trio or Adam Caine\u2019s group. The difference here being that Lopes is about as far as one can get from a pyrotechnical guitarist, hanging back with muted, gritty lines and fields of delicate introspection fleshed out by Lane\u2019s throaty pizzicato and a constant burble of activity from Foni\u2019s kit. Linear repetition, bluesy fragments and worrying isolation pepper Lopes\u2019 improvisation on \u201cSpontaneous Combustion,\u201d though despite a sparse aesthetic worldview, by no means is this a \u2018quiet\u2019 trio. \u201cThe Siege\u201d offers one of Lopes\u2019 flitting and quizzical singsong melodies, of the sort so brilliantly fleshed out with saxophonist Rodrigo Amado in the Humanization 4tet. Split off into areas of grungy and electronically-altered arco and punchy rhythms, the tune\u2019s melodic rejoinder is both unifying and perversely off-kilter” \u00a0Clifford Allen\u00a0\/\u00a0All About Jazz New York<\/span><\/p>\n \u2014<\/p>\n \u201cWhat is When\u201d is a rather exceptional guitar trio. Guitarist Luis Lopes is a new one for me and he is a player of great interest. He tends to play on the outside and alternates between a dryly electric and a high impact straight tone. Beefheartian guitarists, Sharrock in his early period and Ulmer in his outer moments are touch points in describing his style, but only as rough approximation, for he has a distinct bag. Adam Lane goes far in making this a formidable lineup. Arco or pizzicato, he makes a strong contribution with his all-over playing attack and keen sense of drama and momentum. The drummer is new to me but is very musical and capable of Free Swing-Rock inflected outness and open-timed assaults with definite taste. The pieces have good variety and nothing comes near to outwearing its welcome. Some could even have been expanded without undue wear and tear on the listening ear. Just a couple of highlights will suffice to give you an idea of the music. Take \u201cThe Siege.\u201d It begins with bass and distorted guitar doing some original sounding, abstract but Rock fused motifs that the drums follow. Then the guitar gets out in a fanfarish, notely way while Lane\u2019s bass blasts a distorted line that has deep resonance and the drums freely rock without a beat or pulse. This is powerful. Now Adam goes it alone with distorted chaos and really digs into it. Then back to the head while Lane flips out! \u201cChiChi Rides the Tiger\u201d has a swinging head with a densely rhythmic, minor bluesy line all participate in, then a funky riff in seven and off to a guitar solo against the riff for the bass and drums. Lopes plays some nice guitar. He\u2019s not big on chops but what he plays is right and conceptually out with Rock overtones and a dry distortion. I\u2019d much rather hear that than just super technique for its own sake. He\u2019s got big ears and plays out in interesting ways\u2014with distorted chords and bends while bass and drums rock out boisterously in seven. The piece signs off with some vintage Hendrix-like feedback. The album concludes dramatically with a blazing Adam Lane in \u201cPerched Upon An Electric Wire.\u201d It\u2019s Lane alone, riveting the listener with a strongly droned bass sawing. It is a stunner of an ending. This is very easy to recommend. What is When is a cornerstone release among the outside guitar trios I\u2019ve heard of late” \u00a0Grego Applegate Edwards \/\u00a0Cadence Magazine review<\/span><\/p>\n \u2014<\/p>\n “<\/span>La Clean Feed si conferma label di riferimento per la musica d\u2019avanguardia. Di solito pubblica lavori di musicisti americani. Ma ci sono diverse, e meritevoli, eccezioni, come il sassofonista Rodrigo Amado e \u2013 in questo caso \u2013 il chitarrista Luis Lopes, che troviamo alla guida di un trio internazionale insieme al contrabbassista statunitense Adam Lane e al batterista israeliano Igal Foni.