METAMORPHOSIS

 13.90

LAMA + Joachim Badenhorst

Joachim Badenhorst  clarinet and bass clarinet | Susana Santos Silva  trumpet | Gonçalo Almeida  double bass, keys, effects and loops | Greg Smith  drums and electronics

Available on Amazon and iTunes

 


No other title could be more certain to describe the music played by this transnational band lead by the Portuguese double bassist and composer Gonçalo Almeida and having Joachim Badenhorst (once again, like on the previous “The Elephant’s Journey”) as special guest. In fact, everything is in permanent inner mutation along the three parts of the suite-like piece “Metamorphosis”, but also the other two, “Comacina Dream” and “Dark Corner”. When you feel that the trio-turned-quartet functions in chamber jazz domain, the music goes to electro-acoustic territories. Now more than ever before (Almeida’s loops and effects are added by some keyboards work, and Greg Smith doubles his drumkit with a laptop), and with a particular kind of approach with a dirty, full of sediments, organic use of electricity and electronics. But all the coordinates are still in balance – and balance is the key word to understand what Lama proposes us since the start. In this case, balance with what Susana Santos Silva and Badenhorst give us, exploring the combined timbres of the trumpet and the clarinet along with the tonal, acoustic, possibilities at their disposition. They became one of the most exhilarating horn frontline of the moment, and that’s an achievement in itself. Equilibrium is also to find someone with the performative capacities of Gonçalo Almeida choosing to make his partners shine.

Tracks 1, 2 and 3 by Gonçalo Almeida, 4 by Joachim Badenhorst and 5 by Greg Smith

Recorded by Piet Vermonden at Jazzcase series Dommelhof, Neerpelt on the 21st January 2016 | Mixed by Greg Smith and Gonçalo Almeida at BGS Studio, Rotterdam | Mastered by Bernardo Fesch at Gizmeister Studios, Lisbon
Produced by LAMA | Executive production by Pedro Costa for Trem Azul | Design by Travassos | Photo by Cees Van de Ven

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