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CD 553
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"DADA DANDY" SLAMCD 553. BARCODE 50 2838605532 7
‘A Favola da Medusa’ plus guests George Haslam, Sónia Montenegro, Bernardo Nascimento and Rebecca Gradissimo.
The Lisbon based ‘A Favola da Medusa’ was formed in 2010 by Miguel Martins (various instruments) and Filipe Homem Fonseca (guitar) dealing with dadaist free-rock aesthetics, harpist Ana Dias completing a unique trio. Their music has lent itself ideally to film and tv soundtracks.
They also take opportunities to work with visiting musicians from different genres. In March 2012 on a short (less than 40 hours!) visit to Portugal, George Haslam played 4 concerts including the gig with the trio at Bar Teatro A Barraca, recorded live and heard on 3 tracks of this disc. The remaining tracks plot the trio’s work during the previous 2 years with other guests Sónia Montenegro, Bernardo Nascimento and Rebecca Gradissimo.
"An indispensable record. A headbutt against the musical atavism of the modern world. A slap on what is established. There's more music here, in its pure state, than in all of the American discography of the last 16 years." Eduardo Madeira
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SLAMCD 553
CD title: "DADA DANDY"
Artists: ‘A Favola da Medusa’ with guest George Haslam.
1 Gunakadeit 4:32
2 Charybdis 2:42
3 Beish Kione/Jörmungandr 14:26
4 Algáliar Catéter 6:04
5 Requiem Por Na. Sra. da Agrela 3:42
6 A Terceira Sala 11:25
7 L’Amant Brulée 3:34
Tracks 1, 2, 3 Ana Isabel Dias harp; Filipe Homem Foseca guitar, electronica; Miguel Martins piano with George Haslam tarogato and baritone saxophone.
Tracks 4, 5 Ana Isabel Dias harp; Filipe Homem Foseca guitar; Miguel Martins melodica; Sonia Montenegro laptop.
Track 6 Ana Isabel Dias harp; Filipe Homem Foseca guitar; Miguel Martins piano; Bernardo Nascimento bass; Rebecca Gardissimo piano.
Track 7 Ana Isabel Dias harp; Filipe Homem Foseca bass, electronica; Miguel Martins bass.
Tracks 1, 2, 3 recorded at Bar Teatro A Barraca, 3 March 2012.
Tracks 4, 5 recorded at Bar Teatro A Barraca, 2 April 2011.
Track 6 recorded at Bar Teatro A Barraca, 1 October 2011.
Track 7 recorded at Bar da Cave 24 September 2011
All in Lisbon, Portugal.
Recorded by Joanna Moura and Sandra Filipe, mixed by Filipe Homem Foseca.
An indispensable record. A headbutt against the musical atavism of the modern world. A slap on what is established. There's more music here, in its pure state, than in all of the American discography of the last 16 years. Eduardo Madeira
Créature de la harpiste Ana Isabel Dias, A Favola da Medusa est un groupe d'improvisation libre à géométrie variable.Dada Dandyregroupe quatre enregistrements réalisés en concert entre 2010 et 2012. Chaque fois, Dias s'entoure d'un assortiment de musiciens acoustiques et électriques: en trio avec deux basses électriques, en quintette avec deux pianistes, un bassiste et des pédales, en quatuor ordinateur, melodica et guitare, mais surtout, pour la première moitié du disque, en quatuor avec guitare/effets, piano et George Haslam au saxo baryton et au tarogato. Cette improvisation de 20 minutes a de la gueule, de la profondeur, de l'atmosphère aussi. La qualité d'enregistrement est très moyenne (prise de son ambiante), maisDada Dandydocumente une approche inusitée.
A creature of harp player Ana Isabel Dias, A Favola da Medusa is shapeshifting free improvisation group. Dada Dandy culls four live recordings from 2010-2012. Each time, Dias surrounds herself with a heterogenous assortment of acoustic and electric musicians: a trio with two electric basses; a quintet with two pianists, a bassist, and pedals; a quartet with laptop, melodica, and guitar; and mostly, for the first half of the album, a quartet with guitar/effects, piano, and George Haslam on baritone sax and tarogato. This 20-minute improvisation has character, depth, and mood. Sound quality is weak – it's an ambient capture – but Dada Dandy documents a unique approach.
