#pedro melo alves

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 29]

premierowa emisja 14 sierpnia 2024 – 18:00 Graliśmy: Carlos Bica “Roots” z albumu “11:11” – Clean Feed Records Luís Vicente Trio “Hope II” z albumu “Come Down Here” – Clean Feed Records Gonçalo Almeida “Restraint, Pt.2” z albumu “States Of Restraint” – Clean Feed Records Luísa Gonçalves “Piano Distance” z albumu “Under Your Breath I Solo Piano Works II” – Trem Azul Records Margaux Oswald…

[altamontpt]

Surma - Alla (2022)

Cinco anos depois de Antwerpen, Surma chega para nos dar Alla. Vem com muitos e bons amigos, mas com a criatividade e inquietação de sempre. 2022 termina muito bem com a pluralidade de Alla e de Surma.

De quando em vez, Surma regressa aos discos, embora nunca esteja verdadeiramente parada nesses lapsos de tempo. A criatividade é que a move e a inquieta. Alla é o seu disco do dessossego. “Feliz o país que não tem geografia”, Saki (H. H. Munro), The Unbearable Bassington Quando Alberto Manguel escreveu, em 1980, o seu Dicionário de Lugares Imaginários (Tinta-da-China, agosto de 2013), não o fez…

[headlinerportugal]

Osees e The Last Internationale arrebatadores em noite de pontuação máxima para o rock barcelense - Dia 3 do Festival Ponte D’Lima 2024 | Reportagem Completa

John Dwyer dos Osees | mais fotos clicar aqui Ainda com o pensamento nas atuações da noite anterior, concretamente dos Mão Morta, dos !!! (Chk Chk Chk) e pois evidentemente dos Shame segui para o terceiro e último giro de autoestradas entre Guimarães e Ponte de Lima cujo caminho, dessa forma, se faz em cerca de 45 minutos.

Infelizmente não foi possível viajar mais cedo para ver os Youth Yard, banda de Viana do Castelo e que tocou durante a tarde no Palco Náutico cujo acesso foi gratuito. Oxalá tenha em breve uma oportunidade para ver estes jovens vianenses.

Youth Yard em palco | mais fotos clicar aqui Consegui chegar mesmo a tempo de ver Surma, o projeto bonito da leiriense Débora Umbelino. Ela que estava há poucas horas em território português, regressou ao nosso país vinda de uma tournée realizada nos Estados Unidos da América.

Já sou “cliente” regular dos seus concertos, o anterior tinha sido na edição deste ano do ‘Serralves em Festa’ e efetivamente nessa noite foi uma incrível atuação em formato trio tal como sucedeu no Festival Ponte D’Lima. Os dois músicos que a acompanharam foram João Hasselberg na bateria e Pedro Melo Alves no baixo.

O concerto não teve o seu arranque às 19:30h e quando cheguei, pouco depois, junto do Palco II ainda estavam todos os músicos nas últimas afinações. Esteve pouca gente para assistir a esta performance, dos três dias foi aquele que registou a menor afluência a esta hora.

Surma em formato trio em palco | mais fotos clicar aqui Ainda em ritmo de soundcheck nos primeiros instantes e dado que não estava tudo ainda a 100% parou e reiniciou o concerto. Já com a devida sintonia lá teve continuação mais uma simpática atuação da artista de Leiria.

Registo para a mensagem antes de "Massai", revelou ser um tema especial e simples tendo sido das primeiras que lançou oficialmente, daí esse carinho bem particular.

A abertura do Palco Principal neste derradeiro dia esteve a cargo dos Glockenwise e o atraso de 5 minutos acabaria por fazer “estragos” no cumprimento da setlist. “Calor”, a última prevista para ser tocada, terminou riscada do alinhamento. Infelizmente, foi pena, porém não foi por isso que a atuação teve menos encanto. A banda oriunda de Barcelos, transpiram esse orgulho, continua em muito boa forma e rubricaram uma excelente performance.

Na voz principal e guitarra Nuno Rodrigues, na voz secundária e guitarra Rafael Ferreira, no baixo Rui Fiusa, na bateria Cláudio Tavares, nas guitarras, teclas e coros Gil Amado e finalmente Sérgio Bastos nos teclados. Há o trio de ataque e há um sexteto de luxo.

Glockenwise em palco | mais fotos clicar aqui Já mais algum público, a coisa já estava mais composta, quando Nuno pediu para o pessoal se juntar mais à banda, o público estava espalhado pelo recinto antes de tocarem "Lodo".

‘Plástico’ de 2018 e ‘Gótico Português’ de 2023 são os dois incríveis e mais recentes álbuns dos Glockenwise. Ambos totalmente cantados na língua de Camões, parece que ainda foi ontem que tinham a língua de Shakespeare como parâmetro indispensável.

Em alguns temas, nomeadamente do registo do ano passado, foram projetadas imagens no ecrã girante relativas a esse disco. A componente vídeo foi utilizada de vez em quando.

Rafael e Rui dos Glockenwise em palco | mais fotos clicar aqui O pessoal estava com pica e lá surgiram uns gritos de “Barcelos, Barcelos, Barcelos” como quem incentiva uma equipa de futebol… Talvez estivessem imbuídos do espírito desportivo pois à mesma hora desenrolava-se o desafio da supertaça de futebol masculino.

Eles que estavam pela terceira vez a tocar como banda, já por causa do sarrabulho o vocalista Nuno, por sua conta, começa a perder a conta às viagens limianas, ele que revelou tal antes de tocarem "Natureza". Deu para ver que tinham uns quantos fãs pela plateia ao verificar a quantidade de pessoas a cantarolar as letras deste tema.

Nuno dos Glockenwise em palco | mais fotos clicar aqui Muita gente a aproveitar para ver o concerto no conforto da verdejante zona lounge ora sentados ou deitados. No final de “Dia Feliz” receberam umas merecidas e bem efusivas palmas.

Nuno estava em modo comunicativo “on fire” e deu uma “bicada” aos grandes festivais portugueses “bom ter bandas portuguesas a tocar em festival sem ser à hora de tomar um cafezinho”. Dia com duas bandas de Barcelos, os Gator, The Alligator iriam tocar mais tarde em horário nobre.

“Gótico Português” e “Besta” foram as duas últimas de uma setlist somente composta por temas dos últimos dois álbuns, por isso, só tocaram musicas em português.

Tiago Martins (voz e guitarra), Eduardo da Floresta (guitarra), Filipe Ferreira (bateria) e Ricardo Tomé (baixista) são o quarteto barcelense Gator, The Alligator e, provavelmente, a banda nortenha que mais temos destacado. Para mim foi a segunda vez que os vi este ano, depois de um concerto no CAAA em Guimarães.

Eduardo da Floresta dos Gator, The Alligator em palco | mais fotos clicar aqui O ritmo frenético e a pujança demonstrada a cada performance é já selo de garantia de que os seus concertos vão ser bem animados e curtidos ao máximo por quem os assiste. Assim o foi nesta atuação no Palco II, deram um excelente concerto. Eles são sempre assim, mesmo quando há elementos da banda envolvidos na organização Festival Ponte D’Lima, não há cansaço que limite a sua entrega e energia.

"Can’t You See?" e "Life You Dreamed" foram dos dois apontamentos ao vivo acerca de ‘Laminar Flow’, álbum lançado em 2023. Do EP especial lançado em maio deste ano referência particular para “Bonança”, um tema catchy e com uma sonoridade totalmente diferente do som normal dos Gator, The Alligator.

Tiago Martins, acerca dos gritos “Barcelos, Barcelos, Barcelos”, afirmou que era criminoso gritar Barcelos em Ponte de Lima. Com grande certeza estaria no pensamento do vocalista barcelense o esforço que terra limiana e suas gentes dedicaram a levantar este belíssimo festival. Mereciam salvas por isso pois claro.

Tiago dos Gator, The Alligator em palco | mais fotos clicar aqui Antes de finalizarem o concerto às 22:43h ainda tocaram “Yayaya", tema fenomenal cujo refrão que fica “preso” nas nossas mentes horas e horas. Será daqueles temas que tem de fazer parte da setlist comparável "Cellophane" ou “Gamma Knife” dos King Gizzard & the Lizard Wizard pela sua relevância história nos respetivos percursos musicais.

Delila Paz e Edgey Pires são o duo que compõem os The Last Internationale. Aquele sobrenome Pires denuncia, ele é descendente de portugueses oriundos de Arcos de Valdevez. O músico sempre teve um contacto próximo com Portugal desde a infância, altura em que passava férias no nosso país. Essa ligação tão profunda estendeu-se também à banda pois fizeram sempre questão de passar temporadas e fazer concertos em Portugal.

Eles foram auxiliados por Andrés Malta na guitarra e Pierre Belleville na bateria.

The Last Internationale em palco | mais fotos clicar aqui Este concerto iniciou-se às 22:37h com Delila a plenos pulmões a gritar "Ponte de Limaaaaaaaa", logo ali a quebrar o gelo com tanto entusiamo. Edgey esteve igual a si mesmo, com o seu habitual ritmo frenético e Paz sempre enérgica e vestida de branco. Eles que fazem questão de passarem mensagens políticas por isso não foi de admirar a bandeira da Palestina pendurada em amplificadores.

A seguir a “Hero” lá dizia Delila "Ontem à noite tocamos em Atenas e está quase o mesmo calor". Esta vaga é universal e foi incrível vê-lo em palco depois da odisseia que tiveram para chegar a Ponte de Lima diretos da Grécia.

Delila dos The Last Internationale em palco | mais fotos clicar aqui A adesão era semelhante à da noite anterior em termos de número de público e pelo recinto tivemos fãs dos The Last Internationale devidamente equipados. O ponto de rebuçado para alguns fãs foi quando subiram a palco e participaram no concerto. O pessoal foi participativo, até com coros como em "Wanted Man".

Delila além de cantar tocou piano em "Soul On Fire" num dos vários momentos bonitos do concerto que teve alma Soul e poder Rock.

Ela é de Nova Iorque e relevou que acha que lá o amor não é tão caloroso como por cá em Portugal. Foi uma revelação curiosa, Delila Paz já tem uma afinidade enorme com Portugal, são já bastantes passagens e estadias prolongadas no nosso país.Outra curiosidade foi a presença como roadie da baterista Helena Peixoto que já andou em tournée com os The Last Internationale pela Europa.

Edgey dos The Last Internationale em palco | mais fotos clicar aqui Um dos grandes momentos da atuação foi quando Paz veio para meio do público e pediu para todos se baixarem. A coreografia foi bem-sucedida pois o público fez questão de seguir as indicações. Já Pires fez crowdsurf. Provavelmente estavam um pouco cansados e mesmo assim fizeram questão de dar tudo e serem fiéis a si mesmos. "Freedom Town" foi a última e teve direito a foto de família.

John Dwyer com os seus Osees eram os mais esperados de toda a noite e realmente não defraudaram expetativas. A entrada em palco é que saiu de um sketch de comédia. Os músicos estiveram em palco a preparar os últimos detalhes e saíram por instantes. Parecia que iam antecipar a entrada em palco, a hora prevista eram as 0:15h. Dwyer entra, olha para o público e começa a “pegar” com o pessoal a dizer que o que queriam eram ver os anúncios... Na altura a dar vídeo a divulgar as datas do próximo ano. Dwyer saiu mesmo de palco e 2 minutos regressa com o resto da banda.

John Dwyer dos Osees | mais fotos clicar aqui Foi aí que entramos num universo muito próprio, aquele dos Osees no qual ocuparam a zona central do palco duas baterias asseguradas por Dan Rincon e Paul Quattrone tendo o vocalista/guitarrista John Dwyer ficado do lado esquerdo, do lado contrário o outro guitarrista e atrás das baterias o músico encarregado dos teclados.

Logo ao segundo tema, em "The Static God", o crowdsurf começou logo em todo o seu esplendor e os seguranças no fosso nunca mais tiveram descanso. Sentiu-se uma grande vibe e que permaneceu até final. "Obrigado Portugal" disse o vocalista em inglês e pelas suas expressões parecia estar a desfrutar. Pude vê-los na zona do backstage e deu para perceber que foram muito bem recebidos por Ponte de Lima.

Perspetiva do palco e público em Osees | mais fotos clicar aqui A "Tidal Wave" foi dedicada ao Jeremy, o técnico de som, que fazia o seu aniversário. Já em “A Foul Form” uma das baterias desmontou-se obrigando o concerto a ficar em modo de pausa por alguns momentos.

A pujança dos bateristas a tocarem sincronizados e da atitude musculada de John Dwyer são os pontos referenciais para a dinâmica sonora traduzida num hipnótico punk que soa muito mais combativo ao vivo do que na versão de álbum. Essa é a mais-valia dos concertos dos Osees e que leva a que tenham fãs um pouco por todo o mundo.

