The principles of intrusive relationships

São Paulo Underground
Disques: Jazz experimental

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Fiche technique Disques

Timbre	Aesthetics
Style	Jazz experimental
Année d'origine Édition	2008
Instrumental

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São Paulo Underground: Rob Mazurek (trompeta, armonio, efectos), Guilherme Granado (teclados, sintetizadores, sampler, voz), Mauricio Takara (percusión, cavaquinho, electronica) y Richard Ribeiro (batería).

2º disco del grupo paulistano de jazz experimental, provisionalmente ampliado de duo a cuarteto, pero manteniendo sus principios musicales:

"Limitless in its possibilities." Rolling Stone.

"Post digital, post industrial psychedelia." The Wire.

"An amazing display of a brilliant mind at work." Pitchfork.

"Another gripping, adventurous set." Jazz Weekly.

"The results are both wonderfully mysterious and meditative." BBC
To describe this quartet's music is as futile as explaining the cosmos itself. Highlights of Mazurek's cornet resume include Isotope 217, Mandarin Movie, Chicago Underground, the mighty Exploding Star Orchestra, and the cover of The Wire. The three Brazil natives are all percussionists, thus explaining the group's dynamic nature. Both Mauricio Takara and Guilherme Granado additionally control samplers and electronics, as well as perform in the band Hurtmold. Granado, a true original, fronts the São Paulo band Bodes and Elephantes (Submarine Records), and has the ear of a free jazz player with the arranger's mentality of Gal Costa. And then there's Richard "Hollywood" Ribiero, who drives this quartet in fifth gear similarly to Albert Ayler or Funkadelic, and also leads the power trio Sao Paulo Debate. Starting off as a project between Mazurek and Takara with their debut release in 2006, the duo's "walls of sound" could not be contained. Additional members joined, creating a mammoth quartet whose sound became comparable to a psychedelic walk on another planet, orbiting the cosmos near Sun Ra's intergalactic Arkestra. After a short pause, the planetary dragons breathed fire into their free samba, thus creating a juxtaposition of texture, rhythm, and psychedelia. Brazil's tropicalia had launched full throttle into the new millennia, where melody had morphed into a new medium of expression. Drums and horns collided at a new crossroads, and the new beast never looked back."