Tag Archives: Luis Lopes

Jazz.pt review by Pedro Sousa

Luís Lopes – Lisbon-Berlin Trio (CF 234)
***1/2 
O álbum começa com sussurros e rangidos da secção rítmica berlinense, criando uma subversão negra típica deste carácter exploratório da nova música experimental e improvisada alemã. É um início prometedor para o que acaba por ser a melhor faixa do álbum. As intervenções crescentes de Luís Lopes acabam por determinar a estética que se segue por diante: este é um disco de jazz com uma forte dose de rock, fazendo a guitarra lembrar-nos, por vezes, incursões de Marc Ribot ou de Makoto Kawabata, em ataques com distorção até toda a música se transformar numa espécie de trash-jazz .

Este desenvolvimento cria uma expectativa que, infelizmente, acaba por se desvanecer. Em parte devido aos temas, que são algo passáveis, por soarem mais a perfeccionismo técnico do que a procura de uma sequência de notas com significado. Lillinger, que é um excelente baterista, comporta-se como um interruptor de electricidade: ou está ligado a 100% e a carregar no pedal ou atira-se para o “near silence”, o que acaba por tornar as faixas num duelo de casmurros em que cada um tenta impor a sua música, com Landferman a aguentar a ponte entre ambos.

Não que tal signifique que seja um mau trabalho, mas é desapontante o facto de haver desenvolvimentos excelentes em várias faixas que acabam sempre por ser cortados ou tornados curtos através das forças individuais.

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All About Jazz Italy review by Roberto Paviglianiti

Luís Lopes – Lisbon Berlin Trio (CF 234)
Valutazione: 3.5 stelle
È un territorio arido e pieno d’insidie quello coltivato da Luís Lopes, vertice alto del Lisbon Berlin trio, realtà completata dal contrabbassita Robert Landfermann e dal batterista Christian Lillinger. Perché i suoni prodotti nel loro album Lisbon Berlin Trio sono spesso dissonanti, taglienti, difficilmente masticabili da chi non ha denti di ascolto ben affilati. Niente melodie dunque, almeno per ciò che riguarda l’evidenza delle cose, mentre sotto la cenere di assoli visionari, come quello di Lopes nell’iniziale “Hang Out With,” si muove qualcosa in maniera compiuta e tangibile, costruita dalla sezione ritmica. Musica spesso frammentaria – in tal senso vedi le note staccate di “Mutant Free 1” – e slegata da qualsiasi definizione plausibile, se non quella della libertà formale estrema, e di una sequenza espressiva che difficilmente rimane ferma su se stessa anche all’interno della medesima traccia. L’album si mantiene in tensione per tutta le sua duranta, non molla mai la presa di uno sviluppo imprevedibile e spesso labirintico, come in “Mutant Free 2” uno dei passaggi più cervellotici della tracklist, in quanto ognuno dei protagonisti instaura con il proprio strumento un rapporto conflittuale e lontano da qualsiasi logica di gruppo.

È cosa buona munirsi di pazienza e della giusta voglia di cercare in profondità la valenza di questo lavoro, dedicato a chi ha il carattere adatto per incamminarsi in un’esperienza a ostacoli, concretamente difficile e insidiosa.
http://italia.allaboutjazz.com/php/article.php?id=7439

Publico review by Nuno Catarino

Ich Bin Ein Berliner
Trio luso-alemão unido pela improvisação.

Luís Lopes – Lisbon Berlin Trio (CF 234)
****
O guitarrista Luís Lopes tem percorrido um percurso vasto, espraiando-se entre múltiplos projectos. Liderando o “Humanizariam 4tet” (com Rodrigo Amado e os irmãos Stefan e Aaron Gonzalez), editou dois discos e foi responsável por um vibrante concerto na edição deste ano do Jazz em Agosto; editou um disco em trio com Adam Lane e Igal Foni (“What is When”); formou o quinteto Afterfall, grupo “allstar” com Sei Miguel, Joe Giardullo, Benjamim Duboc e Harvey Sorgen (com disco homónimo na clean Feed). E entretanto já se apresentou ao vivo com um novo grupo, exclusivamente nacional: “No Changes Quartet”, com Rodrigo Amado, Hernâni Faustino e Gabriel Ferrandini – secção rítmica “emprestada” pelo Red Trio.