<\/p>\n I tre mischiano con intelligenza punk, free, freefunk, rock, con l\u2019energia della chitarra prepotentemente in primo piano in un paio di brani. Ma non mancano atmosfere di insolita poesia, in brani come il lungo \u201cCerejeiras,\u201d che procedono sghembi su percorsi che delineano una storia raccontata a bassa voce. \u00c8 uno dergli aspetti del trio, che subito dopo, ad esempio in \u201cThe Siege,\u201d riprende a riversare colate di lava su chi ascolta. Un\u2019energia primordiale, un modo rozzo ed allo stesso tempo raffinato (i brani sono costruiti con logica ed i musicisti conoscono bene i percorsi intrapresi) di interpretare il trio per chitarra e ritmica.<\/p>\n Quel che colpisce di pi\u00f9 \u00e8 che con le loro sonorit\u00e0 distorte sono in grado di raccontare qualcosa, pi\u00f9 innamorati di quello che vogliono dire che del suono in quanto tale. L\u2019avanguardia nelle loro mani acquista un volto familiare, che nelle sue tante sfaccettature ha quel qualcosa di particolare che sveglia il senso uditivo dell\u2019ascoltatore”\u00a0\u00a0\u2217\u2217\u2217\u2217<\/span> (4 stars in f5) \u00a0Vittorio lo conte \/ All About Jazz Italy<\/span><\/p>\n \u2014<\/p>\n “<\/span>It was an honor for me, your humble servant, to be asked to write the liner notes for this album by Luis Lopes, Adam Lane and Igal Foni, a group whose performance I saw in Lisbon, Portugal, two years ago. Here is the text (with thanks to Scott Fields).<\/p>\n \u201cWhat blues, early rock \u2018n\u2019 roll, and punk have in common, the source of their shared strength, is a dominating, unique, and truthful expression of emotions \u2013 sadness, anger, fear \u2014 sometimes in spite of musicians\u2019 limited instrumental skills. These genres have a direct and true authenticity that is often so much more valuable than the cerebral polish that comes out of music schools. This trio taps that true source of music: our human emotions. And despite these three musicians\u2019 obvious skills on their instruments, they strip their music of all unnecessary ornaments, accessories, digressions, tinsel, and decorations. And even if there is a musical structure underpinning the compositions, the performances themselves, steering clear of the cerebral, are stripped to the music\u2019s bare essence. The brain and instrumental technique are not switched off; they are bypassed.<\/p>\n You still get the sophistication of jazz, rhythmic complexities, complex scales and harmony, yet deliberately working outside those elements at the same time. But they stick to their unique vision: raw, true and authentic music. Real music. These three young jazz musicians play, despite the obvious jazz form of the music, blues, rock \u2018n\u2019 roll and punk at heart, with a touch of menacing darkness at times.<\/p>\n Portuguese guitarist Luis Lopes is an absolute master of finding the right note, of finding the right pace, a rare quality among guitarists these days. He is not into pyrotechnics. Better still, he seems averse to flash. It\u2019s all about the music. The tone of his instrument is deep, sometimes slightly distorted, with limited sustain, leading to a dirty sound that softens to gentle and clean in the more lyrical moments.<\/p>\n Adam Lane is, as well as an excellent composer, a wonderful and versatile bassist. And although his electronically amplified bass can bring him into uncharted regions, his tone and compositions always carry that bluesy feeling.<\/p>\n Israeli drummer and former \u201cgenius goalkeeper\u201d Igal Foni is less known. He has already recorded with Michael Attias and Avram Fefer, yet he clearly deserves wider attention. He is the perfect percussionist for this trio\u2019s musical vision: subtle when needed, wild by nature, and creative at all times. He doesn\u2019t restrict himself to his drum kit; in his eyes anything that can be beaten is an instrument.