Dois bateristas dos Osees alinhados | mais fotos clicar aqui O concerto foi bastante intenso para ambos os lados do fosso, com um ponto curioso de uma invasão de um tipo durante "Withered Hand" que surgiu em palco vindo do nada tendo sido retirado prontamente.

"Não sei porque não voltamos mais vezes a Portugal" lamentava Dwyer. Nós também caro John disso podes ter a certeza. "Animated Violence" e "Intercepted Message" foram duas das últimas tocadas. Esta performance que fica para a história do Festival Ponte d’ Lima e que terminou pelas 1:26h. Soou a pouco porém foi tudo o que poderíamos querer.

O inevitável crowdsurf em Osees | mais fotos clicar aqui De seguida foi rumar ao Palco II para ver Omar Souleyman pela primeira vez e confesso não ter ficado fascinado. Foram servidos temas de batida eletrónica inspirados nas sonoridades do médio oriente. Omar esteve acompanhado por um DJ e durante perto de uma hora mostraram alguns dos seus temas tais como "Bent Elarab", "Anty Habybh Qlby" ou "Matlub Ziaratan".

Souleyman com o seu inconfundível estilo a bater palminhas e ora estando de um lado do palco ora estando no outro… Já o DJ esteve mais interessado em filmar o público do que outra coisa qualquer…

A voz de Omar fica um bocadinho escondida pelos efeitos, certo é que no "pacote musical" a coisa funciona, isto é, tendo em conta a forma como o público aderiu imediatamente ao apelo do artista.

Perspetiva do palco durante a atuação de Omar Souleyman | mais fotos clicar aqui Vi um festival bem organizado, com muito potencial num espaço bastante adequado para o efeito. Pontos muito positivos: - uma zona de parqueamento bastante extensa mesmo à porta do recinto. - a vila fica a "dois passos" do recinto. - o acesso a partir da saída da autoestrada dista penas uns 3km, se tanto. - zona de restauração bem simpática e acolhedora. Por outro lado, a parte menos boa. - o nível de público não atingiu, com toda a certeza, a expetativa da organização. Direi infelizmente pois tivemos excelentes concertos e uma vibe muito boa. - os WC têm de ser melhorados e ampliados, se a adesão de público tivesse atingido os números esperados iria ser um problema. Um festival constrói-se com o tempo e perseverança. Provavelmente por anteceder no calendário o SonicBlast e o Vodafone Paredes Paredes de Coura, todos realizam-se em semanas consecutivas, pode ser uma situação um pouco problemática pois os interesses musicais dos fãs cruzam-se. Todos estes festivais navegam em ondas musicais não muito distantes uns dos outros. Em todo o caso, oxalá o Festival Ponte D’Lima tenha vindo para ficar. A próxima edição está garantida, em 2025 acontecerá nos dias 31 de junho, 1 e 2 de agosto.

Reportagem fotográfica completa: Clicar Aqui (por Aitor Amorim)

Reportagem fotográfica completa: Clicar Aqui (por Nuno Coelho)

Primeira fila a vibrar intensamente com Osees | mais fotos clicar aqui Texto: Edgar Silva Fotografia: - Aitor Amorim @ torstudio (Instagram) - Nuno Coelho @ iam_noizze (Instagram)

[dustedandsocial]

Dusted&Social EP #18 (2-9-24)

Pictured: Purpur Spytt

Ondata Rossa (Agathe Max, Valentina Magaletti, Yoshino Shigihara, Dali de Saint Paul) - L'Échappée Belle [Excerpt] Paul McCartney & Wings - Let Me Roll It (Underdubbed Mix) Ballon D'Essai - Simon Says Purpur Spytt - On A Circle The Exaltics - It Never Ends Lès Modernos - laques1 Soissons - le prieuré MOORIS (João Almeida & Pedro Melo Alves) - ++++ Johana Beaussart - Utöpi I HMOT - Hin Kilgäs Bıl Yaqtarğa Thomas Bush - Thirsting Kaset Hitam - Roosendaal Faxed - Emotional Mithering Slipper - Relation To A Symbol Hannah Todt - Galerie Kali Malone - No Sun To Burn (for brass) Maria Bertel & Nina Garcia - PLAYGROUND OF BLIND FORCES EdGein2 - thedeadtalktomethroughthelightsonarches46and2 Manuel Gonzales - DGDG Opéra Mort - Le monde DRIVE WITH A DEAD GIRL - How it begins Tzii & Puits de Venin - De la bouche à l'oreille maxine funke - Clear Peter Brötzmann & Paal Nilssen-Love - Found the Cabin but No People

Mixcloud: https://www.mixcloud.com/dustedandsocial/dustedsocial-ep-18-2-9-24/

[atletasudando]

Otra cita de buen nivel en Sao Paulo

Fuente: Fed Paulista Rodrigo Pereira do Nascimento entre los hombres y Gabriela Silva Mourao entre las damas fueron los vencedores de los 100 metros llanos en el nuevo torneo Open de la Federación Paulista, realizado este sábado 17 de mayo. Pereira do Nascimento marcó 10.20 (-0.6ms), seguido pro Jorge Henrique da Costa Vides con 10.26 y Vinicius Rocha Moraes con 10.36. En las eliminatorias el ex campeón sudamericano había logrado 10.17. Gabriela Silva Mourao confirmó su buen momento, tras lograr el Campeonato Paulista, y ahora se impuso con 11.43 (viento 0.7ms), escoltada por Ana Carolina de Jesús Azevedo con 11.45 y la argentina Florencia Lamboglia con 11.64. En los 400 metros llanos, la campeona sudamericana Tiffani Beatriz Domingos Silva marcó 52.25, mientras que entre los hombres el vencedor de la prueba fue Lucas da Silva Carvalho con 46.18. También en las pruebas de vallas se vieron buenas marcas. Caroline de Melo Tomaz consiguió su mejor registro en los 100v femeninos con 13.27 (viento de 0m1s), en tanto Vitoria Sena Batista Alves y Leticia Gaspar señalaron 13.70. Los 110con vallas de hombres fueron para Paulo Henique da Silva con 13.85. En esta prueba pero en la categoría u20 volvió a lucir el flamante campeón y recordman sudamericano José Eduardo Menes da Silva con 13.57, seguido por Thiago Resende Ornelas dos Santos con 13.67. En las pruebas de campo, una de las mejores actuaciones correspondió a Beatriz Benjamin Chagas: 4.31 m. en salto con garrocha. En hombres, Lucas Alisson Pedro se mostró por arriba de los 5 metros: 5.05.   Read the full article

[vivacala]

Budweiser - Yours To Take from Fernando Nogari on Vimeo.

A collab with Anderson._Paak

Production Company: ICONOCLAST Director: Fernando Nogari DP: Rina Yang Production Designer: Taisa Malouf Styling: Marina Vieira 2nd unit Director: Nico 2nd unit DP: Edvaldo Raw Social Content Director: Vinicius de Andrade Executive Producers: Francesco Civita, Pity Lieutaud, Henrique Danieletto Post Producer: Ana Monte Executive Producer Assistants: Lucas Bullara and Camila Kinker 1st AD: Flávia Meszberg an Frederico Rosas Tariki 2nd AD: Ana Bianco, Larissa Andrade, Thaiane Rossano Follo Pereira and Luciana Camargo 3rd AD: Marta Miranda Aragão Conceição Line Producer: Mariana Barbiellini Production Coordinator: André Bauer Production Coordinator Assistants: Carol Latorre, Carolina Loureiro and Vinicius Gaspar Production Manager: Fabio Arisaka Set Producers: Carolina Guerra and Patricia Carvalho Set Production Assistants: Julia Andrade and Maria Nascimento Production Trainees: João Pedro Santos Paim Vieira and Renan Coutinho dos Santos Production Runners: Marcio Garcia Leal, Sandro de Melo Silva, Robinson Sousa Santiago, Edson Mendes de Andrade, Carlos Rogério da Cunha, Reginaldo Diogo de Oliveira, Matheus Pontes Teixeira Gomes de Sá, Renan Rosa Dos Santos and Alexandre da Rosa Controllers: Fabiana Baptista, Lucas Pereira, Beatriz Soares, Everson Martins and Rafael Neder Make up Design: Fabiana Mizukami Make up Assistant: Kerolaine Santos, Natália Machado Gomes de Pinho Pessoa, Micaela Ishii de Carvalho, Jane Santiago Cardoso, Sidney Silva de Paulo, Maria Anthônia Sestini, Ana Carolina da Costa Romero Maceió, Maria Célia de Oliveira Santos, Daniela Cordeiro de Souza and Luciana Tibirica Andrade Styling Assistants: Maria Eduarda Waddington Fadigas “Du” and André Licarião de Carvalho Braune Extras Styling: Tulio Barbosa Melles Extras Styling Assistants: Jessica Kelly Gonçalves de Carvalho and Victoria do Carmo Sousa Production Designer Assistants: Fernanda Schelp Lopes, Maria Laura Cunha Mendes "Lala" and Ligia Cristina Batschke Art Designer: Fernanda Barros Prado Art Producer: Fabiano Boaretto Art Producer Assistants: Francinny Anzai and Fernando Gurzoni Alvares Ferreira Props Producer: Fernanda Madureira Reinert Props Producer Assistants: Fernanda Nunes de Sousa Leme, Julia Marchezi and Maria Carolina Chaves Machado Casting: Claudia Maria Secaf and Mei Yi Ho Casting Assistants: Giovana França Alonso and Breno D’Amore Extras Casting: Rodrigo Hoffmann “Chuck" Extras Casting Assistants: Farah Azevedo Cordeiro Hoffmann, Luiza Mascherpe Rossini, Diego Barezi Garcia and Larissa Maria Alves de Brito Ferreira Location Scouting: Fabricio Jose Marinho, Flávio de Polli Hossri and Henrique Quirino Marques Boom Operator: Xuxa Steady Cam: Sandro Augusto Gomes de Mello Galvão 1st AC: Alessandro Valese "Alemão" Loader: Nestor Heitor Grun Neto 2nd AC Alfredo Luiz Dias Baptista Desio Video Assist: Dario Valese Alonso Drone Operator: Renato Monteiro Passarelli Drone Operator Assistants: Luiz Roberto Pereira Albertin, Caio Silva Viana, Diego Rinaldi Mendes and Luiz Ricardo de Oliveira Freitas Still: Gabriela Schmidt, Renato Gonçalves Toso, Luiz Fernando Bentes da Silva, Beatriz Garbieri Onofre and Marina Scanavez Gaffer: Walerio Máximo Navarro Rosa 1st Gaffer Assistants: Balbe José Figueiredo and Douglas dos Anjos Nascimento Grip: Carlos Gomes Fidelis 1st Grip Assistants: Orlando Jesus Francisco and Djalmo Dos Santos Cerqueira SFX on Set: Martão, Jefferson klimke, Tadeu Guimarães Farabelo and Julio Cesar Dias do Nascimento Post Producer Coordinators: Tutu Mesquita, Priscilla Paduano and Fabiana Galdino Post Producer Assistant: Leticia Harumi Post Producer Supervisor: Georges Sakamoto Editors: Marcelo Vogelaar, Samuel Chuengue and Fábio Mota Editors Assistants: Vitor Bicego Post Producer Supervisor (BTC/BTS): Bernardo Brito Editors (BTC/BTS): André Carvalho and Lucas Camara Post Production Company: Pródigo Films VFX: Dopo Post Art Director: Lucas Carvalho Color Grading: Marla (Fernando Lui) Color Grading (BTC/BTS): André Carvalho

[dustedmagazine]

Dust, Volume 7, Number 11

Walt McClements

We’re winding down for another year, looking forward to time off for the holidays and seeing friends and family in a semi-normal way.  Once again it’s dark at 4:30 p.m., and once again, it doesn’t matter all that much if you’ve got a fire going and some good music playing.  And so, we take stock of the albums that have caught our ears lately in another Dust.  Here are garage bands playing jazz standards, Dutch jazz duos evoking night skies, Berbers playing wedding music, a whole album full of ambient accordion music and the final recording from a 101-year-old Creole fiddle maestro, as well as lots of other unexpected stuff.  This month’s contributors include Jennifer Kelly, Andrew Forrell, Ian Masters, Bill Meyer, Bryon Hayes, Chris Liberato, Justin Cober-Lake and Jonathan Shaw.

