Tag Archives: Lokomotiv

All About Jazz Italy review by Vittorio Lo Conte

Carlos Barretto – Labirintos (CF 179)
Valutazione: 4 stelle
La casa discografica portoghese Clean Feed ha ormai acquisito un importante ruolo nella promozione della musica jazz d’avanguardia in Europa, affiancando alle incisioni di musicisti americani ed europeni anche numerosi titoli di musicisti lusitani. Nel caso di Labirintos si tratta del contrabbassista Carlos Barretto e del suo trio Lokomotiv. L’ultima loro incisione (con l’ospite speciale Francois Corneloup) si intitolava proprio Lokomotiv e risale al 2003. Per il nuovo lavoro hanno scelto di andare in studio soltanto come trio.
Si tratta quindi di un gruppo rodato, che negli hanni ha avuto modo di mettere a punto un proprio modo di fare musica, basato su un’intrpretazione “moderata” dell’avanguardia. Ma è chiaro che un trio in cui la chitarra ha un ruolo importante non potesse fare ricorso a qualche sonorità un po’ rock, mettendo insieme lirismo espressivo e momenti piú aggressivi, come si conviene a chi ha così ampie qualità tecniche. Anche il batterista ha un suo ruolo ben preciso, con ritmi spezzati che danno le direzioni più disparate, a sorprendere le aspettative di chi si introduce nei labirinti cui fa riferimento il titolo.

È tuttavvia la loro coerenza, frutto della lunga frequentazione, fa sì che il disco si presenti molto preciso, intenso, abile a creare persorsi inestricabili ed a trovarne la via di uscita divertendo e divertendosi a sua volta.

Time Out Lisboa review by Jose Carlos Fernandes

Carlos Barretto – Labirintos (Clean Feed)

Com os constrangimentos orçamentais a congelar por tempo indeterminado as ligações por TGV Porto-Vigo e Porto-Lisboa e com muitas linhas convencionais em estado comatoso, o futuro da ferrovia nacional está nas mãos de Lokomotiv, o trio liderado pelo contrabaixista Carlos Barretto.

O grupo tinha um desafio sério para resolver: as expectativas criadas pelos dois discos anteriores, Radio Song (2002) e Lokomotiv (2003), eram muito altas. Para mais, poderia atribuir-se parte do mérito destes notáveis registos à participação de dois “colossos” do jazz moderno: o clarinetista Louis Sclavis em Radio Song e o saxofonista barítono François Cornneloup em Lokomotiv.

Em Labirintos o trio apresenta-se sem reforços, mas não se sente a falta de ninguém. A guitarra de Mário Delgado está cada vez mais inventiva e ousada, a bateria de José Salgueiro alia solidez e versatilidade, Barretto ganhou desenvoltura nos solos e no uso do arco, mostrando que o trio aproveitou bem os sete anos transcorridos desde o último registo.

Em “Triklo Five” o contrabaixo e a bateria urdem um groove poderoso e saltitante, sobre o qual Mário Delgado, em registo cyborg, constrói um solo electrizante. Após um introspectivo interlúdio para contrabaixo solo (“Não sei quê”), a energia e os pedais de efeitos de Delgado voltam a impôr-se no tema-título, que deve muito mais aos King Crimson do que a Coleman Hawkins. As influências do rock progressivo e do jazz-rock dominam ainda “Tutti per Capita” e “Makambira”, esta última com Delgado a pincelar o fundo com efeitos atmosféricos que evocam Robert Fripp.

Os fãs do soft jazz poderão reclamar das sacudidelas e dos arranques bruscos, mas não há como negá-lo: o jazz dá o melhor de si quando sai dos carris.

Gapplegate guitar and bass blog review by Grego Edwards

A New One From Carlos Barretto Lokomotiv

Carlos Barretto Lokomotiv – Labirintos (CF 179)
The Carlos Barretto Lokomotiv is a modern-day Portuguese equivalent of the old Gateway Trio, meaning that the music is ambient, electric, freely played, with a rock component and plenty of improvising. Their new album Labirintos (Clean Feed 179) showcases their music with recorded brilliance and it engages from beginning to end. The compositional vehicles are solid and interesting, all penned by Mr. Barretto, with the exception of one collective improvisation. They help create the mood and tone of the set, which is forward moving and gutsy or, alternately, more reflective and seeking a sheer sensuality of tone.

