Sei Miguel - Salvation Modes (2014) 320 kbps. Chicago/São Paulo Underground ft. Pharoah Sanders - Spiral Mercury.
Sei Miguel - Salvation Modes (2014) 320 kbps. Chad Taylor, Guilherme Granado, Matthew Lux, Mauricio Takara, Pharoah Sanders, Rob Mazurek.
Sei Miguel-trumpet Fala Mariam-trombone Pedro Gomes-guitar Ceesar Burago-percussion. 2. Fermata (2005) Sei e Goncalves hammond manipulation Margarida Garcia-twin Ceesar Burago-percussion, radio. 3. Cantata Mussurana (1996 - 2012).
Jazz and Blues Music Jazz Sei Miguel - Salvation Modes (2014) FLAC. Sei Miguel - Salvation Modes (2014) FLAC. Genres: Jazz 27-05-2018, 18:36 176 soundmaster. All music Sei Miguel.
Salvation Modes is a avant-garde jazz music live album recording by SEI MIGUEL released in 2014 on CD, LP/Vinyl and/or cassette. SEI MIGUEL - Salvation Modes. Filed under Avant-Garde Jazz By SEI MIGUEL.
Composer and trumpeter Sei Miguel began making records in the late 1980s after relocating from his native France first to Brazil, then permanently to Portugal. Since the very beginning he has developed a highly individual aesthetic that balances the expansive sonorities of the various instruments he writes for with silence, texture, and space. Improvisation has a primary role in his work, but it is carefully articulated within a scored framework. Nowhere is this more evident than on Salvation Modes issued by Clean Feed.
Sei Miguel: Salvation Modes by John Ephland, published on May 23, 2014. Subtly subversive, Salvation Modes seems to be all about extending the conversation about instruments, improvisation and listenability to include multiple musical personalities, all under the direction of Mr. Miguel. For example, the 18- minute "Cantata Mussurana" appears to hover around Pedro Lourenco's funky bass (hiccups to Herbie Hancock's "Chameleon") as singer Kimi Djabate introduces a quiet, resonant, moaning voice.
Saturday, June 21, 2014. Sei Miguel – Salvation Modes (Clean Feed) . I find Sei Miguel’s music very sensuous and highly emotive and even though it appears to have been thought through systematically and intellectually it is a very personal music, which is a natural extension of his life’s work so far. Salvation Modes is a great continuation of this style and the man’s artistic vision.
Clean Feed Records: CF295CD
Title Composer Time
01 - Prelúdio E Cruz De Sala (2002, 2012) Sei Miguel 27:06
* Sei Miguel: trumpet
* Fala Mariam: trombone
* Pedro Gomes: guitar
* César Burago: percussion
02 - Fermata Sei Miguel 9:45
* Sei Miguel: trumpet, finger cymbals
* André Gonçalves: hammond manipulation (http://www.andregoncalves.info)
* Margarida Garcia: twin
* César Burago: percussion, radio
03 - Cantata Mussurana (1996-2012) Sei Miguel 18:16
* Sei Miguel: trumpet, direction
* Kimi Djabaté: singer
* Rafael Toral: modulated feedback
* Ernesto Rodrigues: viola
* Nuno Torres: alto saxophone
* Fala Mariam: alto trombone
* Pedro Gomes: guitar
* Pedro Lourenço: bass guitar
* Luìs Desirat: trap drums
* Monsieur Trinité: bandoneon de Osaka, ganzá, afoché
* César Burago: bandoneon de Osaka, claves, agogô
Total time: 55:07
Track 1: recorded, edited and mixed by Rafael Toral (Noise Precision Mobile,
Noise Precision) at Teatro Maria Matos;
Track 2: recorded by Paulo Feijão at Musicorde Studios on January 2005 and
mixed (summer 2013) by Rafael Toral and Joaquim Monte.
By Thom Jurek
Composer and trumpeter Sei Miguel began making records in the late 1980s after
relocating from his native France first to Brazil, then permanently to
Portugal. Since the very beginning he has developed a highly individual
aesthetic that balances the expansive sonorities of the various instruments he
writes for with silence, texture, and space. Improvisation has a primary role
in his work, but it is carefully articulated within a scored framework. Nowhere
is this more evident than on Salvation Modes issued by Clean Feed. Its three
long pieces contain just one new work; the others are earlier unrecorded
pieces. The 27-minute opener, "Prelúdio E Cruz de Sala" is played by a quartet
including Fala Mariam on trombone, Pedro Gomes on guitar, and César Burago on
percussion. It's a long, developmental musical conversation. Instruments assert
their individual tonalities in a host of combinations until the 20-minute mark,
where they begin to dialogue as a group. As the discussion evolves, the
evocation of emotion -- never overstated -- comes forth with tenderness and
contemplative awareness. "Fermata," the shortest work here, is nearly ten
minutes. Miguel plays finger cymbals in addition to trumpet, accompanied by
André Gonçalves on a manipulated Hammond organ, Margarida Garcia on "twin" (an
electrified double bass), and Burago's percussion and radio. The horn is
slightly more forceful and lyrical, hovering atop radio static and the skeletal
bassline as the percussion finds cracks between various textures and
illuminates them. In the last third, an actual blues feel comes through the
wash with ghostly organ chords and Miguel's sinewy solo. The final work here,
"Cantata Mussurana," is based on a Creole purification ritual. The original
French recitative was adapted for Portuguese by vocalist Kimi Djabaté, and
features an 11-piece ensemble that includes trumpet, two bandoneons, claves,
alto saxophone, trombone, trap kit, electric bass, modulated feedback, viola,
and guitar. Miguel conducts as well as plays. The anchor is bassist Pedro
Lourenço, hovering around the notion of fragmental jazz-funk without ever
actually delving into it. The interplay between whammy bar guitar, sax, claves,
brushed snare, and vocals is darkly spiritual; the spaces between instruments
expand, contract, and blur. As the work becomes denser, more animated, and
(slightly) cacophonous around the 12-minute mark, each instrumental voice is
heard not only in dialogue with others, but as a separate entity articulated
with equanimity, distinct for its own "melodic" purpose in the sheer musicality
of this intoxicating whole. Though it would be difficult to choose only one of
Miguel's works as a place to begin, Salvation Modes is the one that reveals him
at his most imaginative, playful, and artful.
By Chris Haines
By John Ephland
By Glenn Astarita
By Guy Peters (nl)
Da Ettore Garzia (it)
Por Bernardo Álvares (pt)
Por Sara Quaresma Capitão (pt)
Par Luc Bouquet (fr)