Aeon Station — Observatory (Sub Pop)

You could definitely get old waiting for another Wrens album. Their second and third albums were famously separated by ten years in the wilderness, and even Meadowlands, the triumphant, long-awaited return is 16 years old now. The photo my husband took of Kevin Whelan tossing his bass in the air on that tour is yellowed and curling at the edges, and Charles Bissell has publicly stated that the Wrens will never record again as a band.  But at long last we have SOMETHING from former Wren Kevin Whelan, here supported by the rest of the band, that is Greg Whelan on guitar and Jerry McDonald on drums. Aeon Station is almost the Wrens, and if Observatory is missing the wistful ironies and clever observations that made Meadowlands heartbreaking, it’s got the big pop swells and irresistible choruses that made it exhilarating. To hear the steady bass pulse of “Fade” erupting into giddy overload is to relive the heady days of 2005, when these boys were exhausted but on top of the indie pop game. When the fragile uncertainties of “Queens” surge into drum-kicking, guitar-destroying exuberance, you can hear the way “Happy” picked listeners up out of the doldrums and headed for exultation. Sure, you’d maybe like a little more lyrical introspection, and the second half of the record is better than the first, but it’ll do for now.  Who knows? Maybe in another decade or two, there will be more.

Jennifer Kelly

Beach Fossils — The Other Side Of Life: Piano Ballads (Bayonet)

Beach Fossils front man Dustin Payseur reinterprets some of his indie tracks in jazz trio settings with former drummer Tommy Gardner (piano, sax, and bass) and Henry Kwapis on drums. The results are mixed. On one hand Gardner and Kwapis provide excellent if unstretched backing for Payseur’s croon, on the other the songs remain the same and one’s response may depend on your attitude to the original material. On its own The Other Side Of Life is a pleasant side trip down an imagined memory lane. Payseur is a decent singer and occasionally acute songwriter and Gardner shines but the leap from lo-fi indie to jazz trio is neither wide enough nor narrow enough to make this more than a well-made curio. Enjoyable but inessential.

Andrew Forell  

The Black Watch — Here and There (Atom)

The Black Watch’s John Andrew Frederick steeps his tunes in the psychedelic 1960s, laying a radiant jangle across fuzz-bombed but catchy melody. This 20th album for the last of LA’s Paisley’s underground is equal parts crunch and drift, with the hard lines of guitar strumming filled in with pastel drifts of vocal harmonies. “The Real You,” matches the droning sweetness of Ride with the winding, searching guitar soliloquies found in the Bevis Frond or Teenage Fanclub. Yet there’s also a new element, the lush string arrangements of Ben Eshbach which line the contours of “Now & Then,” with velvety ease. If you like your Nuggets-y guitar racket with a fair bit of craft and melody, this one’s for you.

Jennifer Kelly

Bremer/McCoy — Natten (Luaka Bop)

Natten (The Night) by Bremer McCoy

A Danish duo of pianist Morten McCoy and bassist Jonathan Bremer makes sparkling, evocative music poised somewhere between jazz, ambient electronics and new age in this nocturnal themed outing. “Natten” means night in Danish, and its namesake cut glitters with starlight in the piano and electric keyboards, while Bremer’s bass elicits velvety dark skies. “Mit Hierte” (“My Heart”) bobs and weaves with pensive syncopation, the startling clarity of keyboards set off a bass that swaggers, but subtly. The earthiness of bass contrasts sharply with synthesized sound washes; there’s a swing in these tunes, but also a meditative aura. These compositions balance nightclub-dwelling, martini-quaffing suavity with something clear and clean and natural, so that it’s hard to tell if it’s very late at night or very early in the morning.

Jennifer Kelly

Bruno Bavota — For Apartments: Songs & Loops (Temporary Residence Ltd.)

Italian composer Bruno Bavota is far from alone over the past couple years in finding himself staying home more often. While the notion of “accomplishing something” with our enforced extra time around the home quickly became both obnoxious and a meme, Bavota is also far from the only one to actually find himself producing work conditioned in some way by the lack of change in environs. The title of For Apartments: Songs & Loops might make it sound like a bit of a grab bag but there are actually two equally impressive but very distinct and demarcated albums here, with the six loops making for just under 40 minutes of synthesizer travelogue that feel a lot less constrained than the term “loop” might suggest, and the 13 songs sketching out slightly less than 29 minutes of calm, graceful solo piano complete with room tone. Maybe the best moment of the assembled For Apartments is the switch from the sixth loop to the first song, two totally distinct sound worlds briefly bumping up against each other, the heady excursions into (inner or outer) space of the former informing the patient space of the latter and vice versa. It’s very fine music to be stuck in an apartment with, however eager we might be to test it out in different contexts as well.

Ian Mathers 

Pedro Carneiro / Pedro Melo Alves — Bad Company (Clean Feed)

Bad Company by Pedro Carneiro | Pedro Melo Alves

Put aside your rock-rooted associations. Bad Company is named after a story by Yasuoka Shotaro which depicted the seductive lure of antisocial cruelty and the corrosive outcome of such flirtations. So, who is the bad influence here? Carneiro, who plays marimba, works mainly in contemporary classical music but maintains a sideline in improvisation. Alves is a drummer whose work in new jazz is often tinged with an awareness of classical form. They would appear to be made for each other, and the recorded evidence from this totally improvised encounter adds evidence to supposition. Alves’ playing is quick and precise and Carneiro more patient, which conveys a sense of sonic depth and contrasting, complementary motion. Form derives from the differences in tone and velocity; if Portugal ever puts its cultural budget behind this duo, it would be great to witness this music being enacted in acoustically apposite spaces around the world.

Bill Meyer  

Hocine Chaoui — Ouechesma (Outre National)

Ouechesma (Remastered Version) by Hocine Chaoui

Sometimes music comes at you unhindered by context. Take Ouechesma. If you don’t know the Chaoui language, you’re not going to know what Hocine Chaoui is singing, or why his surname matches the names of his ethnicity and language. Knowing that the Chaoui are a Berber community situated in mountainous eastern Algeria won’t really tell you anything about this music, and the sleeve doesn’t even tell you when the original cassette edition was issued. But here’s what you really need to know: it has a good beat, and if you can’t dance to it, you’re going to be awfully lonely if you attend one of the weddings where it gets played, because it’s very effective at motivating movement. It is pretty basic; a commanding chant of a vocal that alternates with an effects-dipped flute, and a galloping programmed beat that doesn’t waver for the whole song. Basic, and devastatingly effective.

Bill Meyer

Ted Curson — Pop Wine (Souffle Continu)

Pop Wine by Ted Curson

Souffle Continu is relentless in its mission to reissue quality Gallic-related jazz sides, and this time the theme is an American sideman in Paris. Wielding his horn on acclaimed recordings by the likes of Charles Mingus, Cecil Taylor and Archie Shepp, with Pop Wine Ted Curson takes on the lead role; he’s got a trio of talented Frenchmen by his side. George Arvanitas handles the ivories, while Charles Saudrais rides the drumkit and Jacky Samson plays bass. On this 1971 studio recording, the quartet offer up five pieces, effortlessly working their way through a handful of styles ranging from funky fusion all the way to feisty free jazz. Each player is at the top of their game, meaning there’s no true hero here. Samson goes from laying down a groove on the title track to whipping his bow out for some string sawing on the fiery “L.S.D. Takes a Holiday.” On that latter piece, Arvanitis works his way up and down the keyboard. At times he's swift and supple and at others he demolishes the keys. Curson shows that he can be lyrical, such as on “Lonely One,” and he can frolic frantically (“Quartier Latin”). Saudrais keeps the former piece from being a maudlin affair with his jumpy rhythms, and even lets loose a rollicking solo on the speedy romp “Flip Top.” Pop Wine doesn’t necessarily have a pure varietal character, but such stylistic breadth allows for an intoxicating body and bouquet. This heady brew is the perfect tipple for many moods.

Bryon Hayes

Willie Durriseau — Creole House Dance 45 (Nouveau Electric)

Creole House Dance by Willie Durisseau

This exuberant single captures legendary fiddler Willie Durriseau as a spry centenarian, playing in a frictive, squalling, sprightly Creole style that disappeared before World War II. Louis Michot of the Lost Bayou Ramblers captures Durriseau in all his homespun glory, sawing away at zydeco dance tunes and blues rambles that haven’t been heard since most of us were born. Near the end of “Willie’s Zydeco,” here embellished with jovial accordion, Michot asks Willie about how he made his first fiddle out of a take-out box. “How’d you do it?” he says, “Because I want to make one.” “You’ll just have to watch the film,” says Durriseau, taking that and other secrets with him when he passed shortly after this record was made. Remarkable.

Jennifer Kelly

Wendy Eisenberg – Bent Ring (Dear Life)

Bent Ring by wendyeisenberg

Wendy Eisenberg doesn’t want you to look while they’re writing love songs. “It’s embarrassing enough for me” they sing, strumming unassumingly along. Periodically, a percussive swipe cuts across the track like a scythe attempting to end Eisenberg’s progress. Other times, a bell tone sounds at a line’s end, reinforcing a positive thought. Several times, in the middle of the track, the two sounds clash. “Little Love Songs” is from the experimental guitarist’s latest solo record, Bent Ring, which is the result of a self-dare: “to write an album of songs that don’t use guitar at all.” Instead, they employ a salvaged tenor banjo for a meditative and disarmingly complex collection about their art’s relationship to the world and themself. “We work very well together. I believe it’s true,” they sing, almost blissfully, during one of the final verses in which the bell chimes alone.

Chris Liberato

Equipment Pointed Ankh — Without Human Permission (Astral Editions/Sophomore Lounge)

Without Human Permission by Equipment Pointed Ankh

Without Human Permission feels like a message in a bottle, only the ink’s a bit smudged, so the communication is far from clear. Is it from the past? The LP has a Ralph Records c. 1978 vibe to it, quirky yet catchy. Is it from far away? The liner notes say these guys are from Louisville, but they drove to Rhode Island to make the record…who does that? The music is instrumental, but it doesn’t fall neatly into a genre, and the line-up of multiple synths, lots of guitars and some drums generates suspicion that this crew thought about who they wanted to play with before they thought about what instruments a band needs to have. And we haven’t even gotten to the Terry Riley’s piano meets your grandma’s organ’s rhythm box jam that melts into a psychedelic clarinet puddle yet. This record was made for those moments when your head needs scratching and your leg needs pulling, and if you don’t know what we’re talking about, well, we never said that we did, either, did we?

Bill Meyer

Hard Feelings — Hard Feelings (Domino)

On the closing track of Hard Feelings’ debut, Amy Douglas sings “I will bend time where I want it to go,” but she almost doesn’t have to; she and Hot Chip’s Joe Goddard have just spent 42 minutes doing pretty much that. Not only can the grooves and Douglas’s indelible performance at the center of Hard Feelings lead to the kind of dancefloor hypnosis where you’re not longer sure if it’s late at night, early in the morning, both, or neither, Goddard’s productions touch on many of the sounds and strengths of house, disco, techno et al, but they do so in a way that feels neither like an unnecessary ‘update’ not just a throwback for the sake of nostalgia. Those tracks alone would make Hard Feelings more than worth a listen, but Douglas’s Alison Moyet-goes-to-the-club vocals and sharp songwriting are more than just incidental to the impact of these songs — the duo has been describing the album as an “opera of sad bangers” and maybe the best testament to that is the way Hard Feelings can remind the listener that emotional intensity, even melodrama, is definitely not a bad thing when it’s also this (body)moving and this much fun.

Ian Mathers 

Joëlle Léandre / Pauline Oliveros / George Lewis — Play As You Go (Trost)

Play as you go by JOELLE LEANDRE / GEORGE LEWIS / PAULINE OLIVEROS

In 2014, Joëlle Léandre, Pauline Oliveros and George Lewis convened for one night at the Vs. Interpretation Festival in Prague, Czech Republic. It wasn’t really a first encounter; Léandre has decades of working acquaintance with both other musicians, and given the diligent scholarship that Oliveros and Lewis have applied to music, they can’t have been unaware of each other. But neither is it a meeting of an ensemble with an established dynamic. Rather, they bring their shared experiences with jazz, classical and free improvisation together on a common ground cleared by a shared commitment to listening and intuitive response. Whether they contribute instruments (double bass, accordion, trombone and computer), voice (Léandre), or electronic processing of collective sounds, they do so in ways that build a cohesive sound environment. The name of the festival seems especially applicable; each musician is all in, present in the moment rather than figuring out how to react to what they just heard.

Bill Meyer

Kiran Leonard — Trespass on Foot (Self-Released)

Trespass on Foot by Kiran Leonard

Trepass on Foot is really two records, the first a sprawling meditation made by the Manchester experimental songwriter all by himself, the second a series of shorter, more song-like collaborations with friends among the UK’s avant-garde. Both are worthy but require a real listening commitment; the two discs comprise nearly two hours of music, and several tracks, especially in the solo portion, are in the ten-plus minute range. “The Ship,” for instance, swells slowly, with tidal force, beginning in scratchy sampled recordings, guitar strums and ambient hum and reaching a near orchestral climax over its 15-plus minute duration. Loosely shaped and morose, it has some lovely intervals like the off-kilter song verse with slanting guitars, which sounds like a lost bit from Loren Conors, and the blinding beautiful surge of massed guitar and voice near the end. “Sights Past” is even longer and follows a similar trajectory, building slowly, taking a variety of guises and reaching a nearly unbearable intensity. You don’t always know where you are in these compositions or what’s coming next, but if you allow yourself to wander from room to room, you’ll see some gorgeous things.