François Couture, http://blog.monsieurdelire.com/2014/08/2014-08-19-favola-da-medusa.html
A Favola da Medusa, Dada Dandy: The Lisbon-based experimental outfit A Favola da Medusa has at its core the trio of multi-instrumentalist Miguel Martins, guitarist Filipe Homem Fonseca and harpist Ana Dias, with the focus on dadaist free-rock aesthetics. Joined by guests Sonia Montenegro, Bernardo Nascimento, George Haslam, and Rebecca Gradissimo, this collection of live and studio sessions is what avant-garde is all about. Soundscapes that drone and shout, dissonance that morphs into tiny expressions and massive constructs, and the sudden emergence of melodic interludes from the brutal din of dissonance that switch the perspective 180 degrees. Supremely engaging. Dave Sumner http://www.wonderingsound.com/news/new-jazz-week-todd-bishop-baloni-busnoys/
"A Favola da Medusa feat. George Haslam","Dada Dandy", Slam Productions, SLAMCD553, 2014.
Células curtas, insistências, matraqueamentos, timbres acompanhados por uma graduação sonora, argamassa que tem a ver com a constituição de estruturas que representam um peso e uma medida; o peso está na atmosfera que se encrenca, máquina abusiva sonora que se estraga pelo próprio abuso sonoro até à destruição do fraseado; os instrumentos não o são, como em muitas das músicas de improvisação: os instrumentos "não se instrumentalizam", não fornecem frases-suportes musicais que se entendam dentro de esquemas já prefigurados. São figuras da própria improvisação. O que se prefigura é a existência de uma maquinaria que avança conforme uma certa ciência da improvisação, que está incluída nos músicos aqui presentes, sobretudo na experiência de George Haslam, cuja discografia representa vários e múltiplos anos de actividade, embora, neste contexto, Haslam tenha aberto o seu campo para uma improvisação baseada numa solução sonora colectiva que não representa o que Haslam nos forneceu nos últimos anos, apesar da sua discografia nos informar sobre as suas várias passagens pela música improvisada, desde o Free-Jazz, aquilo que se chama Free-Jazz, até ao pós-Free-Jazz onde os intervenientes criam sintomas sonoros que não têm uma finalidade imediata, e sem que utilizem suportes com os quais se possam adivinhar as orientações musicais, e onde o fio sonoro vai acabar; a música improvisada deste modo não tem uma conclusão, não tem um fim; e nem sequer tem finalidade a não ser a de ser ela própria, e de ser um processo expressivo por haver mentalidades emotivas que se exprimem dentro deste "canevas" que os músicos que se conhecem há alguns anos traçam, sobretudo a começar pela sonoridade dos instrumentos que, como disse acima, não são instrumentalizados: são peças que se associam ao expressivo dos músicos com os quais não se realizam só finalidades musicais – daí o serem considerados tradicionalmente como instrumentos – mas são em si elementos do comportamento sonoro que os músicos exprimem e que, simultaneamente, não exprimem; nesta contradição aparecem as sonoridades descarnadas e sem alimento retórico. As músicas de improvisação fornecem o que se ouve e o que foi recusado pelos músicos; as duas vertentes estão enunciadas ou, pelo menos, podem situar-se numa esfera propositada. A massa sonora não é espectacular, não procura uma certeza musical ou uma afirmação categórica que os músicos do Free-Jazz dos anos sessenta procuravam. As épocas são outras e os resultados sonoros necessariamente outros. O facto de que os músicos dos anos sessenta que praticavam a improvisação terem caído num "expressionismo categórico" significava a necessidade de um posicionamento politico-social pela afirmação de um conteúdo "exasperado" que assim se exprimia e que, hoje, apesar de não ter perdido o seu lado radical, esta proposta musical soa forçosamente de um modo menos espectacular e menos autoritário.Alberto Velho Nogueira
TRANSLATION "The Favola Medusa feat. George Haslam "," Dada Dandy ", Slam Productions, SLAMCD553, 2014.
