This is a typically belated report about a session recorded in one day in 2014 and released the year after, an interesting mix of diversely rooted talents approaching the art of improvising without an actual necessity of categorical distinction.
Saxophonist Franziska Schroeder cuts a somewhat singular figure: a serious-looking professor of contemporary sonic art doubling as rational explorer of melodic diversities and arrhythmic figurations. Her investigation of the instrument seems to entirely discard the hypothesis of extreme timbral alteration in favor of cleaner tones; a relative complexity in the phrasing balances the absence of “deranged pitch” radicalism. Guitarist Marcos Campello is highly proficient on an immoderately detuned guitar; this is essentially a method to eradicate the possibility of commonplace from the beginning given that even law-abiding fingerings produce a jarring jangle, courtesy of the clashes between vibrating particles not following the conventions of what the average ear expects from regularly tuned strings. Renato Godoy’s drumming partitions the common idea of rhythm into sequences of asymmetrical outbursts interspersed with discrete tampering. The notion of “accompaniment” becomes something else altogether, pushing the perception of pulse towards the informal side.
The trio’s methodologies warrant appreciable comprehensibility in a context where topsy-turvyness is all but banned; the individual trajectories – though still observable – often merge in a sort of proto-harmolodic gentle conflict. It might take a while before the engine of personal taste starts firing an all cylinders, but with each new spin the level of “inside conceptualization” of the interplay is increased.