Ao vivo na Audio Rebel /Rio de Janeiro – 17.07.2016

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Peter Brötzmann – sopros
Marino Pliakas – baixo
Michael Wertmüller – bateria

Gravação: Pedro Azevedo, João Paulo “Binos” Franklin
Pré mix: João Paulo “Binos” Franklin
Mix e master: Martin Siewert
Arte: Peter Brötzmann

A cantora Juçara Marçal e o músico e experimentador carioca Cadu Tenorio apresentam Anganga, reinterpretações contemporâneas de vissungos recolhidos por Aires da Mata Machado Filho em São João da Chapada, município de Diamantina (MG) —, além de cantos do Congado Mineiro.

Anganga é a entidade suprema do povo banto (“Anganga Nzambi”). A palavra consta do canto do congado “Grande Anganga Muquixe”, cujos versos indicam reverência àquele cuja “gunga não bambeia”, o mestre, o mais velho. Trata-se de uma expressão que diz respeito à reverência ao passado.

Os Cantos II, III, VI e VII presentes no disco são vissungos (cantos de trabalho) recolhidos por Aires da Mata Machado Filho na década de 1920. O linguista registrou 65 partituras desses cantos no livro “O Negro e o Garimpo em Minas Gerais”.

Em 1982, autorizou a gravação de catorze deles no álbum “O Canto dos Escravos”, interpretados pelas vozes de Clementina de Jesus, Geraldo Filme e Tia Doca da Portela.

“Eká” e “Taio” são composições de Cadu Tenório com a colaboração de Juçara Marçal.

Produzido e arranjado por Cadu Tenório
Gravado por Cadu Tenório no Estúdio 503, exceto as vozes gravadas por Daniel Bozzio no Estúdio Fine Tuning
Mixado por Emygdio Costa e Cadu Tenório
Masterizado por Emygdio Costa
Arte de Cadu Tenório
Projeto gráfico de Mariana Mansur
Foto-montagem: Tay Nascimento
Produção Executiva por Cadu Tenório e Bernardo Oliveira

Building on a famous quip from soprano saxophonist Steve Lacy, that “there was something on the other side” of Monk’s compositions, it is often true that knowing the ins and outs of a form are a way to push through towards the next thing — the next interest, the next level of artistic engagement.

Chinese Cookie Poets, an electric guitar-bass-drums trio from Rio de Janeiro, hold an impulsive cut-up sensibility that is reminiscent of Oval’s Markus Popp employing the no-wave immediacy of DNA — indeed, they’ve collaborated with Arto Lindsay. On Danza Cava, their second full-length and fourth release altogether, CCP are heard on six improvisational fragments joined by fellow Brazilian trumpeter Nicolau Lafetá, who is a post-Bill Dixon player along the lines of Jacob Wick, Nate Wooley and Mazen Kerbaj.

Lafetá’s incisive, crumpled volleys glint off the Renato Godoy’s surging percussion while guitar and electric bass ferret and hack on“Lapetus l’uccello,” before the ensemble drifts into a fusion-y chug. Gone as soon as it begins, there’s a piled and brief charge in “Il semi-affetto degli argonauti” before the quartet unfurls the impressive and spare “Tiao Yue.”Papery chortles and kisses building into an explosive fracas, Lafetá leaps outfront alongside clattering rhythms and the skittering guitar of Marcos Campello on “Chang’e III,” bassist Felipe Zenícola thwacking mightily below and around the ensemble.

Certainly free rock enters into the picture across these six pieces, but there is an element of dynamic group listening and patience that has its own galvanic power apart from punkish vigor. Furthermore, the addition of an unpredictable brass voice has added a fascinating element to their codified yet open group language.

It will be interesting to hear where Chinese Cookie Poets head next, but for now we have a wonderful, cherished document of genre-busting brazilian free music. Ears should be open worldwide to these four important voices.
Clifford Allen, Brooklyn, NY.

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