The second part of Trespass on Foot is somewhat more readily accessible, divided into songs that are more conventional in length and structure. There is solace, too, in the support of other musicians, like the lovely harmonies that Jolliff Seville supplies in “Third Day of February,” or the plaintive clarinet (Margo Munro Kerr), bass clarinet (Hannah Hever) and cello (Francesca Ter-Berg) that thread through found-sampled “Untitled.” “Castell” turns into a meaty folksong with the addition of drums and a yearning, forthright melody; the violin—that’s Dan Bridgwood-Hill—and supporting vocals Isabel Thorn give it dizzying density and resonance.

Jennifer Kelly

Mandy, Indiana — ‘…’ (Fire Talk Records)

The debut EP from Manchester band Mandy, Indiana is a pulverizing explosion of industrial grind courtesy of Scott Fair and Liam Stewart; over this racket, Valentine Caulfield chants and hisses lyrics in her native French. “Bottle Episode” careens between Stewart’s metallic martial percussion and a defibrillated heartbeat as Caulfield chants with increasing urgency and a flanged guitar chord thrums. The sound is rough, close, full of tension with little release, before it all clanks to a halt. “Nike Of Samothrace” slows the formula and adds what maybe the death throes of a cello and a sheets of controlled feedback, while Caulfield sits to one side commenting on the maelstrom. “Alien 3” is a little more straight ahead but still sounds like SPK or Einstürzende Neubauten mugging techno in nightclub alley, so pretty damn good. 

Andrew Forell

Walt McClements — A Hole in the Fence (American Dreams)

A Hole In The Fence by Walt McClements

Walt McClements is not the first musician to make ambient/drone music primarily with an accordion (and in fact he happily acknowledges the influence of Pauline Oliveros among others), but one of the catch-22s of making music with a relatively rare lead instrument is that it’s not you’re often more likely to get closely compared to others using than instrument than (say) someone focusing on guitar or piano is. By any standards though, McClements’ A Hole in the Fence is more than just another richly textured, emotionally complex, sometimes sonically overwhelming album of accordion music. These 33 minutes sometimes feels more like movements of a single composition, one that takes in McClements’ theme of the various liminal spaces and secret worlds he’s moved through in his life (various music undergrounds, gay cruising scenes, even train hopping) and creating a work that in turn can evoke the foreboding, peace, hesitance, and joy we find passing through those gateways and finding our places past the literal or metaphorical fences in our way. That combination of love and exploration courses strongly through the sounds and drones of A Hole in the Fence, and the result would be noteworthy whatever instruments McClements used to get there.

Ian Mathers

McKain / Murray / Radichel / Suarez / Weeks — The Running of the Bulls (Radical Documents)

The Running of the Bulls by McKain / Murray / Radichel / Suarez / Weeks

The cassette’s title signals the attitude if not the content. No bovines were jostled in the making of this music, but the participants do pitch themselves into this free jazz fray with abandon. This quintet convenes improvising musicians from San Francisco, New York and Philadelphia, but the vibe brings to mind certain vintages of sound made in Chicago or Wuppertal. Saxophonists James McKain and Tom Weeks apply an array of techniques, but put them together and they impart the blammo wall-of-reeds sound of Mars Williams + Ken Vandermark + (occasionally) Peter Brötzmann. Drummers Leo Suarez and Kevin Murray have a similar tendency to meld, albeit into mass of discrete textures and densities. Bassist Jared Radichel navigates the shifting masses with aplomb, working hard enough in the lengthy group pieces that one does not begrudge him the option of sitting out when the paired instruments break out for briefer improvisations. Points added for the excellent cover art.

Bill Meyer

M(h)aol — Gender Studies (TULLE)

M(h)aol isn’t fucking around. A five-person post-punk outfit with Irish roots and members in Dublin, London and Bristol, the band thunders and rampages in gender-empowered fury. “Why don’t you study my gender/Tell me I’m no fun anymore/That I used to be quiet and pretty/And you liked the old me more,” snarls the singer in the title track before revealing, “Guess what, I like the new me more.” The lyrics are uncompromising, but not without humor (“No one ever talks to us…unless they want to fuck”), and the sound is hard and unyielding, with sawing bursts of rapid-slashed guitar and rickety architectures of snare and kick drum. In an odd bit of symmetry, the mostly female M(h)aol has connections with the all-male Girl (now Gilla) Band; Jamie Hyland is the voice on “Holding Hands with Jamie,” and the two bands share an affinity for noisy breaks and smart, unusual lyrics. However, M(h)aol draws its name not from the other gender but from the legendary Irish female warlord Gráinne Mhaol who faced off Elizabeth I with, supposedly, a dagger in her bodice. Yup, sounds about right. Good stuff.

Jennifer Kelly

Matt Mitchell & Kate Gentile — Snark Horse (Pi Recordings)

Snark Horse [Box Set] by Matt Mitchell & Kate Gentile

Drummer Gentile and pianist/synthesist Mitchell toil in a manner that transcends any of the idiomatic signposts of jazz. Their compositional style conjures up the energy of punk rock and the bleeding edge wizardry of experimental electronic music. The pair push limits and dive headlong into whatever challenge they set for themselves. For this gargantuan six-disc boxed set, the duo set up an experiment, constraining themselves to write compositions of only a single bar in length. They call the resultant body of work Snark Horse, but there’s nothing cynical about this music. To realize the project, they assembled a ten-person strong Snark Horkestra made up of some of the finest American instrumentalists. Alongside Gentile and Mitchell are Kim Cass on bass, Ben Gerstein on trombone, Jon Irabagon on reeds, Davy Lazar on horns, Mat Maneri on viola, Ava Mendoza on guitar, Matt Nelson on saxophones and Brandon Seabrook on guitar and banjo. The 70 compositions were putty in the Snark Horkestra’s hands, around which Mitchell and Gentile encouraged the crew to improvise. The two composers perform across the entire set of music, with others joining the fray in a variety of permutations across different pieces. There are moments when only one or two of the members jump in, but things get wild when the entire crew goes at it. One of the most immediately noticeable characteristics of these songs, which vary in length substantially, is the rhythmic complexity. Gentile’s drumming style is unique, as she plays around with time signatures and constructs intricate patterns of beats. Add Mitchell’s dextrous piano work and the music becomes a furious beast that just might be the jazz equivalent of math rock. When you thread in the adept contributions of the eight other players, the proceedings heat up quickly and the energy is downright enchanting. Even when the tempo slows to a crawl, the music has an infectious electricity. To add icing to this already elaborate cake, Mitchell has dispersed a series of abstract electronic works of his own devising across the set, which perhaps serve as markers for a listener to return to once their flagging stamina has been replenished. One imagines that listening to over 270 minutes of adventurous sounds in one sitting would test the mettle of even the sturdiest set of eardrums.

Bryon Hayes

Moonlove — May Never Happen (Concentric Circles)

May Never Happen by Moonlove

Moonlove isn’t the most motivated band to come out of greater Akron (see: Devo). But then, so little is known about the trio that we’re left only with what they tell us on 1985’s appropriately titled May Never Happen. On twangy jangler, “Cast Your Troubles and Dreams Away” (riyl: Bonny Doon), Jeff Curtis sings about his ambitions of sitting around and caring less. And when he finds himself behind a “Hearse On The Highway,” he doesn’t even consider taking to the passing lane. Instead, he downshifts and dwells hard on the absence of time over a charmingly degenerate blues shuffle (think: VU). Beth Erickson takes the wheel on “Blue Skies,” and continues on the same trip. “He lies in bed all day / wasting hours and hours away,” she sings with the kind of undynamic yet heartfelt lilt that makes you wonder what might’ve happened if they’d sent their tape K Records’ way instead of no one’s. Luckily, though, almost 40 years after the fact, a copy ended up in the hands of Jed Bindeman, whose Concentric Circles label has built its name on this kind of reissue (read: magical). Climb on in!

Chris Liberato

Jessica Pavone — Lull (Chaikin)

Lull by Jessica Pavone

Some composers write scores that test the physical limits of those who play them. Composer and violist Jessica Pavone does the opposite, considering what feels right to play and using that knowledge to center what’s asked of each musician. The results, however, are by no means limited; Lull is one of the most inclusive albums Pavone has ever made. It encompasses chamber music and improvisation, shifting between ultra-detailed improvisations featuring drummer Brian Chase and trumpeter Nate Wooley, and boldly colored, intricately layered string passages by an octet that includes Pavone. Ranging between spare turbulence and patiently evolving presence, the music uses changing textures to externalize nameless but palpable emotional states.

Bill Meyer   

Fredrik Rasten — Svevning (Insub)

Svevning by FREDRIK RASTEN

In this CD’s liner notes, guitarist Fredrik Rasten explains that the Norwegian word “svevning” has two meanings. One applies to the sort of effortless glide that birds achieve when they’re riding air currents, and the other refers to the beating effect obtained by sounding two sustained notes. Translated into math, the formula is 1 word = cause / effect = 38:15 + 38:55 minutes of hovering tone. Rasten operates in the same sonic galaxy as Cristian Alvear and Taku Sugimoto, which is to say that he explores acoustic phenomena with unemphatic precision. These two pieces employ the same method, which is for Rasten to repeat a figure with very slowly evolving changes on a guitar tuned in just intonation. The effects of plucked notes in proximity, approaching and transforming each other, is gently hypnotic. This could be your next sound meditation.

Bill Meyer

Steph Richards With Joshua White — Zephyr (Relative Pitch)

Zephyr by Steph Richards

Zephyr packs a lot of musical exploration into a small space. The album is divided into three suites, each of which uses an environment as a cue to examine relationships between musician and musician, artist and family, and sound and space. The five-part Sacred Sea uses trumpeter Steph Richards’ technique of playing with water as a method to ponder her suppositions about her then-unborn daughter’s perception of sound as well as the limits of instrumental capacity; Joshua White uses preparations to similarly transform the sound of his piano. Sequoia and Northern Lights are a bit less literal, but in both sequences, the duo press the limits of their instruments and techniques as they evade expectation.

Bill Meyer   

SiP / Prezzano — SiP / Prezzano (Moon Glyph)

SiP/Prezzano by SiP/Prezzano

The existence of this duo will validate your belief in destiny. Conversely, if Jimmy Lacy, who performs as SiP, and Pete Prezzano, who runs the Love All Day Label, had not gotten together, you might look up at the cosmos and ask, why not? They both live in Chicago, and each makes and/or distributes music that uses synthesizers to take the edge off of whatever life’s dealing with you. Their collaboration is pretty seamless, and the four tracks on this half hour long tape flow together effortlessly, which means that you’re likely to spend less time figuring out who did what than you are giving in to the temptation to let the mind drift wherever long, oscillating tones and ambling modal melodies might take you.

Bill Meyer

 Snotty Nose Rez Kids — Life After (Distorted Muse / Fontana North)

Life After by Snotty Nose Rez Kids

Indigenous Canadian hip-hop duo Snotty Nose Rez Kids were on a roll when the pandemic hit. As the quarantine era wore on, they kept getting attention (the placement of “Boujee Natives” on Resident Alien was perfect) but they struggled with recent and past trauma. Out of the crisis came Life After, the title referring not just to exiting lockdown, but to getting through any sort of hardship. The group still has its warrior side, and Yung Trybez and Young D sound as angry as ever, taking on various forms of oppression while addressing the particular struggles of First Nation peoples. They haven't lost their sense of humor, though. “Uncle Rico” references Napoleon Dynamite as it looks at both personal hubris and family mythology. “Oral tradition / I can barely spell,” makes for a fun moment while capturing the attitude of the album. All of the work, though, serves to work toward something better. Chill track “After Dark” closes the album with its real thesis: “I pray we at peace and not in pieces / And that we break the cycle for my nephews and my nieces.” Right now, we're all in life after disaster; but SNRK brings hope that we're headed toward the light after dark.

Justin Cober-Lake

Mai Sugimoto — Monologue (Asian Improv Records)

monologue by Mai Sugimoto

As titles go, Monologue is an unsparing self-assessment. For what else is a solo concert? But between a pandemic that’s made it hard for bands to get together, and an upsurge in anti-Asian violence, the time’s right for Sugimoto to put some points across. Sugimoto recorded this album alone except for an engineer, accompanying her alto sax and flute with some handy percussion. This combination of woodwinds and little instruments suggests that one local legacy on Sugimoto’s mind is the AACM’s. Like Roscoe Mitchell, she gives each idea the space it deserves, neither more nor less, and she feels no need to sugar a pungent attack. The titles assigned to this CD’s 14 tracks evoke vulnerability, spirituality and playfulness. But, compared to her previous recordings with her trio and the collective Hanami, there’s also a pithy toughness.

