Desprendimientos, registro de sesión de impro, contrabajo solo y voz. Marzo de 2020, Ciudad de México.
Registro del concierto dado por livestreaming desde Quilpué, Chile el 30 de Abril de 2020, como parte de el festival "Concerts From Home" organizado por Nendo Dango Records.
El dúo Con Tacones en el Barro (Alexis Granados y Amanda Irarrázabal en el nuevo disco doble de Sonido Atmosférico Ediciones, Compilado llamado Resonancias Atmosféricas IV, en los siguientes links de bandcamp:
Registro de sesión deprograma de radio The Ambrosia Rasputin Show con Ivor Kallin.
Link to listen: https://www.mixcloud.com/…/the-ambrosia-rasputin-show-9th-…/
RESEÑA DE CONCIERTO EN MOERS, ALEMANIA
Caudal en programa radial Balalaika de Código Radio Cultura, CDMX cpnducido por Zazil Collins
RESEÑA DE CAUDAL en el C3, UNAM, CDMX.
Pan Y Rosas
La Corporación é um trio radicado em Buenos Aires que apresenta uma música de intrigantes e densas explorações acústicas amparadas em baixo (Amanda Irarrazabal), violoncelo (Cecilia Quinteros) e sintetizadores (Cecilia López). Das três instrumentistas, apenas Irarrazabal não é argentina (vem do Chile), mas vive atualmente em BsAs. O trio apresenta aqui cinco temas, registrados ao vivo em 24 de agosto deste ano, em que adentram a improvisação livre em possibilidades desafiadoras. “Poder emissor” abre o registro apresentando o tom geral do trio, com o celo rascante em primeiro plano quase que perfurando o espaço, sendo logo respondido pelo baixo, enquanto o sintetizador risca o ar, em um diálogo rude, quase incômodo. “Temperatura Efectiva” é um pouco mais sussurrada e prepara os ouvidos para a inquietante “Directorio de Sacrificantes”, marcada pelo toque em arco de poderosa intensidade crescente e sufocante.
Por Fabricio Vieira – FreeForm, FreeJazz
AMN REVIEWS: CECILIA LÓPEZ / AMANDA IRARRAZABAL / CECILIA QUINTEROS: LA CORPORACIÓN [PAN Y ROSAS PYR201]
The collaboration of acoustic strings with synthesizer can be a challenging. Both strings and electronics are capable of great timbral range, but of qualitatively different sorts. Combining them in real-time performance opens up many different possibilities, and therefore requires some judgment on the part of the collaborators. One such possibility is to set out a contrastive juxtaposition in which each contributor retains its characteristic voice. That is the possibility realized by synthesizer player Cecilia López in her collaboration with double bassist Amanda Irarrazabal and cellist Cecilia Quinteros in a set of pieces recorded live in Buenos Aires this past July.
Over the course of six tracks and 31 minutes, López, Irarrazabal and Quinteros work a creative parataxis in which strings and synthesizer occupy distinctive spheres. Both string players explore expanded sound palettes, but no matter how extended the techniques drawn on, the rasp or creak of bowhair on string, the snap of metal against fingers or wood and the physical thump and projection of pizzicato passages all serve to announce the quintessentially acoustic presence of double bass and cello. The sonic balance of these pieces tends to tilt toward the strings, but those moments when the synthesizer comes through are notable for introducing characteristically electronic colors into an otherwise predominantly acoustic weave of sound.
ERIZA – ARDE publicado el 21 septiembre, 2016
BY: WILL PINFOLD
Released on July 18, 2016 via Pan Y Rosas Discos
The poet Philip Larkin once, somewhat uncharitably, described Ornette Coleman’s great Free Jazz as a ‘patternless reiterated jumble’, but whereas to modern ears the Coleman double quartet’s sax/trumpet/bass/drums/clarinet lineup sounds quintessentially jazzy, the texture of Argentinian-based improvisational trio Eriza’s piano/bass/cello is far less easily identifiable by genre. The music too, is closer to Larkin’s description, but here, as in its original context, whether it constitutes a criticism is purely subjective. Arde certainly feels patternless, but Eriza’s is (on this album at least) essentially an expressive rather than reflective approach and when it succeeds it does so on an intuitive, primal level.