<\/p>\n The album will take the listener on a journey through diverse territory, starting with the odd-metered, changing repetitive phrasing of \u201cEvolution Motive,\u201d over the beautiful and slow \u201cCerejeiras\u201d (again, listen to how few notes Lopes needs to tell his story), along the weird oddity of \u201cEufoni,\u201d on which Lopes and Foni exchange instruments (which luckily doesn\u2019t last too long), over the rockish \u201cThe Siege,\u201d into avant realms with \u201cStreet Clown,\u201d an improvised piece driven by Lane\u2019s bass, with Lopes playing little notes \u00e0 la Joe Morris, yet more controlled, along the slow and bluesy \u201cMelodic 8,\u201d (penned by Lane), which Lopes joins by playing one note every five seconds before” \u00a0\u2217\u2217\u2217\u22171\/2<\/span>\u00a0(in 5)\u00a0 Stef\u00a0\/ Free Jazz review<\/span><\/p>\n \u2014<\/p>\n “<\/span>Evolution Motive n\u00e9st pas pour rien d\u00e9di\u00e9 \u00e0 Sonny Sharrock (ce m\u00eame theme est aussi d\u00e9di\u00e9 \u00e0 Darwin mais cela d\u00e9passe de loin mes competences). Il y a dans le jeu compact et charnu du portugais quelque chose qui se raproche de l\u00e1mericain. Mais le balayage est moins stup\u00e9fiant, le folie moins furieuse, moins spatiale. Il y a chez le guitariste portugais et son \u00e9patant trio (Adam Lane, ma\u00eetre en distorsion et archet rev\u00eache; Igal Foni, expert en figures pleines et continues) quelque chose qui renvoie aussi \u00e0 Hendrix, \u00e0 Bailey et \u00e0 la revenante Monette Sudler. Quelque chose qui s\u2019ent\u00eate \u00e0 se d\u00e9barrasser des phrases touts faits et \u00e0 faire. Le jeu de Lu\u00eds Lopes aime ainsi \u00e0 passer el repasser par les m\u00eames cases (Chichi Rides the Tiger), le tout sans obsession mais avec une rare \u00e9conomie de gest (l\u00e1uditeur ser\u00e1 ainsi invit\u00e9 \u00e0 se poser la question du pourquoi de l\u00b4\u00e9clatement d\u00eas solos du guitarriste). Amis soniques de la premi\u00e8re heure, ce disque est pour vous” \u00a0Improjazz<\/span><\/p>\n \u2014<\/p>\n “<\/span>Portuguese guitarist Lu\u00eds Lopes came to some listeners\u2019 attention on last year\u2019s Humanization Quartet release. With a highly quirky style\u00ad \u2013 small squiggly lines, elastic phrasing beyond or behind bar lines, and an occasional mischievous noisiness \u2013 he struck me right away as an original. This powerful trio date confirms that and then some. He\u2019s got a Blood Ulmer thing happening in a big way, specifically the Blood Ulmer of Revealing<\/em>, as he cuts against the fertile counterlines of bassist Adam Lane and drummer Igal Foni. But he remains very much his own man, and I love his idiosyncrasies, especially his weird habit of doing little rubbery spasms, like his guitar is spring-loaded. I hear more attention to dynamics on this release, as on the twitchy \u201cEvolution Motive\u201d and the rousing \u201cSpontaneous Combustion.\u201d There\u2019s also considerable sonic range, as when Foni and Lopes trade instruments on the brief, computery-sounding hiccup \u201cEufoni\u201d before the trio roars into the distorted majesty of \u201cthe Siege.\u201d More of this with tiny noises from tiny toys on \u201cStreet Clown Girl,\u201d which lurches forward, as Lopes moves from delicate pick-taps near the pickups to spidery lateral movements. There\u2019s also some serious soulfulness, and I attribute a lot of this to Lane, whose playing on \u201cMelodic 8\u201d recalls the great Fred Hopkins, and who is key to the resolute ballad \u201cCerejeiras,\u201d where the dark clouds from his distinctive and exquisitely controlled arco set the table wonderfully. Foni is a fantastic, varying timbre as often as he does tempo, a trait that works well with Lopes, whose furtive gestures sometimes avoid pulse; elsewhere, as on the exultant reading of Lane\u2019s \u201cChiChi Rides The Tiger,\u201d the drummer digs in energetically” \u00a0Jason Bivins \/ Signal To Noise<\/span><\/p>\n \u2014<\/p>\n “<\/span>Portuguese guitarist Luis Lopes defies rigid classifications due to his rather unconventional mode of execution witnessed on this persuasive trio date, featuring American rising star bassist\/composer Adam Lane and rock solid, Israeli drummer Igal Foni. It\u2019s a mesmeric gala, brimming with circular themes, and fractured movements.