Short cells, reminders, matraqueamentos, accompanied by an audible tone graduation mortar that has to do with the creation of structures that represent a weight and measure; the weight is in the atmosphere that trouble, abusive sound machine that spoils the sound abuse itself to destruction of phrasing; the instruments are not, as in many of the songs from improvisation instruments "not instrumentalize" not provide musical phrases supporters understand that within schemes already foreshadowed. They are figures of improvisation itself. What is prefigures the existence of a machinery that science progresses as some improvisation that is included in musicians present here, especially the experience of George Haslam, whose discography is various and multiple years of activity, although in this context Haslam opened your field for a solution based on a collective sound that is not what Haslam has provided us in recent years, despite his discography inform us about his various stints in improvised music since the Free-Jazz, improvisation that what is called Free-Jazz, to post-Free-Jazz where players create sound symptoms that have no immediate purpose, and without using media with which they can guess the musical guidance, and where the wire will end sound; improvised music in this way does not have a conclusion, is not an end; and does not even have to aim than to be itself, and to be a significant process for having emotional attitudes which are expressed within this "canevas" that musicians who know a few years trace, especially starting with the sound of instruments which, as said above, are not exploited: they are parts that are associated with expressive musicians with whom not only perform musical purposes - hence the traditionally be considered as instruments - but are in themselves elements of sound that musicians express behaviour and which simultaneously do not express; this contradiction appear gaunt and without the rhetorical background sounds. The music improvisation provide what you hear and which was refused by the musicians; the two strands are laid or at least can be located in a purposeful sphere. The sound mass is not spectacular, looking not sure a musical or a categorical statement that the Free-Jazz musicians of the sixties sought. Seasons are other and sound results necessarily others. The fact that the musicians of the sixties practiced improvisation have fallen into a "categorical expressionism" meant the need for a political and social positioning the affirmation of a "exasperated" content that was expressed well and that today, despite not having lost its radical side, this musical approach sounds necessarily a less spectacular and less authoritarian manner. Alberto Velho Nogueira
"DADA DANDY" SLAMCD 553. BARCODE 50 2838605532 7
‘A Favola da Medusa’ plus guests.
The Lisbon based ‘A Favola da Medusa’ was formed in 2010 by Miguel Martins (various instruments) and Filipe Homem Fonseca (guitar) dealing with dadaist free-rock aesthetics, harpist Ana Dias completing a unique trio. Their music has lent itself ideally to film and tv soundtracks.
They also take opportunities to work with visiting musicians from different genres. In March 2012 on a short (less than 40 hours!) visit to Portugal, George Haslam played 4 concerts including the gig with the trio at Bar Teatro A Barraca, recorded live and heard on 3 tracks of this disc. The remaining tracks plot the trio’s work during the previous 2 years with other guests Sónia Montenegro, Bernardo Nascimento and Rebecca Gradissimo.
The Lisbon-based trio known as A Favola Da Medusa combines the talents of multi-instrumentalist Miguel Martins, guitarist Filipe Homem Fonseca and harpist Ana Dias. They’ve evidently got a regular gig at Bar Teatro A Barraca where all but one of these performances was recorded. The opening track is "Gunakadeit" and the first of three with guest saxophonist George Haslam. All the music is freely improvised by the players, and they start out with a disruptive rhapsody that’s almost a dialog for Haslam’s baritone and the prickly harp of Dias with occasional commentary by Martins on piano and Fonseca’s electronic effect pedals. Things get a little precarious on the brief "Charybdis," a four-way plunge into distress and angst that threatens to explode at any moment. The lengthy "Beish Kione/Jörmungandr" starts out quietly with a loose call and response section featuring a ruminative Haslam and more electronic soundscapes from the guitarist. Slowly a dark and clunky rhythm emerges and we’re on an unexpected but cool journey. The extreme electronic approach of Homem, which treats his instrument as a generator of bold new sounds but is frequently unrecognizable as a guitar, is a key aspect of the group’s sound. Dias and her passionate harp come to the fore on the gentle "Algália Catéter," but the repetitive high-pitched figure that emanates from guest Sónia Montenegro’s laptop might make you as nervous as it made me. The electronic mesh of "Requiem Por N. Sr. Da Agrela" with Martins’ spooky melodica, Fonseca’s chiming guitar and plenty of reverb is fun to get lost in. Bernardo Nascimento on bass and Rebecca Gradissimo on piano join the core trio for "A Terceira Sala," an exercise at first in slowly drifting music that puts Dias’ (treated?) harp out front over muted electronics. The mood changes about 5 minutes in, at around the halfway mark, and all of a sudden the music turns abrasive and rude, though not without an undercurrent of humor. Finally, on the last track, it’s just the trio with no guests. "L’Amant Brulée" is almost four minutes of murky electronic washes, with the occasional tinkle from Ana Dias’ harp or a throb from Miguel Martins, this time on bass. Dada Dandy packs plenty of murk and darkness into three-quarters of an hour, and it makes for a provocative and unusual excursion into free improvisation. Stuart Kremsky CD review from Volume 41, No. 2, 2015 www.cadencemagazine.com
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