Speaks. But not for itself.

A secret dialogue between music and words had already began, beyond frontiers, before the first note was played, even before the first word was spoken.

I believe in this dialogue, in this secret, that asks to be revealed, sung or played, without ever stoping to be a secret. There will not be then a music totally pure of words or language that survives without a musical ground. I believe in it, as it was a preconceived condition, wether from the music or from the words. Conversation, as sex, would already happen, before the begining; Truth, ilusion, good and evil, ugly and beautiful are secondary modulations.

These cloudy thoughts come about our trio’s music. We are used to the idea of “speaking about music”. But we are less used to the inverse example that this record represents: the idea of “playing about words”. And not only in the sense that “music is a universal language” (indeed, and that is part of the secret), but also and mostly here, in the sense that, despite the absence of words, the music of the trio carries a strong semantic energy. The notes are taken as if to “say” and almost reach the limits of a language not yet spoken. Evidently, they can not reach the point of saying “this” or “that” without stoping to be music.

Many are the places where the trio aproaches dangerously the worlds of spoken language. The rhythm, joy and laments, of a certain Lisbon accent, the recognition of the anglo-american jazz empire, the dream of “lost” arab and jewish wisdom, the madnes of spelling all the languages on the face of the earth. The rhythm, joy and laments, of a certain Lisbon accent, the recognition of the anglo-american jazz empire, the dream of “lost” arab and jewish wisdom, the madness of speaking all the languages on the face of the earth, all this counts among the impossible subjects of our polilogue.

João Paulo Esteves da Silva