<\/p>\n The guitarist\u2019s patchy voicings ride atop the rhythm section\u2019s bustling cadences, where the band instills a sense of perpetual motion. Here, Lopes dissects and interlinks concise patterns into a semi-structured program, in concert with tangible motifs and the musicians\u2019 ardent improvisational maneuvers. Lopes is a stylist and uses closed-hand tapping techniques while putting matters into overdrive via his cross boundary exercises. He merges free, jazz-rock with dynamic, hard-core experimentalism.<\/p>\n On \u201cCerejeiras,\u201d the trio conveys temperance with a sinister backdrop, accentuated by Lane\u2019s creaky, arco-based notes and Lopes\u2019 diminutive phrasings. But they kick up a storm during aptly titled, \u201cThe Siege,\u201d as Foni offers a tumultuous undercurrent. Then Lane stretches with his airy and pensive solo on \u201cMelodic 8.\u201d In other regions of sound, they launch booming unison ostinatos and venture towards off-kilter metrics, occasionally abetted by Lopes\u2019 haze of progressive-metal like, crunch chords and odd tunings.<\/p>\n The trio casts an abundance of tantalizing propositions throughout this veritably, exciting album, and shun the paths frequently travelled. Each piece stands on its own, and it this point in time, I sincerely hope the unit records again. Marked by diametrically opposed angles and odd-metered song-forms, the artists maintain a keenly identifiable, group-centric methodology” \u00a0Glenn Astarita\u00a0\/\u00a0Jazz Review<\/span><\/p>\n \u2014<\/p>\n “<\/span>In questo recente gruppo di uscite troviamo per esempio un trio chitarra-basso-batteria formato dal portoghese Lu\u00eds Lopes, dall\u2019americano Adam Lane e dall\u2019israeliano Igal Foni, nel quale il materiale di base \u00e8 fornito dalle composizioni dei primi due su cui si struttura un\u2019improvvisazione decisamente irruenta” \u00a0Alessandro Achilli\u00a0\/\u00a0Music Jazz Review<\/span><\/p>\n \u2014<\/p>\n “<\/span>De Lu\u00eds Lopes j\u00e1 recentemente nos tinha chegado o Humanization Quartet, com Rodrigo Amado e os manos Gonzalez na sec\u00e7\u00e3o r\u00edtmica \u2013 um dos pontos altos do ano passado para o jazz portugu\u00eas. De Adam Lane conhecemos os trabalhos na Clean Feed, particularmente a sua en\u00e9rgica participa\u00e7\u00e3o no j\u00e1 ic\u00f3nico \u201c4 Corners\u201d. Os dois juntam-se ao baterista Igal Foni para uma m\u00fasica que, apesar da evidente natureza jazz\u00edstica, se vai desenhando rugosa, pouco \u201cstraight\u201d, pouco \u201cclean\u201d. E se a guitarra de Lopes n\u00e3o \u00e9 conservadora (nem o \u00e9 o seu fraseado), Adam Lane \u00e9 ainda menos convencional: com a amplifica\u00e7\u00e3o em excesso, consegue transformar o seu contrabaixo num instrumento ao servi\u00e7o do rock pesado. Entre composi\u00e7\u00f5es de Lopes \u2013 destaque para o tema inaugural \u201cEvolution Motive (For Charles Darwin & Sonny Sharrock)\u201d -, de Lane (com mais um comeback<\/em> da \u00f3ptima \u201cChiChi Rides the Tiger\u201d) e as improvisa\u00e7\u00f5es livres em trio, este \u00e9 um disco pouco habitual. H\u00e1 um esp\u00edrito rock que assombra (positivamente) o disco, numa irrever\u00eancia que puxa a m\u00fasica bem para l\u00e1 do tradicional c\u00e2none jazz t\u00edpico. O grupo \u00e9 no entanto capaz