Bill Meyer

Tigers & Flies — Among Everything Else (Violette)

This is the stuff! Or at least at first blush it sounds a heck of a lot like it — the brassy, soul-influenced indie pop that bands like Orange Juice, The Jasmine Minks and The June Brides played, bridging the gap between post-punk and c-86. But unlike their predecessors, Tigers & Flies are only occasionally capable of playing with convincing passion, as they do, for example, on “In My Skin.” Here, drummer Arvin Johnson bashes his way into the chorus with a fist-pounding-the-table beat and the song unspools momentarily in response, via its bouncy syncopated guitar lines, before folding forward in frustration again. “Are you seeking enjoyment?/ Are you seeking a change?” wonders frontman Arthur Arnold. But his vague gripes also point to the bigger problem here: there isn’t much at stake in these songs and the music rarely makes up the difference. Lead single, “Half,” tries to twist itself into a more musically complex knot that it hopes will hold. “When you leave, half of me walks away too. / So don’t leave, because I need that half of me that is you,” Arnold sings, while trumpeter Matteo Fernades attempts to recall a leaving lover with a pair of confident bleats. Instead, all he gets is a synchronized, frolicking dance with the rhythm section. The bands they’re aping began as novices and played with a conviction that can’t be faked. On their debut, Tigers & Flies arrive in reverse: they’ve got the sound down, perhaps a little too well, but when it comes to selling the songs' emotion they’re only, as Arnold puts it, “pretty good at doing fine.”

Chris Liberato  

Unda Fluxit — Stone Ringing Sorrow (Ever/Never)

Stone Ringing Sorrows by Unda Fluxit

Unda Fluxit makes no attempt to find ease in its jangling, discordant melodies, which reverberate with haunted chaos in the space between experimental folk and noise music. The main creative force behind the band is Huma Aatifi, an Afghan native relocated to Boise, Idaho as a child, and her compositions bristle with jarring dislocation. “Chance of the Towel” clatters noisily with assaultive percussion as Aatifi croons lost lyrics about snow and circumstance, guitar notes crowding behind her like a migraine gathering for attack. “(sunset rain)” is more muted but still full of suffering, a yodeling vocal melody floating uneasily over thunks of hand drums and detuned strums of acoustic guitar. You could make a connection to Christine Carter’s abstracted guitar melodies or even to Karen Dalton’s blasted, desolate folk. Like them Aatifi doesn’t care about conventional prettiness. Like them, she achieves a strident kind of beauty in the clash of notes.

Jennifer Kelly

Uranium — Wormboiler (Sentient Ruin Laboratories)

Wormboiler by Uranium

For a power electronics project, Uranium delivers some fairly formed songs on Wormboiler: see “We Deserve Death,” which sort of has verses and what feels like a refrain. “Sort of” and “feels like” are necessary qualifiers; the music on Wormboiler, provisionally legible as it may be, is fully tapped into the volatility and ugliness that have always been baselines for power electronics — just check out that record title. Still, interesting as the intermittent suggestions of song form are, Uranium is at its most effective when its chaos and appalling deformity are most grotesque. “Hate Thyself for the Callous World Cares Not” slithers and vibrates and jolts with bad feeling. Like some of the best power electronics, the music feels its way along, flowing and climaxing with weirdly livid energy. Which, as the project’s name implies, is toxic stuff. It’s all pretty nihilistic, building toward a final track called “The Glorious Void” that contains samples of symphonic music interpolated with an impossibly distorted horror-movie-Satan voice. The track flirts with goofiness for a bit, but soon it achieves an apotheosis of hostility, obliterating any trace of levity. Schopenhauer would dance to it.

Jonathan Shaw  

Vaulted — Left in Despair (Self-released)

Left In Despair by Vaulted

The songs on Vaulted’s new LP Left in Despair sound like a bad day in Boston: damp, cold and full of ornery ill intent. That makes some sense: Melville says Americans learned to “say ‘No!’ in thunder” up in Massachusetts. But instead of any gloomy New England-style austerity, Vaulted pour on the aggro hostility with a sort of excessive glee. The Boston band makes chugging, crunching hardcore, redolent with the burly filth of the death metal that sprouted from the trail of slime left in the wake of Suffocation’s Pierced from Within (1995). See especially tracks like “Lacerated” and “No Place to Mourn.” But make no mistake: Left in Despair is a hardcore record, at its best when it hits hardest. “Mote It Be” mostly moves with a mid-tempo truculence, doling out overdriven riffs that want to bruise. The downshift that occurs around the song’s third minute has a palpable threat attached to it — it’s that slight pause you make when you approach a dark corner at 3 am in Southie. Hunch your shoulders a little tighter, squint your eyes with a sharper “don’t-fuck-with-me” look, because who knows what’s coming. If you’re listening to Vaulted, it’ll probably be another thumping, thundering, three-minute hardcore tune. And heads-up, all you freaks for obsolete formats: you can cop a cassette version of Left in Despair from War Fever Recordings, the label run by Vaulted’s bass player Nicholas Wolf.

Jonathan Shaw

[riffsstrides]

Pedro Melo Alves' Omniae Ensemble 

7 de Maio, 16.30h

Jazz Valado - Sala BIR, Valado de Frades

José Soares, saxofone tenor

Gileno Santana, trompete

Xavi Sousa, trombone

José Diogo Martins, piano

Mané Fernandes, guitarra

Filipe Louro, contrabaixo

Pedro Melo Alves, bateria

[transtranscendence]

2016 - We will not be silenced. We must fight back against transphobia.

For the 2 unknown people murdered on January 1, 2016, in Honduras.

For the unknown person murdered on January 4, 2016, in Fortaleza, Ceará, Brazil.

For H.M. Prieto Medina, murdered on January 6, 2016, in Playa del Carmen, Quintana Rio, Mexico.

For Vanessa Cortez Peña, murdered on January 8, 2016, in San Salvador, El Salvador.

For the unknown person murdered on January 8, 2016, in Bdhadrachalam, India.

For Paloma Hernandez Garay, murdered on January 9, 2016, in Jalco, Mexico.

For Melanie, murdered on January 9, 2016, in Cuauhtémoc, Mexico City, Mexico.

For the unknown person murdered on January 10, 2016, in Nepal.

For Samantha Ortiz Chicas, murdered on January 12, 2016, in Usulutan, El Salvador.

For Ashly Carrillo, murdered on January 13, 2016, in Olocuilta, La Paz, El Salvador.

For the unknown person murdered on January 14, 2016, in Zapopan, Mexico.

For Bella Inostroza, murdered on January 17, 2016, in General Roca, Río Negro, Argentina.

For Paula Fernandes, murdered on January 21, 2016, in Anápolis, Goiás, Brazil.

For the unknown person murdered on January 21, 2016, in Campeche, Mexico.

For Ketelen Alves, murdered on January 23, 2016, in Manaus, Amazonas, Brazil.

For Paola Barraza, murdered on January 24, 2016, in Comayagüela, Distrito Central, Honduras.

For A. De Paula Carvalho, murdered on January 24, 2016, in Aparecida de Goiania, Goiás, Brazil.

For Dana, murdered on January 28, 2016, in La Luz, Villa de Tututepec, Oaxaca, Mexico.

For the unknown person murdered on January 31, 2016, in São Paulo, Brazil.

For Jessica Riascos, murdered on February 1, 2016, in Florida, Colombia.

For Cristina Iniciarte, murdered on February 6, 2016, in Maracaibo, Zulia, Venezuela.

For Monica Devin, murdered on February 9, 2016, in Morelos, Mexico.

For B. Elizalde Vicente, murdered on February 9, 2016, in Oaxaca, Mexico.

For the unknown person murdered on February 12, 2016, in Carapicuíba, São Paulo, Brazil.

For the unknown person murdered on February 15, 2016, in Veracruz, Mexico.

For T.E. de Moraes Geremias, murdered on February 16, 2016, in Valinhos, São Paulo, Brazil.

For Pepsi Arevalo Gomez, murdered on February 16, 2016, in Santa Tecla, La Libertad, El Salvador.

For D.L. Silva de Oliveira, murdered on February 19, 2016, in Porto Alegre, Rio Grande do Sul, Brazil.

For D.L. Rabelini Quadros, murdered on February 19, 2016, in Porto Alegre, Rio Grande do Sul, Brazil.

For the unknown person murdered on February 21, 2016, in Guerrero, Mexico.

For Natalia Alcaraz Orozco, murdered on February 21, 2016, in Chinchina, Caldas, Colombia.

For E. dos Santos, murdered on February 22, 2016, in Manaus, Amazonas, Brazil.

For I. Maya Vargas, murdered on February 23, 2016, in Quintana Rio, Mexico.

For Natascha, murdered on February 24, 2016, in Curitiba, Paraná, Brazil.

For Bruna Teixeria, murdered on February 24, 2016, in João Pessoa, Paraíba, Brazil.

For the unknown person murdered on February 27, 2016, in Gravataí, Rio Grande do Sul, Brazil.

For Karen Peña Aranguren, murdered on February 28, 2016, in Barquisimeto, Lara, Venezuela.

For Fabiola Pimentel Jiménez, murdered on February 28, 2016, in Barquisimeto, Lara, Venezuela.

For the unknown person murdered on February 29, 2016, in Buenos Aires, Argentina.

For the unknown person murdered on March 2, 2016, in Quintana Roo, Mexico.

For Michelle Fuentes Robles, murdered on March 3, 2016, in Cartago, Costa Rica.

For Trator, murdered on March 5, 2016, in Sao Gonçalo, Rio de Janeiro, Brazil.

For the unknown person murdered on March 6, 2016, in Comitan, Chiapas, Mexico.

For the unknown person murdered on March 7, 2016, in João Pessoa, Paraíba, Brazil.

For the unknown person murdered on March 8, 2016, in El Salvador.

For Zhukran Supu, murdered on March 9, 2016, in Subang Jaya, Selangor, Malaysia.

For Maria do Bairro, murdered on March 9, 2016, in Manaus, Amazonas, Brazil.

For L.A. da Silva, murdered on March 10, 2016, in Londrina, Paraná, Brazil.

For Naila, murdered on March 12, 2016, in Rawalpindi, Punjab, Pakistan.

For Cris Santos da Silva, murdered on March 15, 2016, in Teixeira de Freitas, Bahia, Brazil.

For Camila Dominguez Garcia, murdered on March 16, 2016, in Cardenas, Tabasco, Mexico.

For M. Moreira, murdered on March 20, 2016, in Sinop, Mato Grosso, Brazil.

For Aleda, murdered on March 20, 2016, in Çorlu, Tekirdağ, Turkey.

For Cristiana M.M., murdered on March 25, 2016, in Buena Vista, Santa Cruz, Bolivia.

For Johana Bravo, murdered on March 26, 2016, in Los Puertos de Altagracia, Zulia, Venezuela.

For Diana Torres Conde, murdered on April 3, 2016, in Puebla, Mexico.

For Vanessa Ferreira Prestes, murdered on April 8, 2016, in Paranaguá, Paraná, Brazil.

For B.C. Madariaga Hidalgo, murdered on April 8, 2016, in Quintana Roo, Mexico.

For the unknown person murdered on April 11, 2016, in Cándido Navarro, San Luis Potosi, Mexico.

For I.R. Gómez Medina, murdered on April 11, 2016, in Valle Inmaculado, Venezuela.

For the unknown person murdered on April 15, 2016, in Morelos, Mexico.

For Alejandra Padilla, murdered on April 15, 2016, in San Pedro Sula, Cortés, Honduras.

For “La Gaviota” Zambrano Godoy, murdered on April 18, 2016, in Maracaibo, Zulia, Venezuela.

For Pooka, murdered on April 28, 2016, in Perungalathur, Chennai, Tamil Nadu, India.

For Wilmer Jose Bellorin Contreras, murdered on April 30, 2016, in Municipio Caroni, Bolivar, Venezuela.

For the unknown person murdered on April 30, 2016, in Celaya, Guanajuato, Mexico.

For F. Ortega Martinez, murdered on May 2, 2016, in Tamaulipas, Mexico.

For Chiche, murdered on May 3, 2016, in Santa Fe, Argentina.

For Amaranta Polanco, who died on May 3, 2016, in Tamboril, Santiago, Dominican Republic.

For W. Amorim Pires, murdered on May 10, 2016, in Manaus, Amazonas, Brazil.

For the unknown person murdered on May 14, 2016, in Culiacán, Sinaloa, Mexico.

For Jessica, murdered own May 14, 2016, in Tulum, Quintana Roo, Mexico.

For the unknown person murdered on May 16, 2016, in Puebla, Mexico.

For Lauandersa, murdered on May 16, 2016, in Caucaia, Ceará, Brazil.

For K.A. Suarez, murdered on May 17, 2016, in Caracas, Distrito Capital, Venezuela.

For Litzy Odalis Parrales, murdered on May 20, 2016, in Santiago, Chile.

