(Creative Sources)

I wonder if we have reached a point in which one can define a “Creative Sources sound”, despite the fact that every CD released by the Portuguese imprint – whether you like it or not – is gifted with something that differentiates it from other (vaguely) similar outings. One of the most frequent shades according to this view is the wheezing voice of a toneless wind instrument, in this case Cirotteau’s trumpet, which could easily become a commonplace and in certain instances it has indeed. Not in this disc, though, as its presence remains discreet even when the timbre becomes more substantial, if this makes any sense; but does any description have a meaning in improvisation-based albums? Still questioning myself on this matter. Drury’s floor tom growls and rolls, joining the party with the intent of becoming a major attraction, while Matthews’s synthetic software generates spurious steam, intermittent waves of abnormality and bleeping niceties. Three completely different methods, three singular voices that manage to develop an instant jargon which – you guessed right – sounds typically Creative Sources. A stance is needed here, and mine has been clear since years: I keep appreciating the unconstraint that these “strange noises” transmit, with a single advice to Ernesto “The Boss” Rodrigues: always maintain the level this high, without giving access to people who use the label for being acknowledged in the free music world, yet couldn’t play a fart to save their lives. “Bszent Hun” is excellent stuff all the way, showing several of the necessary attributes to be a part of this family.

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