CD Title …more steps
Jorge Cabadas (guitar)
Track details:
1. Diving (part 1) - 2:18 2. Experiment #3 - 2:02 3. Diving (part 2) - 7:31 4. More steps - 4:48 5. Floatin´again! - 1:51 6. She explores the void - 5:48 7. Obstinato - 3:34 8. AEE (Advanced Electronic Experience) - 7:47 9. Walking nowhere - 6:00
Composer Jorge Cabadas
Date and place of recording.
Recorded at the Historical Archive of Jaén (Spain) May 25 & 26, 2015 Recorded by Bernardo Jurado & Antonio Félix Vico Mastered by Antonio Félix Vico
The pieces sounds like private musings rather than a public performance, but Cabadas weaves his own unhurried magic. It needs big speakers and attention to balance, bass and treble to get the full spacious effect. Cabadas is more Philip Catherine than Bill Frisell. There’s a tzigane influence lurking somewhere in the background , not much blues, a frosting of spacey flamenco and some Arabic touches. It’s been beautifully recorded in the archive building at Jaén, a culturally complex and fascinating corner of southern Spain. If that’s where Cabadas hails from, it explains the many layered nature of his music.
Brian Morton Jazz Journal June 2016.
Never giving in to trends, UK based Slam Records continues to fascinate with three recent releases.
Jorge Cabadas uses his guitar in a variety of sounds and moods, creating a mix of picking the strings with a myriad of electronic effects. Moody pickings mix with sonic wallpaper as on "Experiment #3" and the space-is-the-place feel of "She Explores the World." A mix of Brian Eno ambience and contemplative pickings dominate throughout, with gadgets galore on "AEE" and Kraftwerk for 6 strings coming across on "Diving (Part 2)." Eno with an axe?
The trio of Szilard Mezei/viola-kaval, Svetlana Novakovic/fl and Maja Dadovanlija/g bring together three long pieces of 32’, 27’ and an am "hit" of just 10" on this album. Don’t get scared; the cacophonies are kept to a minimum the music actually holds together well. You get melancholy strings that weave together and drift apart with guitar and flute on "Wild Geese I-II" as classical guitar dances with percussive strings to moods of modern classicism. Some folksy brooding is featured on "White Flower" as the woodwinds create a dark panorama. Istvan Csik brigns drums and percussion to "Shadow Show" which adds to the mystical sounds of flute and viola, while rich textures hover like an evening fog. Rewarding for the patient.
Istvan Grencso plays tenor sax, soprano sax, bass clarinet and pipe with his core team of Mate Pozsar/p, Robert Benko/b and Szilveszter Miklos/dr. Guest woodwinds and violas pop in and out of the songs in cameos like actors in a kabuki during this ambitious two disc release. The first disc mixes staccato pulses with festive dances and free formed bass solos on "Az Eskuvo" while sax and piano brood with bass on "supplication." Pensive moments of "Ajanlas Asszonyainknak" segue into a dramatic cataclysm of reeds that swirl around intensely on "Dance of Reanimation" while a jazzy trio closes things out on "Minstrelsy." Mixes of frenzied incoherence spice up undulations of contemplation and wonderment, crossing and erasing lines between composition and freedom.
George W. Harris http://www.jazzweekly.com/2016/03/slam-into-springjorge-cabadas-more-steps-szilard-mezei-trio-flute-strings-grencsco-open-collective-derengesdawn/
La Slam Productions dedica una parte della propria produzione all’avanguardia, ecco allora incisioni fuori dal comune, come questa del chitarrista Jorge Cabadas effettuata in Spagna nel 2015. È un album eseguito in solo alla chitatta elettrica, alla ricerca di suoni nuovi mentre si compone istantaneamente, un viaggio nel microcosmo culturare dell’autore, una ricerca nei suoi ricordi sonori fra avanguardie americane ed europee, i suoni affascinanti di AMM, ad esempio, o quelli più aggressivi di Lester Bowie oppure Ornette Coleman. L’ascolto rivela paesaggi sonori inusuali, collane di note che svelano una loro magia personale e che non hanno bisogno di alcun altro accompagnamento per esprimersi. È certo un proposta radicale, come quella di AMM, a cui si può assimilare, che richiede una certa attenzione all’ascolto. Le note viaggiano per l’aria e sembrano costruire qualcosa che va al di là dell’armonia o della melodia comunemente intesi. E tuttavia quello che Cabadas offre ha un suo fascino, da un brano all’ altro si segue il suo approccio alla composizione estemporanea e quelle note riverberate che danno un aspetto fuori dal comune al tutto. È un disco fuori dall’usuale, che però affascinerà i chitarristi per l’uso eterodosso che è possibile fare dello strumento,
Vittorio Lo Conte http://www.musiczoom.it/?p=25257#.Vs2jgpyLTct February 2016
TRANSLATION
The Slam Productions devotes a portion of its production to the avant-garde , this is when incisions out of the ordinary, such as this guitarist Jorge Cabadas carried out in Spain in 2015. It is an album made in only the electric chitatta, looking for new sounds while composing instantly, a journey into the microcosm author culturare, a search in his sound memories between American and European avant-garde, the fascinating sounds of AMM, for example, or the most aggressive of Lester Bowie or Ornette Coleman. Listening reveals unusual soundscapes, notes necklaces that reveal their personal magic and you do not need any other accompaniment to express themselves. It is hardly a radical proposal, like that of AMM, which can assimilate, that requires some attention to listening. The notes are traveling through the air and seem to build something that goes beyond the harmony or melody commonly understood. And yet what they Cabadas offers has its own charm, from a song to 'else follows his approach to impromptu composition and those notes reverberated giving an appearance out of the ordinary at all. It is an out from the usual hard, but fascinate the guitarists to use unorthodox that you can make the instrument.