For Tonita, murdered on May 21, 2016, in San Miguel, El Salvador.

For Karoline Valencia, murdered on May 24, 2016, in Maracaibo, Zulia, Venezuela.

For J.C.A., murdered on May 27, 2016, in Quintana Roo, Mexico.

For A. Pérez Nuñez, murdered on May 30, 2016, in Colón, La Libertad, El Salvador.

For Olga Nely Lopez Jimenez, murdered on June 2, 2016, in Monterrey, Nuevo León, Mexico.

For the unknown person murdered on June 3, 2016, in Chilpancingo, Mexico.

For Pamela Martinez, murdered on June 4, 2016, in San Pedro Sula, Cortés, Honduras.

For P. Lugo Olivares, murdered on June 4, 2016, in Morelos, Mexico.

For Geeta, murdered on June 5, 2016, in Godhaura, Uttar Pradesh, India.

For the unknown person murdered on June 6, 2016, in Quintana Roo, Mexico.

For Patricia Tavares, murdered on June 9, 2016, in São Leopoldo, Rio Grande do Sul, Brazil.

For the unknown person murdered on June 10, 2016, in Jose Felix Ribas, Guárico, Venezuela.

For Paloma, murdered on June 10, 2016, in La Guajira, Colombia.

For Evelin Abigail Galvan Zamora, murdered on June 11, 2016, in Coahuila, Mexico.

For Christina Nimely, murdered on June 11, 2016, in Liberia.

For the unknown person murdered on June 13, 2016, in Mansehra, Khyber Pakhtunkhwa, Pakistan.

For the unknown person murdered on June 13, 2016, in Belo Horizonte, Minas Gerais, Brazil.

For the unknown person murdered on June 15, 2016, in Palmares Paulista, São Paulo, Brazil.

For Faby, murdered on June 16, 2016, in Michoacan, Mexico.

For the unknown person murdered on June 18, 2016, in Manaus, Amazonas, Brazil.

For Yoselinne Gopar Carvajal, murdered on June 20, 2016, in Oaxaca, Mexico.

For Monica Ortiz, murdered on June 23, 2016, in Buenos Aires, Argentina.

For Luana, murdered on June 24, 2016, in Campo Grande, Mato Grosso do Sul, Brazil.

For Saba, murdered on June 29, 2016, in Jowar Buner, Khyber Pakhtunkhwa, Pakistan.

For Daiane Brasil, murdered on June 29, 2016, in Uberaba, Minas Gerais, Brazil.

For the unknown person murdered on July 1, 2016, in Morelos, Mexico.

For the unknown person murdered on July 2, 2016, in Tabasco, Mexico.

For Shehla, murdered on July 10, 2016, in Gagri, Islamabad Capital Territory, Pakistan.

For the unknown person murdered on July 13, 2016, in João Pessoa, Paraíba, Brazil.

For R. da Silva Tavares, murdered on July 16, 2016, in Guerrero, Mexico.

For Thalia, murdered on July 17, 2016, in Nuevo Leon, Mexico.

For Shruthi, murdered on July 23, 2016, in Ramamurthy Nagar, Bangalore, Karnataka, India.

For Kristell Barahona, murdered on July 25, 2016, in San Pedro Sula, Cortés, Honduras.

For the unknown person murdered on July 27, 2016, in Taguatinga do Sul, Distrito Federal, Brazil.

For the unknown person murdered on July 27, 2016, in Betim, Minas Gerais, Brazil.

For T.F. Batista, murdered on July 29, 2016, in Settecamini, Rome, Lazio, Italy.

For the unknown person murdered on August 1, 2016, in Lázaro Cárdenas, Michoacán de Ocampo, Mexico.

For Jessica Cuervo, murdered on August 1, 2016, in Villavicencio, Meta, Colombia.

For Adriane Bonek, murdered on August 1, 2016, in São Pedro da Aldeia, Rio de Janeiro, Brazil.

For Cucuteña Barón Contreras, murdered on August 7, 2016, in Barranquilla, Atlántico, Colombia.

For the unknown person murdered on August 8, 2016, in Londrina, Paraná, Brazil.

For Patty Lobo, murdered on August 13, 2016, in Poço Verde, Sergipe, Brazil.

For J.W. de Melo Filho, murdered on August 16, 2016, in Belo Horizonte, Minas Gerais, Brazil.

For the unknown person murdered on August 19, 2016, in Puerto Ordaz, Ciudad Guayana, Bolivar, Venezuela.

For Brenda, murdered on August 19, 2016, in Castanhal, Pará, Brazil.

For L.E., murdered on August 23, 2016, in Chaco, Argentina.

For Hilda da Silva, murdered on September 3, 2016, in Aliança, Pernambuco, Brazil.

For Ravina, murdered on September 4, 2016, in Khadra, Uttar Pradesh, India.

For Taina Pereira Alencar, murdered on September 5, 2016, in Londrina, Paraná, Brazil.

For the unknown person murdered on September 9, 2016, in Gravatai, Rio Grande do Sul, Brazil.

For F. Natera Encarnación, murdered on September 10, 2016, in La Romana, Dominican Republic.

For Chica, murdered on September 10, 2016, in Recife, Pernambuco, Brazil.

For the unknown person murdered on September 16, 2016, in San Felipe, Guanajuato, Mexico.

For “La Pio” Pardo Escobar, murdered on September 19, 2016, in Barranquilla, Atlántico, Colombia.

For Kelly Johana Oquendo Villada, murdered on September 20, 2016, in Barrio La Mina, Colombia.

For Heydi Garcia, murdered on September 21, 2016, in Peru.

For the unknown person murdered on September 22, 2016, in Morelos, Mexico.

For Marylin Martinez Garcia, murdered on September 24, 2016, in Estado de Mexico, Mexico.

For the unknown person murdered on September 29, 2016, in Baja California, Mexico.

For W. Rodrigues Alexandre, murdered on October 8, 2016, in Duque de Caxias, Rio de Janeiro, Brazil.

For the unknown person murdered on October 11, 2016, somewhere in the Philippines.

For the unknown person murdered on October 11, 2016, in Tagum, Davao del Norte, Philippines.

For Cheva Herrera Aceves, murdered on October 11, 2016, in Chihuahua, Mexico.

For C. A. Armas Carvajal (“La Ariel”, “La Polla” or “La Diana”), murdered on October 11, 2016, in Pénjamo, Guanajuato, Mexico.

For C. do Nascimento Rolim, murdered on October 13, 2016, in São Paulo, Brazil.

For the unknown person murdered on October 13, 2016, in Sorocaba, São Paulo, Brazil.

For the unknown person murdered on October 14, 2016, in Xico, Valle de Chalco, Estado de Mexico, Mexico.

For the unknown person murdered on October 17, 2016, in Guerrero, Mexico.

For the unknown person murdered on October 25, 2016, in Santo Domingo, Distrito Nacional, Dominican Republic.

For Emily Duque, murdered on October 26, 2016, in Caracas, Distrito Capital, Venezuela.

For A. Soto Mena (“La Jana”), murdered on October 29, 2016, in Iguala, Guerrero, Mexico.

For Mayla Gonzales, murdered on November 1, 2016, in Isabela, Philippines.

For the unknown person murdered on November 3, 2016, in São Carlos, São Paulo, Brazil.

For I.M. de Sousa, murdered on November 3, 2016, in Guarus, Rio de Janeiro, Brazil.

For Lorena, murdered on November 3, 2016, in Arapiraca, Alagoas, Brazil.

For the unknown person murdered on November 7, 2016, in Ciudad de Mexico, Distrito Federal, Mexico.

For Pitty, murdered on November 8, 2016, in Paragominas, Pará, Brazil.

For Celeste, murdered on November 16, 2016, in Córdoba, Argentina.

For Munich Oliveira Moreno, murdered on November 18, 2016, in Osasco, São Paulo, Brazil.

For Evelyn Zulma, murdered on November 18, 2016, in Guatemala.

For the unknown person murdered on November 20, 2016, in San Salvador, El Salvador.

For Paola Bracho, murdered on November 24, 2016, in Manaus, Amazonas, Brazil.

For M. Dias Machado, murdered on December 3, 2016, in Pontal do Parana, Paraná, Brazil.

For Andrea González, murdered on December 6, 2016, in Ciudad del Este, Alto Parana, Paraguay.

For Melissa Souza, murdered on December 7, 2016, in Realengo, Rio de Janeiro, Brazil.

For R. da Silva de Sá, murdered on December 10, 2016, in Maceió, Alagoas, Brazil.

For Ying, murdered on December 13, 2016, in Nakhon Pathom, Thailand.

For Vasu Swamy, murdered on December 16, 2016, in Bangalore, Karnataka, India.

For Sendi, murdered on December 17, 2016, in Istanbul, Turkey.

For J.R.T. Gomes, murdered on December 18, 2016, in Crato, Ceará, Brazil.

For W. Fabricio Ponce, murdered on December 20, 2016, in Sancán, Manabi, Ecuador.

For Paula Raio Laser, murdered on December 22, 2016, in Fortaleza, Ceará, Brazil.

For Sofía Mailén Santillán, murdered on December 26, 2016, in Mercedes, Buenos Aires, Argentina.

For all the other trans siblings who were murdered or went missing.

[drfernandoortiz]

Manifesto pela unidade antifascista

Quem valoriza e defende o Estado Democrático de Direito acompanha, a cada dia, a maneira como o país vai sendo empurrado para o abismo, com ameaças seguidas de golpe por parte de Bolsonaro.

O que nos resta de democracia e de respeito constitucional está se esvaindo de forma veloz enquanto o fascismo avança.

Agora, diante da dupla catástrofe – a pandemia e Bolsonaro – e das eleições municipais, não podemos pensar e agir como antes. Não será outra eleição dentro da normalidade democrática.

Por isso mesmo, é imperioso que cada um de nós adie seus legítimos projetos próprios e se abra, desarmado, para uma grande concertação de todas as forças antifascistas, as quais, vale enfatizar, não se esgotam nas esquerdas.

Não é hora de fazer cálculos para 2022, simplesmente porque as eleições de

2022 estão em risco, como as vidas de todos e todas nós pela ameaça de um golpe.

O governo aposta no caos, anseia por saques, desespero popular, estados falidos, Congresso dividido, Supremo chantageado, tudo isso enquanto o fascismo assalta mais e mais as instituições.

As milícias estão a postos, segmentos policiais estão a postos, grupos se armam e setores das Forças Armadas talvez sejam sensíveis a uma eventual convocação do Planalto, mesmo contra a opinião da cúpula militar.

É urgente que cada um de nós reconheça a magnitude do desafio e trabalhe em todos os níveis, em todas as instâncias, para a formação de uma ampla frente antifascista.

Nas próximas eleições municipais é preciso a união de todos e todas em torno das candidaturas capazes de ampliar o movimento democrático e de competir para vencer, em nome da resistência antifascista. A credencial indispensável é o compromisso claro de enfrentar o fascismo em todas as suas dimensões.

Nós, cidadãos e cidadãs brasileiras, apelamos às lideranças democráticas que se mostrem à altura de nosso tempo e se empenhem na formação de um pacto antifascista.

Aos que querem dar apoio/assinar o manifesto, favor enviar nome e profissão para o seguinte e-mail: manifestopelaunidade@gmail.com

28/05/2020

Assinam:

Luiz Eduardo Soares - Antropólogo

Silvio Tendler – Cineasta

Flora Sussekind - Ensaísta e crítica literária

Eric Nepomuceno - Escritor

Isabel Lustosa - Historiadora e cientista política.

Chico Buarque – Compositor e escritor

Carol Proner - Jurista

Celso Amorim –Diplomata e ex-ministro de Relações Exteriores e da Defesa

Miriam Krenzinger – Professora da UFRJ

Luiz F. Taranto – Jornalista

Tereza Cruvinel – Jornalista

José Gomes Temporão – Médico sanitarista e ex-ministro da Saúde

Afrânio Garcia – Maître de Conferénces EHESS, Chercheur CESSP

Fábio Konder Comparato – Prof. Emérito da Faculdade de Direito da USP

Renato Janine Ribeiro – Filósofo e ex-ministro da Educação

Gregório Duvivier - Ator, dramaturgo, escritor e poeta

Roberto Amaral – Escritor e ex-ministro da Ciência e Tecnologia

Ennio Candotti – Físico ítalo-brasileiro e Diretor do Museu da Amazônia

Marieta Severo – Atriz, e produtora cultural

Aderbal Freire-Filho – Dramaturgo, ator e Diretor teatral

Tarso Genro, advogado, ex-governador do RS e ex-ministro da Justiça.

Marco Aurelio de Carvalho – Advogado

Arnaldo Antunes - Cantor e Compositor

Luiz Jorge Werneck Viana - Sociólogo, PUCRJ.

Caetano Veloso - Cantor e compositor

Paula Lavigne - Produtora cultural

Beatriz Resende- Crítica literária, UFRJ.