de navegar em extremos opostos, como no tema \u201cCerejeiras\u201d (tema de Lopes, claro) que entra num registo sentimental de quase balada \u2013 e mostra que consegue fazer a guitarra soar l\u00edmpida como nunca. Esta m\u00fasica poder\u00e1, em alguns momentos, ser acusada de ser pouco limada. Essa n\u00e3o ser\u00e1 certamente a maior preocupa\u00e7\u00e3o dos m\u00fasicos, que trataram de investir neste projecto com suor e intensidade” \u00a0Nuno Catarino \/ Jazz.Pt<\/span><\/p>\n \u2014<\/p>\n “<\/span>Guitar, double bass and drums, following the artist\u2019s names order. Lopes thinks intensely to Sonny Sharrock (the dedicatee of the initial track \u201cEvolution Motive\u201d together with Charles Darwin) but also winks to early John Scofield, jarring angularity and a substantial dose of edginess still prevailing on the mass-approved tolerability of a fusion-tinged bluesy style. He\u2019s a rather abstemious soloist after all, paying special attention to the correct placement of notes, not exactly longing for the sanitization of his sullied tone, which is a good thing in terms of originality. Lane offers a great performance throughout, the foremost traits being an overdriven bark containing the multi-purpose password for an actual crossing of genres and a grimily involving, arco-generated drone particularly manifest in the nearly elegiac \u201cCerejeiras\u201d and in the closing solo \u201cPerched Upon An Electric Wire\u201d. Israel\u2019s Foni is a surprise, at least to this writer who met him here for the first time. Freely flowing yet adult, constantly conscious about the place to be at every juncture, present at the right moment to unchain the bolder handiwork. A responsive companion for Lopes and Lane\u2019s swapping of blows, a propulsive activity that never deteriorates” \u00a0Massimo Ricci\u00a0\/\u00a0Temporary Fault review<\/span><\/p>\n \u2014<\/p>\n “<\/span>O guitarrista lisboeta Luis Lopes iniciou a sua forma\u00e7\u00e3o musical no Hot Clube de Portugal, mas foi do rock que partiu. Em \u201cWhat is When\u201d faz-se acompanhar de Adam Lane e Igal Foni, o primeiro um contrabaixista e compositor de excel\u00eancia que v\u00ea em Duke Ellington, Karlheinz Stockhausen e Melt Banana as suas maiores influ\u00eancias e o outro um menos conhecido baterista de Israel que lidera os Genious Goalkeeper. A primeira faixa do \u00e1lbum, \u201cEvolution Motive\u201d, funciona quase como um manifesto, com uma dupla dedicat\u00f3ria a Darwin, o te\u00f3rico do evolucionismo, e a Sonny Sharrock, praticamente o \u00fanico guitarrista do per\u00edodo \u00e1ureo do free jazz. \u00c9 como se nos fosse dado um plano de identifica\u00e7\u00e3o formal, normativo e simb\u00f3lico. As refer\u00eancias est\u00e9ticas s\u00e3o muitas, na perspectiva do avant-jazz, mas buscando contactos com os blues el\u00e9ctricos, o punk e at\u00e9 a m\u00fasica contempor\u00e2nea. No tema de abertura, a guitarra entra com um ostinato que vai sendo explorado e desconstru\u00eddo continuamente. Em \u201cSpontaneus Combustion\u201d, Lopes Trabalha com Texturas de car\u00e1cter pontilh\u00edstico, com o contrabaixo a assumir, num tradicional registo em pizzicato, a predomin\u00e2ncia a n\u00edvel do discurso musical, a bateria surgindo apenas com pequenos apontamentos. A estrutura \u00e9 mais pr\u00f3xima da estandardizada e tem um registo de free jazz, com sec\u00e7\u00f5es de exposi\u00e7\u00e3o do tema intercaladas com desconstru\u00e7\u00f5es do mesmo. A coes\u00e3o entre os tr\u00eas elementos \u00e9 evidente e o modo como funciona a n\u00edvel de interactividade entre os instrumentistas confere um car\u00e1cter \u00fanico \u00e0 m\u00fasica. \u201cCerejeiras\u201d arranca com um solo percussivo de m\u00e9trica livre e quebrada, num jeito quase \u201cad libitum\u201d, entrando a guitarra de seguida, com motivos de car\u00e1cter