HUGO COSTA + PHILIPP ERNSTING – THE ART OF CRASHING
cd
Oase
Twine
Engined
Blind Spot
Nowhere Fast
Spookstaad D
rink it Now
Hugo Costa : alto saxophone
Philipp Ernsting : drums
Recorded at Studio SanteBoutique, 2020. Mixed by Philipp Ernsting . Mastered at the Sunny Side Inc. Studio, Anderlecht (Belgium).
This album was supported by Popunie music support Rotterdam.
Sleeve notes : Guy Peters.
Layout : Rutger Zuydervelt
REVIEWS
“De Portugese altsaxofonist Hugo Costa en de al even virtuoze en intelligent spelende drummer Philipp Ernsting vormden een fascinerend duo dat alle mogelijkheden van het samenspelen exploreert, en als je het dan over de altsaxofoon en drums hebt zijn er voldoende illustere voorbeelden te bedenken, maar Costa en Ernsting gaan hun geheel eigen avontuurlijke weg, en het is een genot om hun daarop te kunnen volgen.
The Art of Crashing bevat een paar lange en een paar korte improvisaties, waarin opvalt dat de ene keer de drummer melodieus speelt en de andere keer de saxofonist ritmisch met de drums meegaat, wat het samenspel van begin tot eind ongehoord spannend maakt.
Dit is niet alleen intelligente improvisatie en samenspel op zeer hoog niveau, er zit ook melancholie in deze muziek, en als vaker bij geïmproviseerde muziek zitten er zoveel details en finesses in dat je dit album vele malen kunt afspelen zonder je ooit te vervelen, want je ontdekt steeds opnieuw kleine accenten en elegante knipogen. Opnieuw een pareltje in de catalogus van het Belgische label New Wave of Jazz, dit keer van jazz uit Rotterdam. Een absolute aanrader.” Moors Magazine – The Netherlands
“4 out of 5 stars ! “The Art of Crashing”, com chancela da editora A New Wave of Jazz, junta em duo o saxofonista alto português Hugo Costa, há muito radicado nos Países Baixos, e o baterista alemão Philipp Ernsting, também companheiros de aventuras em formações como Albatre e Anticlan. A jazz.pt já o escutou.
O saxofonista alto Hugo Costa, radicado em Roterdão, Países Baixos, desde 2010, continua a explorar diversas configurações instrumentais e a desbravar novos territórios, fazendo uso das suas qualidades enquanto pensador e músico ágil. Faz parte da relevante cena local (com extensão a Amesterdão) do jazz mais aventuroso e da livre improvisação, e tem vindo a repartir a sua atividade por diversos projetos, avultando o power-trio Albatre – com o contrabaixista e baixista Gonçalo Almeida e o baterista alemão Philipp Ernsting, no trio Garuda, com o contrabaixista Hernâni Faustino e do baterista João Valinho, Anticlan (com o mesmo Ernsting e o guitarrista de origem mexicana Josué Amador), Real Mensch (ao lado de Assi Weitz e Robert Gradisen), ou o trio com dois neerlandeses (Raoul van der Weide e Onno Govaert) que em 2022 editou “Land Over Water”.
É precisamente com o baterista Philipp Ernsting que Costa agora se apresenta em duo, neste “The Art of Crashing”, com selo da A New Wave of Jazz, editora com curadoria de Dirk Serries, cujas atividades remontam a 2015. Ambos os músicos provam, se necessário fosse, que para além de soarem flamejantes, também são exímios na construção de detalhes e a aproximarem-se do universo do jazz com mestria e conhecimento de causa. Aqui demonstram de modo mais evidente essas dimensões, não apenas enquanto individualidades, mas sobretudo enquanto seres musicais dialogantes, que em seis improvisações livres nos apresentam material desafiante, que bebe na tradição, mas evitando emular padrões ou reaquecer fórmulas.
Este é um álbum com muita «exploração tímbrica de contrastes e intensidades diferentes», começar por dizer Hugo Costa à jazz.pt. Cada peça encerra um carácter único e revelador da forte interação entre dois músicos que se conhecem bem, jogos de ação e reação e impulsos mútuos. «Diria que este álbum enquadra-se no que tenho vindo a fazer mais recentemente com os grupos acústicos em que toco, ou seja, numa música sem estruturas pré-estabelecidas e criada no momento.» Neste álbum está mais uma vez patente o desejo de evolução e de trazer sempre novos elementos para a sua música. Isto decorre em especial do facto de este ser um álbum em duo, «o que cria uma dinâmica diferente e especial», sublinha o saxofonista.