Carlos plays a very nimble and tasteful acoustic bass and heads the outfit. He is one that can bow with grace and good tone and his pizzicato solos are right on the money. Mario Delgado plays in a modern sounding electric guitar style, with good use of space and the ability to make musical statements that bear up under continual listening. He can rock or string together a solo of a freer-er sort without recourse to cliches. Drummer Jose Salgueiro swings, rocks and freetimes his way through the set with sophistication as well as push.

Here is yet another example of a very good group on the Portuguese scene. Thanks in great part to Clean Feed, we get a gradually unfolding picture of a musical center, not in any way a backwater, but rather a home for a vital group of improvisers. And Lokomotiv is right up there with the best of them.

Stash Dauber review by the Stash Dauber Part 2

A bunch more good jazz (or whatevah) records
Back to the Clean Feed stack…

Eric Boeren – Song for Tracy the Turtle Live at Jazz Brugge 2004 (CF 186)
Dutch cornetist Eric Boeren’s Song for Tracy the Turtle – Live at Jazz Brugge 2004 is a disc that fairly wallows in its Ornettitude, and that’s a good thing. You have to go back to Old and New Dreams to find a band as imbued with the spirit of the pre-Dancing In Your Head Coleman units as Boeren’s 4tet. Not only do they cover four, count ’em, _four_ classic-but-not-overdone O.C. compositions (“Mr. and Mrs. People,” “Free,” “Moon Inhabitants,” and “The Legend of Bebop”), they also essay Ornettish originals, replete with hummable, bluesy unison heads, like “A Fuzzphony” and “Soft Nose.” Boeren individuates most when he blows a muted horn, while Michael Moore shines on both alto and Eb clarinet. Departures include the amorphously open-ended title track (which kicks off the set), and the lovely laments “Memo” and “Memories of You” (the latter a Eubie Blake composition, of all things). I’ll also admit to being a sucker for CDs with pictures of turtles on the cover, especially when executed as exquisitely as Clean Feed’s sleeves always are.

TGB – Evil Things (CF 181)
Perhaps recent listens to Bob Stewart with Arthur Blythe’s ’70s “tuba band” put me in a receptive mood to hear Evil Things by TGB, a tuba-guitar-drums power trio (I do believe the acronym stands for the Portuguese spellings of the instruments’ names). On tuba, Sergio Carolino is an agile soloist; at times, listening to his rides is an experience akin to watching a portly man doing handsprings and cartwheels. Guitarist Mario Delgado is equally splendid on acoustic, electric, dobro, and fretless instruments (dig his taffy-pull long tones on the latter instrument on the curiously bluesy “George Harrison”). His range is represented by the material the trio covers, which ranges from proto-metal (Black Sabbath’s “Planet Caravan” and Deep Purple’s “The Mule,” which serves as a segue out of whirlwind drummer Alexandre Frazao’s solo on “Nameloc”) to country-jazz (Hank Garland’s vehicle “Close Your Eyes” starts out as a tango before erupting into surf-ska frenzy). The program runs the gamut from Gateway Trio-style exploration to Red-era King Crimson menace (there’s even a little grindcore Cookie Monster vocalismo from Paulo Ramos on “Aleister Crowley”). A stunning surprise.

Carlos Bica – Matéria Prima (CF 180)
Delgado’s also a key element on two bassplayer-led sessions. On Labirinto, Dave Hollandesque bassist-composer Carlos Barretto leads a trio, Lokomotiv, with the guitarist and drummer Jose Salgueiro. Delgado explores more tones and textures than the average guitar-slinger would think to in the course of a single session, reinforcing the impression of himself as a European Nels Cline, while the trio reminds you of everything you liked about fusion and ECM back in the ’70s. Leader Barretto’s arco work is particularly gorgeous. Carlos Bica’s Materia Prima opens with the surf-blues of “D.C.” — with a riff straight out of Jimi’s “Voodoo Chile” — before settling into a program of very stylish chamber jazz that includes covers of tunes by Marc Ribot (another discernable influence on Delgado) and Ry Cooder. Bica’s own compositions are moody, atmospheric soundscapes that evoke cinematic images, like John Zorn at his best.