After the previous Teatro, a trio with Kent Kessler and Paal Nilssen-Love, saxophonist Rodrigo Amado shows once again his value, this time in a quartet. Subtitled “For Alto, Baritone And Strings”, the record produces a few moments of fascinating melancholy while introducing several new views on what’s commonly – and superficially – labeled as “chamber jazz”, the whole bathed in the refreshing waters of structural deprivation (sort of). Unbelievable how discreet Amado proves himself to be at times, his saxes largely absent from substantial chunks of the pieces; but when he’s in, his tone adds muscle to the collective’s skeleton, predictably shifting the balance from a more exacerbated transmission of dissonance to something that stands between abstract expressionism and unquiet contemplation, the only feverish exception being the final “Art Is Truth”. The string players, taken individually, are superb exponents of the noble class of fringe music: the contraptions and enthusiastic discharges, the solitary lines and the intertwining discourses between Zingaro’s violin and viola and Ulrich’s cello are much more than an impromptu narration, reinforcing their instant reciprocal insight with Filiano’s bass, a catalyzer of mercurial grace also appearing as the most evident reminder of the original jazz concept. Amado inserts, seams and gestures, reminiscing about faded images while envisioning a future that no one would really like to predict but, somehow, all imagine as being not so desirable.