“The Art of Crashing” começa com a concisa “Oase”, espécie de declaração de intenções do saxofonista, a partir de frases melódicas serpenteantes – que lembram formas musicais do leste europeu – com recurso a técnicas estendidas, explorando microtonalidades, multifónicos e harmónicos. “Twine Engined” é já propulsionada a dois motores, com a bateria meticulosa a juntar-se em plano de absoluta igualdade ao saxofone de Costa. Primeiro são as frases curtas e percussivas do saxofone, com recurso a slap tonguing, multifónicos e notas no registo altíssimo, devedoras de certo free jazz. A peça evolui então para uma narrativa mais melódica e meditativa, com o saxofone a alternar entre diferentes registos.
“Blind Spot” é introduzida por Ernsting, que abre caminho para a entrada do saxofone, encantatório, desenvolvendo um drone xamânico a espaços mais intenso. A bateria é inesgotável tanque de combustível, embora ambos se alimentem biunivocamente. A dado momento, o baterista propõe um padrão mais complexo e ambos os instrumentos aumentam a intensidade, culminando num clímax frenético. Parecendo constituir-se como o centro nevrálgico do álbum, “Nowhere Fast” é extensa ruminação, na qual Ernsting propõe um padrão em staccato, juntando-se-lhe o saxofone com frases angulosas; a música desenvolve-se sem pressas até que instala algo que se assemelha a um ritmo africano partido, ganhando depois outra densidade. Costa explora harmonias avançadas que desembocam num crescendo, com o saxofone explosivo no registo altíssimo.
“Spookstaad” (em português, “cidade fantasma”) é mais contida, espécie de dança íntima entre os dois instrumentos. O saxofone começa por uma passagem melódica, misteriosa, feita de notas longas; o baterista usa o tom tom, que quase soa a um tímpano. Na peça final, “Drink it Now”, a bateria estabelece uma espécie de semi-marcha e o saxofone insta-nos, primeiro mais ayleriano, gritado, depois relaxado, deixando assomar laivos melódicos. Ernsting utiliza todo o kit, mormente o aro para trazer cores diferentes. “The Art of Crashing” é mais uma peça no infinito puzzle da música que demanda novos territórios e um álbum marcante no interessantíssimo percurso do saxofonista português.” Jazz.pt – Portugal
“The Art Of Crashing servers up six slices of taut, tense, and often angularly seared improv for drums and alto Sax two-piece. It’s a release which sees the instruments at times swapping their formal roles, in both an intense and rewarding manner. The release appears on the always-worthy New Wave Of Jazz, which is an improv & modern composition label that is run by ambient experimental artist/improviser Dirk Serries. The CD release is presented in the labels house style min gatefold- which features on its outside grey boxes with white texts in, and inside a two page write up about the two players, and the tracks presented within. As with all of this labels releases- this CD is ltd, with it having a pressing of two hundred copies. And if you’d like to purchase it directly from the label head here Hugo Costa is an Alto Sax player from Rotterdam, and aside from another collab 2022’s Land Over Water. He is in three-piece project Albatre, who have put out five releases since 2013. And Anticlan- which is another three-piece, and has been active since 2018- releasing two releases. Philipp Ernsting is also based in Rotterdam, and handles the drums on the release- The Art Of Crashing is his first two-piece collaboration- though he’s also in the Albatre & Anticlan, as well as Ritual Habitual- a three-piece who have one release to their name 2021’s Pagan Chant. And from the beginning of this release, it’s clear both players are highly comfortable with each other. The six tracks featured have runtimes between one and sixteen minutes. And after the short intro/ warming up first track, we’re into “Twine Endangered” to begin with we find a tight and taut web of snaping ‘n’ rolling drums & rhythmic taps/ darts from the sax. As the track opens up the rhythmic darting tone of the Sax stays to an extent- but we get more honk, wailing waves and bays appearing- which is blended wonderfully with the detailed & taut drum work. As we move through the CD we come to “Nowhere Fast”, which is the longest track here. It opens with a blend of even tapping almost tribal drums, and playfully expressive Sax work. As the track moves on the Sax almost starts to twist off in more abstract and busy tangents, and around this the once fairly formal drum pattern, adds in a complex cymbal and drum patterns- all to create a wonderful urgent and brain cell-sparking track. The CD plays out with “Drink It Now” which begins with angular and waving compressed horn work- and rapidly snaking & darting drum work. As things move on the Sax starts taking on slightly more flighty at points harmonic touches in its flirting and bob flow, and this is wonderful added to by shift and detailed drum patterns. The Art Of Crashing is excellent and impactful improv album- with both parties rewardingly shifting, weaving, and darting around each other. I’ll most certainly be keeping an eye out for both player’s names in the future- as well as looking into the other two projects the pair are in together.” Musique Machine – UK
“Portugalskiego saksofonistę i holenderskiego perkusistę znamy z dwóch formacji trzyosobowych – Albatre (z basem Gonçalo Almeidy) i Anticlan (z gitarą Josue Amadora). Tym razem postanowili pomuzykować jedynie w duecie, z góry zakładając, iż formuła free jazzu będzie dla nich najodpowiedniejsza. Świetnie sobie w zadanej estetyce poradzili, dodatkowo mając w zanadrzu sporo nie do końca jazzowych doświadczeń z obu wymienionych grup, wnieśli do tygla dość spodziewanych emocji fire music całe mnóstwo niuansów dramaturgicznych, brzmieniowych onomatopei, a nade wszystko dużo zwyczajnej, jakże bezcennej kreatywności.
