Music Reviews

Artist: STAUB Quartet
Title: House Full of Colors
Format: CD
Label: JACC records (@)
Rated: *****
As you can easily guess, this multicoloured musical house got occupied by four tenants from the lively Portuguese improv music scene: the brilliant violinist Carlos "Zingaro", the skilled guitarist Marcelo dos Reis (we already introduced some of his outputs in the recent past), bassist Hernani Faustino and cellist Miguel Mira. The title is not really related to what is known as 'chromatic scale' in music (as in improv music, variations on standard scales, wherever they get followed, almost belongs to the 'rule' of the game), but the variety of varnishes is more stylistic or I'd rather say emotional or even spiritual, if we consider the attached introductory words by Sergio Piccirilli: "the approach offered in this debut album of this quartet of distinguished musicians finds its inspirational epicentre in the concepts of light and colour. [...] So claimed Paul Cezanne, "Light is not something that can be reproduced, but something that should be represented using something else". The artistic testimony amalgamated by STAUB Quartet in House Full of Colors, the means used for that representation, are sounds and music". The initial "Quiet Arcs" is just apparently quiet as it includes seeds of a vehemence, that will explode later on and sounds more like a warm-up, where the relatively slow tempo got led by Faustino's double bass. The sound acquires the inflammatory tones of Mediterranean folk music traditions in the following "Red Curtains", where Marcelo dos Reis seems to mirror some sonorities by Django Reinhardt in the swirling tonal vapours and first flashing fires by other instruments. The longest piece of this release "Opacity Rings" sounds almost meditative and the more exotic to my ears, due to the bizarre intersection of lulling guitar melodies that could vaguely resemble some Far East tradition, easily perceivable counterpoints and a general progression from darker overtones and aptly dumb atmospheres to a lighter and almost soothing one, a temporary tonal harmony that got dissolved by the following "Knots of Light". All the instrument sounds overheated and the incandescent setting gets mirrored by the fast-paced playing by Carlos on his violin. Following such a furious parenthesis, the players seems to look for cooler places in their house, where the light and the heat cannot reach them, but the sliding through the shadows projected by a closed window or by the open door of some cabinet is not exempt from a certain sorrow in "Resonant Shades"...the strange disharmony they render in the second part is simply awesome like the way Marcelo quiets the tonal instrumental contrasts in the final "Discrete Auroras".

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