Marilza de Melo Foucher - Dra em economia - Sorbonne Paris 3

Flávio Wolf de Aguiar - Escritor, jornalista e prof aposentado da FFLCH/USP

Michel Misse - Sociólogo e prof. IFCS/UFRJ

Liszt Vieira - Advogado e Sociólogo

Ricardo Vieira Coutinho - ex-Governador da Paraíba

Dulce Pandolfi – Historiadora e pesquisadora

Maria Helena Arrochellas – Teóloga

Bia Lessa – Diretora de teatro

César Barreira - Professor Titular da Universidade Federal do Ceará

José Manoel Carvalho de Mello - Prof. Aposentado – UFRJ

Fernando Morais – Jornalista

Sonia Fleury - Dra. em Ciência Política

Silvia Capanema - historiadora, Prof. na Univ Paris 13, Sorbonne Paris Nord; Deputada departamental de Seine-Saint-Denis

Luis Antonio Silva – Sindicalista e Pres. Fed. dos trab. em Telecom-Livre

Vanessa Grazziotin - ex senadora e dirigente nacional do PCdoB

Leneide Duarte - Plon - Jornalista e escritora

Altamiro Borges – jornalista

Joel Zito Araújo – Produtor e Diretor/Casa de Criação Cinem

Ivan Lins - Músico

Luiz Fernando Dias Duarte – Prof. UFRJ e Pres.Assoc.Museu Nacional

Vilma Peres – Historiadora docente/UNIFESP

Adalberto Cardoso - Professor do IESP-UERJ

Laerte Coutinho - Jornalista

Vladimir Sacchetta – Historiador e Pesquisador

Bernardo Ricúpero – Cientista político/USP

Marcelo Ridenti – Prof. Titular Sociologia no IFCH/UNICAM

Marcos Costa Lima – Prof. Depto de Ciência Política da UFPE

Noilton Nunes - Cineasta

Tonico Pereira- Ator

Hildegard Angel – Jornalista

Eryk Rocha - Cineasta.

Lígia Bahia – UFRJ e CEBES

Otavio Velho – Antropólogo

Juca Kfouri - Jornalista

Gloria Kalil - empresaria e jornalista

Patrícia Birman – professora Titular de Psicologia e antropologia da UERJ

João Trajano Sento-Sé - Cientista político, professor UERJ

Leandro Saraiva - Professor da UFSCar e roteirista

Eliana Sousa Silva- Ativista Social e Professora

Mariana Weigert - professora de Direito Penal e Criminologia

Salo de Carvalho - Professor e Advogado

Pedro Abramovay - Advogado

Marcos Pamplona - Historiador e Professor

Lígia MCS Rodrigues – Física SBPFe Feminista

José Maurício Bustani – Diplomata aposentado

Heloisa Buarque de Hollanda - Professora emérita UFRJ

Tainá de Paula- Presid. Relações Institucional IAB- RJ

Joëlle Rouchou – FCRB/FACHA

Angela Leite Lopes – UFRJ

João Sicsú – Instituto de Economia/UFRJ e ex-diretor do IPEA

Rosilene Alvim – UFRJ

Antonio Guerra - Músico

Vicente Guindani - Músico e Geógrafo

Lígia Dabul – UFF

Marco Aurélio Nogueira - Professor universitário.

Maria Helena Ferrari - Professora/UFRJ

Francisvaldode Souza-Presid.da Fund Lauro Campos e Marielle Franco

Ingrid Sarti - Professora Titular de Ciência Política - IFCS/UFRJ

Ana Maria Cavaliere - Faculdade de Educação UFRJ

Márcio Arnaldo da Silva Gomes - Médico

Frederico Lustosa - Professor

Antonio Herculano - Fundação Casa de Rui Barbosa

Moacir Palmeira – UFRJ

Ângela de Castro Gomes – Historiadora

Kátia Gerab Baggio - Profa. de História das Américas – UFMG

Isabel Travancas - professora ECO- UFRJ

Tânia Bessone – UERJ

Afrânio Garcia Jr. - Maître de conférences EHESS, chercheur CESS

Leonardo Boff – Teólogo

Márcia Miranda – Ativista social

João Vitor Garcia – Pesquisador

Boris Fausto - Historiador

Rodrigo Patto Sá Motta – UFMG

Jurandir Malerba – Professor titular de história UFRGS

José Vicente Tavares dos Santos - ILEA - UFRGS

Vera Cepeda – UFSCar

Eduardo Moreira - economista

Mariana Joffily - Professora do Departamento de História da UDESC

Glaucia Dunley - Psicanalista e médica, UFRJ

Rosana Morgado- Professora UFRJ

Elimar Nascimento – Sociólogo e professor UNB

Fabiana Fersasi – Revisora

José Cezar Castanhar – Professor

Benedito Tadeu César - Cientista político,Direito na UFRGS

Raymundo de Oliveira – Engenheiro, do Clube de Engenharia

Manuel Domingos Neto – Universidade Estadual do Piauí e da UFF

Celso Henrique Diniz Valente de Figueiredo - Professor UERJ

Sérgio Ferreira de Lima - Professor de Física no Colégio Pedro II

Alberto Zacharias Toron – Advogado OAB SP, 65371

Priscilla Rozenbaum – Atriz

Gisele Cittadino - Professora associada da PUC-Rio.

Jane de Alencar - Jornalista, historiadora e anistiada política

Maria das Dores Campos Machado - Professora Universitária

Marco A. Pamplona - Historiador, professor e pesquisador

Marco Aurélio de Carvalho - Advogado OAB / SP 197538

Rafson Ximenes - Defensor Público Geral do Estado da Bahia

Vagner Gomes de Souza – Professor de história

Pedro Serrano - Prof de Direito Constitucional da PUC/SP

Fabiano Silva dos Santos - Advogado e professor universitário

Roberto Tardelli - Advogado.

Magda Barros Biavaschi - professora, pesquisadora no UNICAMP.

José Maurício Domingues - Sociólogo - Professor do IESP-UERJ

Luiz Fernando Pacheco – Advogado

Tomaz Klotzel - Artista Visual

Luciana Boiteux - Professora de Direito Penal e Criminologia da UFRJ

Dora Cavalcanti – Advogada

Paulo Antonio Barros Oliveira – Prof. Titular de Medicina Social UFRGS

Gleidson Renato Martins Dias - Servidor público estadual

Ilton Freitas - historiador e cientista político

Naia Oliveira –Sociológa

Gil Sani Rembischevski - Comerciante

David Fialkow Sobrinho - Prof Economia Fac Dom Bosco de Porto Alegre.

Valério De Patta Pillar - Professor Titular, Depto de Ecologia da UFRGS

Alexandre Costa – Jornalista

Rui L Bernhard - Pastor da Igreja Evangélica de Conf. Luterana no Brasil

Elam Lourdes Alves Marques Lewgoy – Administradora

Ayrton Centeno – Jornalista

Dinorah Araújo - Atriz, jornalista e produtora cultural

Jayr Soares da Silva - Psicólogo Aposentado. Psicanalista.

Mauricio Parada - Departamento de Historia - Puc-Rio

Rosângela Izidoro Cabral - Empresária - Porto Alegre –RS

Márcia Barbosa - Professora e pesquisadora em física da UFRGS

Andrea Ribeiro Hoffmann - Professora PUC – Rio

Flávia da Costa Frediani - Socióloga, servidora pública federal ativista social

Gilson Luiz dos Anjos - Professor de Educação Básica

Daniel Cerqueira – Economista

Sérgio Martins - Professor - História/PUC-Rio

Patrícia Reuillard - Professora

Ana Maria de Moura Nogueira – Historiadora

Samuel Braun - Cientista Social,Pesquisador LEPPeM-UFRRJ

Neila Monteiro Espindola, Professora Colégio Pedro II - RJ

Ricardo de Sampaio Dagnino - Professor UFRGS Campus Litoral Norte

Márcia Cadore - Procuradora do Estado

Elida Rubini Liedke - Socióloga. Professora Aposentada da UFRGS.

Maria da Graça Pinto Bulhões - Socióloga, professora da UFRGS.

Elvis Piccoli Vargas - Funcionário público, técnico em mecânica

Reginete Souza Bispo – Socióloga

Guilherme de Oliveira Estrella - Geólogo

Enid Yatsuda Frederico - Profa . aposentada. IEL/Unicamp

Guilherme Freitas – Jornalista

Ronaldo Oliveira de Castro - ICS/UERJ

Juçara Dutra Vieira – Professora

Silvana Martins Bayma - Servidora pública federal docente

Nivaldo Vieira de Andrade Junior - Prof. Faculdade de Arquitetura da UFBA

José Sergio Leite Lopes - UFRJ

Rosilene Alvim - UFRJ

Jurandir Freire Costa - Psicanalista

Célia Costa - Historiadora e documentalista

Luiz Antonio de Castro Santos - Professor Instituto de Medicina Social/UERJ

Adalberto Cardoso - Sociólogo, professor do IESP

Cândido Grzybowski - Sociólogo, Presidente do Conselho do Ibase

André Luís Machado de Castro - Defensor Público RJ

Cenira Ceroni Guerra - Auxiliar Administrativo

Janaina Pereira Antunes - Advogada.

Vinicius Galeazzi - Engenheiro civil

Sueli Carneiro - Filósofa, feminista e antirracista

Walter NIQUE - Professor Titular Escola de Administração - UFRGS

Sueli Mousquer - Bióloga e Artista Plástica

Sonia Maria de Arruda Beltrão - Arquiteta/funcionária pública

Jorge Branco - Sociólogo

José Ricardo Ramalho - Professor – UFRJ

Camila Salgado Lacerda – Psicanalista

Arthur Ituassu - Professor de Comunicação Política da PUC-Rio

Léa Maria Aarão Reis – Léa Aarão Reis

Gizele Zanotto – Professora – Historiadora

Patrícia Birman – Antropóloga - UERJ

Maria Claudia Coelho - Antropóloga

Ipojucan Demétrius Vecchi - Advogado

Carlos Leandro Costa Lehmann (Cachoeira) - Músico

Reginaldo Forti – Sociólogo - São Paulo - SP

Stella Maris Jimenez Gordillo - Psicanalista

Letícia Núñez Almeida - Professora, Universidade da República, Uruguay

Natália Guindani - antropóloga e artista plástica

Rosa Maria Barboza de Araujo – Historiadora e Diretora Fator Cultural

Vera Vital Brasil - Psicóloga, membro da Equipe Clínico Política RJ

Ana Inês Heredia - Bióloga

Marcos Rolim – Sociólogo - Prof. Universitário

Amir Haddad - diretor teatral

Márcia Rubin – coreógrafa

Ana Kfouri - Atriz e diretora teatral

Ivan Sugahara - diretor teatral.

Jean Marc von der Weid, ex-presidente da UNE (69/71). Agroecológo

Moacir Chaves - diretor teatral.

Marcia Sá Cavalcante Schuback, professora da Södertörn University e da UFF.

Isabel Salgado - Esportista, ex-campeã de vôlei de quadra e de praia.

Biza Vianna - Diretora teatral.

Ricardo Kosovski - Ator, diretor teatral e professor da Unirio.

Marcelo Jacques de Moraes - Professor da UFRJ.

Fátima Saadi – Teatróloga

Carole Gubernikoff - Professora da escola de música – UNIRIO

Rodolfo Caesar - Compositor e professor da UFRJ

Liliza Mendes - Professora da UFMG.

Monica Biel - Atriz.

Fernando Ortiz - Médico Neurologista

[booksfriendsnews]

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[adeuspassado]

Nota sobre a literatura brasileira no século XX

A literatura brasileira no século passado pode ser dividida em quatro etapas: a primeira vai de 1900 a 1920, a segunda abrange as décadas de 20, 30 e 40, a terceira as décadas de 50, 60 e 70, e a última etapa os anos 80 e 90. Grosso modo, podemos falar de uma literatura pré-moderna ou pós-romântica na primeira etapa, uma literatura moderna na segunda e na terceira etapa, e uma literatura pós-moderna na última.

Os Sertões, de Euclides da Cunha, é talvez o grande feito literário do período 1900-1920. A prosa de feição polêmica, irônica ou de crítica social, porém temperada de patriotismo, aparece em Ruy Barbosa, Monteiro Lobato e Lima Barreto. Outros nomes relevantes da prosa foram Graça Aranha, João do Rio e Raul Pompeia. Na poesia lírica temos Alphonsus de Guimaraens, Vicente de Carvalho, Catulo da Paixão Cearense, Raul de Leoni, Augusto dos Anjos, Gilka Machado, Manuel Bandeira. A crítica literária atinge a sua maturidade com José Veríssimo, Afrânio Peixoto e a Pequena história da literatura brasileira, de Ronald de Carvalho (1919), resume toda a evolução crítica anterior. No campo filosófico ou humanístico, entre os clássicos de Joaquim Nabuco (Minha Formação, 1900) e Ruy Barbosa (Oração aos Moços, 1920), o destaque vai para Raimundo de Farias Brito, Jackson de Figueiredo e Alberto Torres.