Pierwsza odsłona albumu, to miniaturowa narracja budowana niemal wyłącznie frazami saksofonowymi. Costa oddycha, lekko rezonuje, śle kilka post-jazzowych pętli na tzw. dobry początek. Kolejne trzy improwizacje trwają po dziesięć i więcej minut, zdają się być prawdziwym mięsem tego ognistego splotu wydarzeń dźwiękowych. Narracja saksofonu budowana jest dość pieczołowicie, step by step ku niebu/ piekłu stylowej, jakże emocjonalnej opowieści. Z kolei perkusja od startu szyje gęstym, tłustym, niebywale ekspresyjnym ściegiem. W wielu momentach można odnieść wrażenie, jakby strugę rytmicznej, wielowarstwowej narracji prowadziły przynajmniej dwa zestawy perkusyjne. Muzycy idą tu w ogień free jazzu, jak w ramiona ulubionej kochanki, czują się komfortowo w gęstym strumieniu improwizacji. Aktywność drummera sprawia wszakże, iż to saksofonista ma tu więcej sposobności, by czasami zwolnić, zadąć w róg nieco bardziej zadumanym tembrem, czy wysłać w świat kilka rezonujących fonii. W tej akurat ekspozycji najciekawiej dzieje się chyba wtedy, gdy w dynamicznej narracji muzycy pozostawiają dźwiękom więcej przestrzeni, budują frazy na lekkim wydechu i mimo dynamicznej sytuacji, donikąd nie gnają. Improwizacja umiera tu pod ciężarem pustych, saksofonowych dysz i oddechu upoconej perkusji. Zresztą efektowna finalizacja, to silna strona także kolejnych improwizacji. Trzecią z nich otwiera perkusyjna introdukcja. Alt wkracza do gry soczystymi dronami po kilkudziesięciu sekundach. Tempo jest tym razem umiarkowane, a wiele saksofonowych fraz ma tu bardzo melodyjną bazę. Potem gęsty ścieg drummerski jeszcze się … zagęszcza i improwizacja zionie ogniem niczym wataha smoków. Czwarta opowieść trwa ponad kwadrans, jest zatem budowana bardzo nieśpiesznie i z dużą rozwagą dramaturgiczną. Saksofon zaczyna swingowym stepem, z kolei perkusista sprawia wrażenie konia, który ubija ziemię pod kopytami. Z tej nieoczywistej sytuacji scenicznej artyści kreują piękną opowieść. Znów to drummer jest tym, którego ciągnie do ognia, saksofonista skupia się raczej na leniwym czerpaniu radości z chwili obecnej. Narracja nabiera tu niemal rytualnego drive’u, cieszy ucho każdą frazą. Pod koniec najpierw zalewa nas ogniem ekspresji, potem doskonale tłumi się pod presją coraz wolniejszego stepu perkusji i dętego pisku opon. Dwie finałowe improwizacje trwają po kilka minut i pokazują duet w nieco innym świetle. Najpierw czeka nas meta ekspresyjna ballada z niemal coltrane’owskim sznytem. Drummer kręci tu pętle, saksofonista śpiewa z lekką zadumą, dronuje, nie stroni od drobnych preparacji. Narracja faluje, nadyma się i kurczy. Ostatnia improwizacja od pierwszego dźwięku stawia na dynamikę, dęte pokrzykiwania, ale i pewien perkusyjny suspens. Artyści tańczą wokół własnej osi i z gracją kończą swe dzieło.” Spontaneous Music Tribune – Poland
“Portuguese alto sax player Hugo Costa collaborates regularly with German drummer Philipp Ernsting. Both reside in Rotterdam and play together in the trios Anticlan (with guitarist Josué Amador) and Albatre (with bassist Gonçalo Almeida). Their first duo album The Art of Crashing was recorded at Studio SanteBoutique in Rotterdam in 2020, and obviously, refers to the long and dynamic lineage of free jazz sax-drums duos. The thoughtful, resourceful and energetic Costa and Ernsting are well-versed in this seminal lineage but want to suggest their own perspective on such dialogs, based on their own close mutual understanding and immediate and organic dynamics. And both Costa and Ernsting also share a similar conception of rhythm and its many forms – layered, pulse-free, abstract, playful, or a slow-cooking and percolating one, often shape-shifting within the same improvisation, and especially on the three extended improvisations. They keep feeding each other’s with loose melodic ideas and rhythmic patterns, trusting the other’s to develop them further and deeper. This meeting leaves enough space for the individual voices of Costa and Ernsting but also highlights their assertive power as a duo.” Salt Peanuts – Norway