essencialmente tonal-modal, para depois Lane tocar harm\u00f3nicos com o arco segundo t\u00e9cnicas sul ponticello, pouco frequentes no jazz. O contrabaixo caminha para bord\u00f5es cada vez mais dissonantes, explorando os recursos do instrumento. \u201cThe Siege\u201d faz-nos lembrar algo pr\u00f3ximo da m\u00fasica de grupos como Melt Banana, ou mesmo Zu. O n\u00edvel de sofistica\u00e7\u00e3o sobe e se neste tema as conota\u00e7\u00f5es s\u00e3o mistas de punk e free, em \u201cStreet Clown Girl\u201d as influ\u00eancias da m\u00fasica erudita contempor\u00e2nea tornam-se \u00f3bvias. Regra geral, os m\u00fasicos dirigem-se progressivamente para um cl\u00edmax, ao qual sucedem situa\u00e7\u00f5es mais calmas. Em \u201cMelodic 8\u201d come\u00e7a o contrabaixo, com Adam Lane a recorrer a \u201cloops\u201d, depois entra Foni e finalmente Lopes, que ganha predomin\u00e2ncia sol\u00edstica num registo de monodia acompanhada. A n\u00edvel de tens\u00e3o e de forma, h\u00e1 um certo car\u00e1cter de simetria. Em \u201cChichi Rides The Tiger\u201d, j\u00e1 quase um cart\u00e3o de visita do contrabaixista americano, essa tens\u00e3o \u00e9 cumulativa. At\u00e9 estilisticamente, indo de um jazz \u201cold school e \u201cstraight\u201d para algo no cruzamento com o rock. O final \u00e9 um dos pontos altos do CD, com um discurso tenso, profundo e arrojado”\u00a0\u00a0\u2217\u2217\u2217\u2217<\/span> (em 5) \u00a0\u00a0Tiago Morgado \/ jazz.pt<\/span><\/p>\n \u2014<\/p>\n “<\/span>Este power trio une as malhas ins\u00f3litas e as sonoridades avinagradas da guitarra do portugu\u00eas Lu\u00eds Lopes ao vigor do contrabaixo (por vezes com distor\u00e7\u00e3o) do norte-americano Adam Lane e \u00e0 bateria hiperactiva do israelita Igal Foni, que assoma nos lugares e tempos mais inesperados. What Is When cruza a liberdade do jazz com a emo\u00e7\u00e3o \u00e0 flor da pele e rudeza do rock e nunca solidifica em f\u00f3rmulas consabidas. Os pontos altos s\u00e3o \u201cMelodic 8\u201d, planante e hipn\u00f3tico, e \u201cChichi Rides the Tiger\u201d, um tema de Lane que amea\u00e7a converter-se num cl\u00e1ssico e que nesta encarna\u00e7\u00e3o arranca em toada jazz rock e aumenta de temperatura at\u00e9 se incendiar num frenesim sonoro free punk. O CD fecha com \u201cPerched Upon a Electric Wire\u201d, um abrasivo solo de contrabaixo com arco”\u00a0\u2217\u2217\u2217\u2217<\/span> (em 5) \u00a0Jos\u00e9 Carlos Fernandes\u00a0\/\u00a0Time Out Lisboa\u00a0<\/span><\/p>\n \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-666","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/666","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=666"}],"version-history":[{"count":27,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/666\/revisions"}],"predecessor-version":[{"id":2019,"href":"https:\/\/www.luislopes.pt\/index.php?rest_route=\/wp\/v2\/pages\/666\/revisions\/2019"}],"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=666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"cf146-print\"](\"http:\/\/www.luislopes.pt\/wp-content\/uploads\/2014\/11\/cf146-print-300x298.jpg\")
Clean Feed<\/a> 146 cd<\/p>\nPersonnel:<\/h3>\n
\nAdam Lane \u2013 doublebass
\nIgal Foni \u2013 drums<\/p>\nCd track’s:<\/h3>\n\u00a01. Evolution Motive (for Charle Darwin and Sonny Sharrock) \u266b<\/span><\/a>
\n2. Spontaneou Combustion<\/address>\n3. Cerejeiras \u266b<\/span><\/a>
\n4. Eufoni
\n5. The Siege \u266b<\/span><\/a>
\n6. Street Clown Girl
\n7. Melodic 8 \u266b<\/span><\/a>
\n8. ChiChi Rides The Tiger \u266b<\/span><\/a><\/address>\n9. Perched Upon An Electric Wire<\/address>\n\u00a0<\/address>\nRelease information:<\/h3>\n1, 3, 5 by Lu\u00eds Lopes<\/address>\n7, 8, 9 by Adam Lane Copyright 2005, SonicBlissMusic (BMI)<\/address>\n2, 4, 6 by Lu\u00eds Lopes, Adam Lane, Igal Foni<\/address>\n
<\/p>\nReviews:<\/span><\/h2>\n
<\/p>\n