Since almost ten years these two improvisers have been dwelling around Barcelona's rich underground musical scene. They've played together many times but always in larger groups of musicians, luckily this recording captured their first encounter as a duo, and in a live situation.
The venue for this special performance was at L'Hospitalet's TePeKale art center, in the outskirts of town. It took place in a post-industrial cement room, with a cavernous reverberating sound, where local saxophonist and composer Agustí Martínez has been programming free improvisation concerts every month since about fifteen years ago.
The music sways in a wide harmonic spectrum, where noise and tone constantly dissolve into each other, creating lush sound atmospheres through a varied milleu of extended techniques. The experience is mainly atmospheric, but with a very conscious narrative all the way through the three cuts. The concentration is never lost, these two improvisers show a special congeniality that somehow makes every sound as if it was supposed to be there all the time. Every gesture seems to have a meaning, and it's very easy to follow how they react to each other constantly, but without forcing anything, portraying some sort of natural fluidity. This is music from the depths of the soul, sincere and without pretentions, made by two cavernous beings immersed completely in the same river of sound.
credits
released June 8, 2020
El Pricto – alto sax
Àlex Reviriego – double bass
All music by Pricto/ Reviriego
Recorded by El Pricto on September 17, 2019 at TePeKale, Barcelona. Mixed and mastered by El Pricto.
Cover design by Witold Oleszak
Executive Producers: Tomasz Konwent & Andrzej Nowak
Maciej Lewenstein, the author of the book "Polish Jazz Recordings & Beyond" is the patron of Multikulti Project/ Spontaneous Music Tribune Series
How should we approach to this music. The most immediate is content, and because of an established prejudice, it goes around timbre. However, once one can trespass that hegemonic listening, one can see that this music is about form. It's a language. It's how Agustí deals with those materials. There's something about narration that makes the word "narration" become quite useless.
So the question is: is Agustí Fernández a great pianist or a great musician approaching the piano? matador-uy
"...the vast halls of silence illustrated by a single harmonic, the groaning bari-ous vistas, the flocks of cymbals across a distant sky, the brutal (dis)storms…"
Full review: http://bit.ly/TalvegArb a Jazz Noise