“Altsaxofonist Hugo Costa en drummer Philipp Ernsting hadden in de loop van 2020 afspraak in de Rotterdamse Studio SanteBoutique. Waar ze zich zoal mee bezighielden, is te horen op deze opname. Laat u vooral niet afschrikken door de titel ook al zijn het niet precies de meest broze ideeën die de heren naar voor brengen. Costa mag de eerste stappen zetten. Een korte noodkreet om bijstand lijkt het wel. En daar duikt Ernsting al drummend op. Het startschot voor een gestadig voortschrijden van beiden die duidelijk heel wat gezamenlijk aanknopingsvinden hebben. Staccato ritmen zijn aan de orde van de dag. Pittige steekspelletjes volgens een uiterst fysisch stramien. Ze gunnen elkaar noch de luisteraar enige ademruimte. De opgeroepen associaties blijven voorbij zoeven. Indrukwekkend hoe dit duo het heilige vuur van de improvisatie brandend houdt. We kunnen het elf minutenlange ‘Twine Engined’ aanraden als geschikt instapmoment. Ideale aanzet om nog eens te luisteren naar ‘Live In Willisau’ (Intakt), het duo-concert van James Brandon Lewis en Chad Taylor.” Jazzhalo – Belgium
“History does not only repeat itself”, Guy Peters’ opening line for the liner notes for the Hugo Costa and Philipp Ernsting CD. I have to correct him. History is not a scientific experiment that can be repeated to verify the results. Peters explains that the Dutch improvisation world was in the old days mainly in Amsterdam, and thus, other scenes were easily snowed under and that something similar is the case these days. But New Wave Of Jazz has released music from Rotterdam before, and these two musicians are from the same city. Drummer Philipp Ernsting is part of AIM, a collective of improvisers creating opportunities for experimentation. Hugo Costa, originally from Portugal but now in Rotterdam, plays the alto saxophone. Two years ago, they recorded the six pieces on ‘The Art Of Crashing’, one wild free jazz/improvisation. I know, I keep saying that Vital Weekly is buried with improvisation/free jazz/jazz music and that I don’t think we’re the right platform for this. But, when I was thinking about the noise the other day and said that a noise release a week is quite alright (or even two), I guess I could
say the same about free jazz. Or, perhaps, about so much music; is there any music I could hear all day? Now there’s an interesting question. So, here I am, Saturday afternoon, still ‘at it’, the review business. In the meantime, I am sitting in my comfy chair, reading today’s paper and listening to the wild free jazz. of Costa and Ernsting. And, oddly enough, I dig it. I think ‘dig’ is a jazz word but is it? Whatever. Unlike Peters, I can’t put this into any historical context, so I have to take his word for it. John Coltrane, Ken Vandermark, Paal Nilssem-Love, Evan Parker, Colin Webster & Andrew Lisle are a few names I recognized, sometimes because I wrote about some of them. For me, it was mostly the high energy level that had, oddly enough, a soothing character on me.”Vital Weekly – The Netherlands
“In 2020 opgenomen in de studio. Ofschoon altsaxofonist Hugo Costa en drummer Philipp Ernsting elkaar door en door kennen – ze vormen Albatre, samen met Gonçalo Almeida en Anticlan met Josue Amador – maakten ze nooit eerder een duo album. En zie ‘The Art of Crashing’ was geboren. De Cd begint juist vrij ingetogen, de titel ‘Oase’ is wat dat betreft uitstekend gekozen, om in ‘Twins Engined’ tempo te maken. Indrukwekkend spel in ‘Blind Spot’ van Costa, met een weemoedig, afgeknepen geluid, trotseert hij Ernsting’s slagen, om verderop weer samen met hem het ruime sop te kiezen. En prachtig ritmisch spel van Costa in het langste stuk van het het album, ‘Nowhere Fast’. Althans in het begin, verderop neemt de abstractie weer toe. ‘Spookstaad’ klinkt weer vrij rustig, met veel aandacht voor het slagwerk van Ernsting. Tot slot klinkt het korte ‘Drink it Now’, dat midden in de actie eindigt.” Nieuwe Noten – The Netherlands
A New Wave Of Jazz 
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