A primeira onda do modernismo tem um marco histórico na Semana de Arte Moderna (São Paulo, 1922). Ao redor dessa aglutinam-se alguns nomes da geração anterior, como Manuel Bandeira e Ronald de Carvalho, e outros que encarnam com mais radicalismo a "idéia modernista", como Mário de Andrade, Oswald de Andrade e Raul Bopp. Temos ainda um grupo mais conservador, que continuará a tradição do nacionalismo romântico: Guilherme de Almeida, Menotti del Picchia, Cassiano Ricardo, Plinio Salgado (que do Verdeamarelismo passou para o Integralismo). Muito importante nessa etapa é a literatura de feição católica: Jackson de Figueiredo, Alceu Amoroso Lima, Tasso da Silveira, padre Leonel Franca, Leonardo Van Acker, Octávio de Faria, Gustavo Corção, Jorge de Lima e Murilo Mendes. A poesia terá ainda um Carlos Drummond de Andrade, Vinícius de Moraes, Augusto Frederico Schmidt, Cecília Meireles, Henriqueta Lisboa, João Cabral de Melo Neto, Mário Quintana e Lêdo Ivo. No ensaio figuram Sérgio Milliet, Paulo Prado, Graça Aranha, Prudente de Morais Neto, Afonso Arinos, Oliveira Viana. Temos ainda o ciclo do romance regionalista nordestino, com José Lins do Rego, Jorge Amado, Graciliano Ramos, Raquel de Queirós, José Américo de Almeida, Amando Fontes. A prosa de ficção se desenvolve também com Alcântara Machado, Érico Veríssimo, Dyonélio Machado (Os Ratos, 1935), Lúcio Cardoso, José Geraldo Vieira, Clarice Lispector (Perto do coração selvagem, 1944), além do teatro de Nelson Rodrigues. Nas humanidades, cabe destacar Sérgio Buarque de Holanda, Gilberto Freyre, Caio Prado Júnior, Câmara Cascudo, Josué de Castro, Fernando de Azevedo e Anísio Teixeira. A filosofia conta com Vicente Ferreira da Silva, João Cruz Costa, Pontes de Miranda, Miguel Reale (fundador do Instituto Brasileiro de Filosofia, 1949), Amoroso Costa, Renato Almeida (Fausto - Ensaio sobre o problema do ser, 1922).

A segunda onda do modernismo vai ter início na década de 50. É quando aparece a Poesia Concreta, dos Irmãos Campos e Décio Pignatari, ou a Filosofia Concreta de Mário Ferreira dos Santos. O Neoconcretismo, movimento sobretudo plástico, contará em sua origem com um poeta influente - Ferreira Gullar. Indo numa direção contrária dos concretos, mais ligado ao surrealismo ou ao movimento beat, aparece Roberto Piva, Sergio Lima, Jorge Mautner, Cláudio Willer, Waly Salomão e outros. Cabe ainda destacar, no lirismo, Paulo Mendes Campos, Hilda Hilst, Mário Faustino, Carlos Nejar, Álvaro Alves de Faria, Carlos Felipe Moisés, Eunice Arruda, Adélia Prado, Chacal e a coletânea 26 Poetas hoje, de Heloísa Buarque de Hollanda. Guimarães Rosa e Ariano Suassuna vão renovar a temática do "sertão". Transitando entre a poesia, o romance, a crítica e o ensaio, temos Mário Chamie, José Paulo Paes, Paulo Leminski, Glauber Rocha, Antônio Olinto, Affonso Romano de Sant'Anna. Augusto Boal cria o Teatro do oprimido, além de sua prosa teórica ou ensaística. Manoel de Barros, que estreara em 1937, começa a publicar com maior frequência e se torna um referencial da poesia até o fim do século. Pedro Nava renova o gênero autobiográfico, se tornando talvez o maior memorialista do século. No romance ou conto se destacam Antônio Callado, Campos de Carvalho, José Agrippino de Paula, José Candido (O coronel e o lobisomem, 1964), Carlos Heitor Cony, Ignácio de Loyola Brandão, João Ubaldo Ribeiro, Fernando Sabino, Raduan Nassar (Lavoura Arcaica, 1975), Dalton Trevisan, Osman Lins, Murilo Rubião, Moacyr Scliar. A prosa de João Antônio, Plínio Marcos e Rubem Fonseca vai renovar a temática do submundo, da marginalidade e violência social. Na filosofia e ciências humanas, temos Vicente Ferreira da Silva, Vilém Flusser, Leandro Konder, Darcy Ribeiro, Florestan Fernandes, Celso Furtado, Paulo Freire, José Osvaldo de Meira Penna, Roberto Campos, José Guilherme Merquior, Antonio Paim, Paulo Mercadante, Hélio Jaguaribe, João de Scantimburgo, Raimundo Faoro. O conservadorismo católico é representado por Plinio Corrêa de Oliveira, Gustavo Corção e Nelson Rodrigues. Na crítica destacam-se Otto Maria Carpeaux, Anatol Rosenfeld, Antonio Candido, Mário Pedrosa, Roberto Schwarz, Wilson Martins, Décio de Almeida Prado, Paulo Emílio Sales Gomes. Na crônica, Millôr Fernandes e Otto Lara Resende.

A última etapa, o fim do século, é um momento de declínio, mas temos obras ou autores importantes. Os melhores são autores que estrearam em décadas passadas, mas que publicam obras seminais no fim do século, como Bruno Tolentino (As horas de Katharina, 1994), Dora Ferreira da Silva (Poesia Reunida, 1999), Ângelo Monteiro, Alberto da Cunha Melo, Ivan Junqueira, Raimundo Carrero, J. J. Veiga, Caio Fernando Abreu (Os Dragões não conhecem o Paraíso, 1988). Mas há também novos nomes: Ana Cristina César, João Gilberto Noll, Milton Hatoum, Diogo Mainardi, José Roberto Torero. E aqueles autores de "sucesso", mas de valor duvidoso, ou que se lançaram em novos gêneros literários: Chico Buarque, Paulo Coelho, Márcio Souza, Luis Fernando Verissimo, João Silvério Trevisan, Drauzio Varella (Estação Carandiru, 1999). Na crônica ou crítica, o destaque é Paulo Francis, Nelson Brissac Peixoto (Cenários em Ruínas, 1987), Sábato Magaldi, Nelson Aguilar. Alberto Lins Caldas e o Madeirismo representa uma tentativa de reatar com o modernismo e as vanguardas do início do século. Já Olavo de Carvalho se destaca como polemista conservador (O Imbecil Coletivo, 1996). Na filosofia ou humanidades, temos Henrique Cláudio de Lima Vaz, Paulo Eduardo Arantes, Bento Prado Júnior, Sergio Paulo Rouanet, Gilberto de Mello Kujawski, Marcelo Gleiser (A Dança do Universo, 1997), Rubem Alves, Ciro Flamarion Cardoso, Gilberto Velho, Roberto DaMatta, livros sobre ou dos irmãos Villas-Bôas, o trabalho de mitologia grega de Junito de Souza Brandão etc.

[atletasudando]

Calidad del salto en largo y otras pruebas en el meeting de Brasil

Fuente y fotos: CBAT Las pruebas del salto en largo ofrecieron algunos de los resultados más importantes en el Gran Premio Caixa, que la CBAT realizó este domingo 7 de mayo en Braganca Paulista, en el comienzo de su serie internacional. Entre las damas, el triunfo fue para Lissandra Mayssa Campos, cuya marca de 6.69 m. (viento en contra de 1.4ms) la ubica en el top 10 histórico de nuestra región. Eliane Martins quedó segunda con 6.64 y tercera fue la colombiana Natalia Linares, medallista del último Mundial Junior en Cali, con 6.45. En el cuarto puesto quedó la brasileña Leticia Oro Melo con 6.16. Era la reaparición de la medallista de bronce del Mundial de Oregón. Y el salto en largo de los hombres ofreció la gran demostración del colombiano Arnovis Dalmero, quien con su primer intento alcanzó los 8 metros y 18 centímetros (viento de 1ms), igualando el récord de su país que había implantado a fines de marzo en la altitud de Bogotá. Samory Uiki Frga Bandeira, segundo con 7.99, fue el mejor entre los locales. Los mejores sprinters de Brasil se dieron cita aquí para renovados duelos que tuvieron como nombre dominante al campeón sudamericano Erik Barbosa Cardoso. En los 100 metros, con viento en contra de 0.8ms, marcó 10.23, aventajando por dos centésimas a Felipe Bardi dos Santos y Rodrigo Pereira do Nascimento, con quienes volverá a formar un poderoso relevo 4x100. En los 200 metros, Eri, ganó con 20.54, delante de Lucas da Silva Carvalho (20.64). En la velocidad femenina, también las brasileñas quedaron adelante. Primero fue el turno de Lorraine Barbosa Martins (FOTO) quien se impuso en 200 con 23.09, seguida por la semifinalista del Mundial, Vitoria Cristina silva Rosa, con 23.42. Pero en los 100 metros, se impuso Vitoria con 11.20, Lorraine fue su escolta con 11.24 y el tercer puesto correspondió a la campeona sudamericana Angela Tenorio, de Ecuador, con 11.32. Posteriormente y como importante test hacia las competiciones internacionales del 2023, se disputó la 4x100 femenina y allí el equipo de Brasil -formado por Anny Caroline de Bassi, Gabriela Silva Mourao, Lorraine Barbosa Martins y Ana Caroline de Jesús Azevedo- marcó interesantes 43.73, seguido por Ecuador y Colombia. Una de las mejores marcas del día se vio en los 800 metros, a cargo de Eduardo Ribeiro Martins: cada vez más consolidado en la distancia, ganó con 1:45.10 y luego llegaron sus compatriotas Guilherme Kurtz con 1:46.15 y Leandro Alves Prates con 1:46.28, quedando cuarto el venezolano José Antonio Maita con 1:46.37. Pero en los 400, el triunfo fue para otro venezolano, Kelvis Padrino, a quien se vio nuevamente por debajo de los 46 segundos: 45.94. Y para Venezuela, sobre el cierre de la competición, llegó otro éxito a través del triplista Leodan Torrealba, quien se proyectó hasta los 16.65 metros. También entre los mejores registros hay que anotar los 21.25 del nigeriano Chukwebuka Enekwechi en lanzamiento de bala, prueba en la que el local Wellington Silva Morais fue su escolta con 19.93. En los 110 metros con vallas reapareció Eduardo dos Santos Rodrigues d eDeus y venció con 13.45 (viento de 0.8ms). El chileno Martín Sáenz, su escolta, demostró sus recientes progresos y marcó 13.78, a sólo tres centésimas de su flamante plusmarca nacional. También entre los hombres, ganó el local Fernando Carvalho Ferreira en salto en alto con 2.19, superando por tres centímetros a uno de sus clásicos rivales, el recordman argentino Carlos Daniel Layoy. Y en jabalina se reeditó el duelo entre los ascendentes exponentes locales, ganando Pedro Henrique Nunes  Rodrigues con 78.38, delante de Luiz Mauricio Dias da Silva cn 778.60. En damas, otra prueba relevante fue la del lanzamiento del disco ya que allí la finalista olímpica Izabela Rodrigues da Silva llegó hasta 62.68 m, muy cerca de su mejor registro personal, quedando segunda la recordwoman sudamericana Andressa Oliveira de Morais con 60.69 y tercera, la estadounidense Micaela Hazlewood con 58.11. En jabalina estuvieron las mejores exponentes de la región y las tres primeras superaron los 60 metros: Jucilene Sales de Lima con 61.57, la colombiana Flor Denis Ruiz con 61.24 y la ecuatoriana Yuleixy Angulo con 60.60. Otras ganadoras fueron Simone Ponte Ferraz (9:55.53 en obstáculos), Valdileia Martins (1.81 en salto en alto), Gabriele Sousa dos Santos (13.65 en salto triple) y la chlena Ivana Gallardo con 17.29.   Read the full article

[diyeipetea]

INSTANTZZ: The Rite of Trio (4º Alternatilla Jazz in Mallorca) [Galería fotográfica]

INSTANTZZ: The Rite of Trio (4º Alternatilla Jazz in Mallorca) [Galería fotográfica]

Por José Luis Luna Rocafort.

Fecha: Miércoles, 04 de diciembre de 2019. 20:30h.

Lugar: Sa Congregació. Sa Pobla. Mallorca

Festival: 4º Alternatilla Jazz in Mallorca

Grupo: The Rite of Trio André Bastos Silva: guitarra eléctrica Filipe Louro Monteiro: contrabajo Pedro Melo Alves: batería

Tomajazz: © José Luis Luna Rocafort, 2020