A editora Clean Feed, que celebra este ano o seu 10º aniversário acaba de lançar um novo projecto do guitarrista. Lopes regressa ao formato trio, desta vez com a colaboração de dois alemães: Robert Landfermann (contrabaixo) e Christian Lilinger (bateria). O álbum arranca com os três músicos que parecem perdidos, sem referências, procurando um caminho comum, sem GPS. A música avança, vão surgindo ideias, territórios comuns, e cada músico – sem ceder à tentação de um caminho único, óbvio – vai articulando em tempo real soluções de compromisso. É esta a magia da improvisação, que os três instrumentistas confirmam dominar com mestria. A tranquilidade chega ao terceiro tema “Song for M”, composição de Lopes, com o contrabaixo a alinhar numa dança subtil com a linha da guitarra. Já na quinta faixa, “Trip to”,chegamos a outro território: a guitarra abandona-se ao “noise”, deixando o feedback definir a viagem (Lopes tem aprimorado este formato ao vivo, apresentando-se em exclusivo formato “noise” em alguns pequenos concertos solo).

Independentemente da estética assumida, o guitarrista confirma que mais do que seguidor de uma determinada linha, possui uma grande diversidade de recursos e soluções, adaptando-se às necessidades das circunstâncias. Ora exibindo o seu habitual fraseado inteligente, ora trocando-o por uma intensa energia rock, Lopes confirma ser um dos mais interessantes e versáteis improvisadores da nossa praça.

Free Jazz review by Paul Acquaro

Luis Lopes – Lisbon Berlin Trio (CF 234)
****
Lisbon Berlin Trio starts with the scratching and scraping of picks across the coils of round wound electric guitar strings. Percussion rattles below and a bowed bass fills the space in between. The muted soundscape grows and soon the guitar is lashing out with distorted chord tones and a disjointed rock-ish melody. By the end of the tune, the song is far from where it began. While it seems like the ten minute long ‘Hang Out With’ covers a lot of ground, other vibes permeat this album as well.

The probing bass on song ‘Mutant Free 1’ invites Lopes to play flowing and rhythmically punchy lines. The percussion adds pulse to the mounting tension, ultimately breaking down into free sputters, scratches and plucks. Most likely entirely improvised, each song is listenable and interesting, featuring thoughtful and controlled playing, but also the willingness to let go and let the moment take the songs where wherever they will go. ‘Song for M’ is a good example of group restraint, whereas ‘Mutant Free 2′ builds to a climax with the guitar shooting syncopated blasts of energy from his fretboard. On guitar is Luis Lopes from Portugal, and on bass and drums, are Robert Landfermann and Christian Lillinger, both from Germany. This collection strikes me as being different than some of Lopes’ other efforts I am aware of, like Humanization 4-tet and Afterfall. The playing here feels more raw and immediate, with a stronger rock elements throughout. The Clean Feed web sites describes the music as the results of musicians who “don’t specially care to give a 21st century content to the jazz format; it just happens they enjoy, and play, different kinds of music, and usually do it crossing boundaries and mixing vocabularies.”

So, perhaps The Lisbon Berlin Trio is and is not a guitar trio. It almost doesn’t matter that Lopes is playing guitar, it really is a whole new instrument in his hands, one that is approached in clusters, shapes and abstract extrusions rather than more familiar “guitaristic” sounds and shapes. Overall, a very nice album in which all the songs belie a telepathy between the musicians. It is a trio that I hope to hear more from in the future.
http://freejazz-stef.blogspot.com/