The three longish (12, 9 and 17 minute) pieces (culled from two live performances, in November 2015 and June this year) are varied in tone, but all share a sometimes frenzied, unmusical (or even anti-musical) unpredictability that makes them hard to assimilate, but also hard to enjoy as music; the appeal is far closer to that of a harsh noise project like Merzbow, although the texture and technique are entirely different. Having said that it’s patternless, a methodolgy of sorts does emerge in the three pieces, each of which begins with an audibly tentative section as the musicians feel their way into the improvisation, and each piece at some point builds to a peak of manic intensity. It’s a remarkably Dionysian, ritualistic experience, especially given the absence of any kind of regular rhythm or tempo, and it’s a testament to the skill of the players, Tatiana Castro Mejía (piano), Amanda Irarrazabal (bass) and Cecilia Quinteros (cello) that they generate so much expressive power without drawing on any traditional musical forms.
The downside of this approach is that the three pieces, though all intermittently powerful are also fairly similar, especially the first two (both from 2015), since the ambience and acoustics are identical on both. ‘November 11, 2015 Part One’ opens with unpromising assorted squeaking and sawing from the stringed instruments and maintains an edgy tension throughout, enhanced by a sinister piano figure that emerges a few minutes into the performance. Although without traditional percussion, there are a plethora of knocking, slapping, scraping and smearing noises that punctuate each performance. At their most powerful, Eriza make a strongly atmospheric, unified if not harmonious noise, but the first track, though interesting throughout (especially in its last, actually quite jazzy passage) never really establishes a mood that lasts beyond its duration.
The second track is taken from the same performance and embodies even more strongly the strengths and weaknesses of Eriza’s approach. Opening with an onslaught of bustling, clattering percussive noise made apparently by battering the stringed instruments (with their bows?) while the piano plinks in exactly the way it would if an untrained person was thumping it, it’s extremely energetic, but initially (on the recording at least) not hugely gripping. The track moves into extreme territory with the introduction of some visceral (and perhaps cathartic) vocals, with two bellowing/shouting/screaming voices which segue into an almost manaical sopranissimo; for the unengaged listener it’s a bit silly, but it does add another texture to the strange and distinctive cacophony. Much better is the tense, slow last passage where the violin, bass and cello scrape ominously against tentatively struck piano chords, creating an airy ambient reverberating quality that yet becomes extremely oppressive before its abrupt ending.
At seventeen minutes, the third piece (dating from June 2016) is the longest, but in its initial phase, the least successful of the three, while also having the best actual sound. For a good seven minutes, it seems to capture the trio as they wheeze and prod around but never quite gel with each other as they do in their more coherent moments. After a brief pause they reconvene with what is possibly the most ominous but also one of the most affecting passages on the album. Grim and at times even beautiful in a stark, bleak kind of way, it exemplifies Eriza’s apparent tendency to actively shrink away from anything that could be perceived as pretty or sentimental. There is a brief section lasting for around a minute, where Cecilia Quinteros’ cello is played with an almost formal ‘cleanness’, but, as if rebelling against this moment of conventionality, she brings it to a close with a vicious scraping noise before the group again joins in a kind of competition to reach the most extreme noise capable in an acoustic instrument; an orgy of scrapes, bangs and jittery wails that reaches a kind of manic peak as the album ends, leaving in its wake a rather blissful silence. Again, the comparison that springs to mind is not avant garde jazz or classical music, but noise, or the noisy ‘chamber doom’ of Mohammad, although Eriza’s work is mostly less dense and oppressive and naturally less ‘composed’.
Arde then, is an extremely dynamic and inspired work, but one to be approached with caution unless untrammelled, unfettered creativity at its least compromising and tuneful is your thing.
“Eriza is an argentinian improvisational jazz trio featuring cello, bass, piano and vocals. their latest release, ‘Arde‘, is a collection of three free improvisations recorded live. the music is visceral, free and aggressive, coming on like a blinding storm with clacking, grinding and pounding, accompanied by screams and shouts.
The wailing gives way over the course of the pieces to brief glimpses of delicate melody and long, breezy, melancholy passages. the composition of the trio, with low registered strings,wide ranging piano and the guttural vocals gives this music a feeling like the weather; profoundly outside of human control. all the more fantastic that it is made in an extremely organic manner by human beings.”
AL TIRO, DE CÁTODO DÚO POR IÑIGO DIAZ