skug // Magazin – skug – Journalfür Musik review by Noël Akchoté

Luis Lopes Humanization Quartet (CF 105)
Luis Lopes, Adam Lane, Igal Foni – What is When (CF 146)
Afterfall – Afterfall (CF 208)
Luis Lopes – Lisbon Berlin Trio (CF 234)
The week before, or so, I just had seen passing a link to Luis Lopes’s new release and artist pages. I rarely visit such pages, I must admit, but this time I can’t tell why, I felt I really should. So I did. I only had heard about and seen his name before, but never actually remember listening to him more. Luis Lopes is a guitarist from Portugal, living in Lisbon, playing in his own idiom, with his own technique, approach, all in once. As much a guitarist than a composer to my eyes, someone that looks further inside the music, beyond the note, but with it as a departure point. You may remind a certain post free jazz school while listening to him, but he won’t let you there alone, not standing, not “in the tradition”. For me his music rings many more underneath and deep inside, in the core. In fact his way to play and organize his bands, his frames, his landscapes seems much more like someone opening up a new one and bringing all his memories, desires, pictures and momentums inside. Someone looking to dialogue with the elements, with others too. His guitar playing is very subtile, ranging on a large scale of dynamics, some upfront playing, some side ways, sometime bellow and the next moment on top. His bands (each album a different project here), also refletcs this very sharply and smartly. Colorsand People, individuals and orchestral ranges, each a strong role in the same room, altogether. Then we played duet with Manuel Mota in Lisbon, and there he was outside after the show, Luis Lopes, and he gave me those four beautiful albums, and i wanted to tell you about. So I did.

Gapplegate Music review by Grego Edwards

Luis Lopes – Lisbon Berlin Trio (CF 234)
Luis Lopes has been making a name for himself in Portugal and the world at large with some premier avant electric guitar for the Humanization 4tet and other luminaries. His latest album Lisbon Berlin Trio (Clean Feed 234) shows him pulling every musical rabbit out of his considerable hat. It’s Lopes with Robert Landfermann, contrabass, and Christian Lillinger on drums, a very game combination that gives Luis plenty of torque whether it’s for free-falling cosmic onslaughts or pulse-implied torrid burning.

Luis sounds especially inspired for this one–very electric and avant, in his own way a smartly conceived synthesis of Sharrock’s electric barrage with a McLaughlin line scorch and the guitar-color sensitivity of Derek Bailey.

It has moments of relative calm and room for some very interesting bass and rhythm section presence.

He is from the evidence here rapidly becoming a key stylistic presence in the avant-free guitar world. Miss this one and you will miss something that may cause you remiss. All plectrists and friends of stringers, take note!
http://gapplegateguitar.blogspot.com/

The New York City Jazz Record review by Stuart Broomer

Afterfall – Afterfall (CF 208 )
Afterfall is an international quintet consisting of Portuguese (guitarist Luis Lopes and trumpeter Sei Miguel), American (tenor and soprano saxophonist Joe Giardullo and drummer Harvey Sorgen) and French (bassist Benjamin Duboc) musicians. Their first meeting in a Lisbon studio is documented here. The methodology is free improvisation, but as the instrumentation suggests, there are strong free jazz elements at work here in both the roles and the textures the band favors, from the Cool-era sound of Miguel’s pocket trumpet – always muted and played in the middle-register – to the vocalic wails of Giardullo’s saxophones. The band is both genuinely collective and spacious, with a shared willingness to let ideas develop in their own time. There’s a certain transparency in the band’s music, with one musician’s voice passing through another’s. Most interesting are microscopic, granular bits of sound that abound here, sometimes ultimately traceable to Sorgen’s subtle cymbal and snare work, but more often to Lopes’ thoroughly electronic conception of the guitar. His gritty waves of barely audible sound contribute much to shape the textures prevalent here and when he takes the lead he has a sense of sonic play that extends from the glassy quarter-tones of the opening “Shut Up Goddess” to the sustained feedback on “Return of the Shut Up Goddess”, his guitar almost shakuhachi-like. While Sorgen and Duboc can provide fields of scintillating detail, they’re also capable of tremendous drive, most notably in the powerful backing they provide Giardullo for his intense tenor exhortation on“American Open Road with a Frog”, a whimsical title likely inspired by the soulful multiphonic roar that the saxophonist develops. The extended “Triptych” is notable for the collective composition of which the group is capable, Duboc (a brilliant arco player) and Lopes developing spontaneous figures that become both insistent support and provocation to the horns. There are musical relationships developing here that bode well for the future.