Old Mountain is the duo of Portuguese close friends and serial collaborators pianist-guitarist-composer Pedro Branco and drummer-composer João Sousa (who also collaborate in the Branco toca Marco Paulo Project) who wanted to offer sets of melodic, nostalgia-fuelled music with an ever-alternating cast of guest musicians. Another State of Rhythm is the third album of the duo, and features American tenor sax hero Tony Malaby, and fellow Portuguese double bass players João Hasselberg (who recorded before two albums with Branco) and Hernâni Faustino (who recorded before an album with Sousa). The album was recorded at Namouche Studios in Lisbon in June 2023.
Old Mountain was always a test bed for various modes of musical expressions and compositional techniques while using the guest musicians as a catalyst for creativity and invention. Another State of Rhythm was inspired by Branco and Sousa’s love for the late pianist heroes Misha Mengelberg and Masabumi Kikuchi, and on this album, Branco focuses only on the piano. The album features homage to another, late hero, «Ballad For Paul» for Paul Motian.
Another State of Rhythm opens with a surprising yet soulful and elegiac re-reading of another hero, Lead Belly’s traditional «Goodnight, Irene» (including a secret reprise of the piece at the end of the album). This piece establishes the dynamics of this ad-hoc quintet, with the free piano playing of Branco, Sousa’s gentle percussive touches, Malaby’s caressing tenor sax, and the solid dual-basses work of Hasselberg and Hernâni. Old Mountain sounds as attempting to balance between the dadaist, subversive spirit of Mengelberg (check «All of Our Heroes» and «Freebus») and the sublime lyricism of Kikuchi (check the sparse and most beautiful ballad «Montanha» and the poetic «Ballad For Paul»). The album tends more to the impressionist and introspective pole and encapsulates Old Mountain’s melancholic sensibilities. You may get the feeling that you Old Mountain adapted and reshaped ECM’s Nordic jazz atmosphere to Portuguese sonic landscapes. Eyal Hareuveni
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Pedro Branco muda-se da guitarra para o piano; na bateria está João Sousa; e junta-se um leque de estimáveis convidados: Tony Malaby no saxofone, João Hasselberg e Hernâni Faustino nos contrabaixos. Com selo Clean Feed, “Another State of Rhythm” é uma enorme surpresa
Old Mountain é um projeto de Pedro Branco, conhecido pelo seu trabalho como guitarrista, e João Sousa, baterista. No ano-covid de 2020, a dupla arriscou um golpe de asa ao publicar através da editora Nischo dois álbuns em simultâneo, registos com características diferentes: em “Parallels”, Branco e Sousa contaram com a companhia do trompete de Gonçalo Marques; no disco “This Is Not Our Music” a dupla Branco/Sousa contou com o apoio de três parceiros: Nicolo Ricci no saxofone, Mauro Cottone no contrabaixo e George Durmitriu na viola (este apenas num tema). A característica definidora do grupo seria o diálogo criativo entre guitarra e bateria, alimentada pelos diferentes convidados; no disco com Marques o trompete destacava-se, no disco “This Is Not Our Music” ouve-se um maior envolvimento coletivo.
Agora, a dupla resolveu aventurar-se por diferentes caminhos. “Another State of Rhythm” tem edição da Clean Feed e há desde logo uma enorme surpresa: Pedro Branco muda-se da guitarra (na qual é mestre) para o piano; na bateria está João Sousa; e junta-se um leque de estimáveis convidados: Tony Malaby no saxofone, João Hasselberg e Hernâni Faustino nos contrabaixos. O disco reúne um total de nove temas, dos quais oito são originais de Branco e Sousa, juntando-se uma reinterpretação de um tema de Leadbelly (“Goodnight, Irene”); um dos temas, “Ballad for Paul” (em homenagem ao baterista Paul Motian), já tinha sido registado em duas diferentes versões nos discos anteriores e afirma-se como “tema assinatura” do grupo.
Em antecipação ao disco, foi desvendado um single, “The Sixth Commandment”, a revelar desde logo a toada do disco. Primeiro ouve-se o piano de Branco em registo melancólico, acompanhado pela bateria de Sousa e ampliado pela gravidade dos contrabaixos de Hasselberg e Faustino (distintos, mas confluentes). E entra depois o saxofone de Mabaly, que começa por arrancar tranquilamente, para depois descolar, arrastando consigo todo o grupo. Uma primeira amostra que deixou as expectativas em alta para o resto do álbum.
Contudo, não é essa a primeira faixa do disco: o grupo escolheu “Goodnight, Irene”, que dá um certo sentimento de época ao arranque do álbum. Sem fazer uma desconstrução radical, o grupo trata de interpretar o tema com personalidade, com as tropelias do piano de Branco ao centro. A mudança de Branco para o piano não será uma surpresa absoluta; o duo Old Mountain já se tinha apresentado ao vivo em apresentações intituladas “The Piano Sessions”. Segundo a informação das liner notes, ao explorar o piano Pedro Branco tenta seguir as pisadas dos seus ídolos Misha Mengelberg e Masabumi Kikuchi. Mais do que a curiosidade de ouvirmos um reputado guitarrista a desbravar o piano, vemos Branco a fazê-lo com assinalável competência, numa abordagem angular, seguindo por vezes direções inesperadas – em contraste com a toada mais lírica dos parceiros de grupo, numa combinação inusitada.
O diálogo instrumental é explorado em temas como “Giraldo”, “All of Our Heroes”, “Blend In By Standing Out”, “Stick to the Plan” e “Montanha” – bons originais, trabalhados em diferentes registos, sempre revelando bom envolvimento coletivo. Um dos mais bonitos momentos do disco é “Ballad for Paul” – a tal faixa-assinatura – num “quase solo” de piano, que parte da composição (excelente tema) para uma interpretação sentida (e contida) de Branco – o pianista mostra como, com poucos recursos, se pode exibir enorme intensidade. E o piano está bem apoiado pelos sublinhados discretos de Faustino e Hasselberg (e mais uns pozinhos de eletrónica).
Este disco tem mais uma curiosidade adicional, repescando um conceito popular nos anos 90, na década dourada do CD, mas rara na atual era das plataformas digitais: após o tema final, “Montanha”, e depois de momentos de silêncio, surge uma “faixa escondida”, uma versão “reprise” de “Goodnight Irene” – e se na primeira versão é o piano quem se destaca, aqui é o saxofone mais expansivo de Malaby que se distingue. Uma nota sobre Tony Malaby: saxofonista gigante do panorama internacional, Malaby sabe integrar-se no grupo e não abafa nem se sobrepõe, é só “mais um”; o seu saxofone voa a grande altura, mas sempre embrenhado na música do grupo, na dose certa, sem exibicionismo.
A antecipação a este disco trazia várias questões: Um guitarrista a tocar piano? Dois contrabaixos? Como seria a participação de Tony Malaby? Este novo álbum estaria próximo das edições anteriores? A música responde a tudo por si mesma, dissipa todas as dúvidas e questões. Assente no envolvimento coletivo, esta é uma música contemporânea, fresca e rica, conglomerando muitas vozes e ideias numa direção comum. Nuno Catarino
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Clean Feed Records has once again proven its prowess in bringing innovative jazz to the forefront, and Old Mountain’s latest offering is a guiding light for those seeking to venture beyond the conventional boundaries of the genre. Each member brings a distinctive flair, yet their interplay feels seamless, creating a soundscape that is rich in texture and depth.
Old Mountain’s latest album, Another State of Rhythm, invites listeners on a contemplative journey. This quintet, featuring Pedro Branco on piano, Tony Malaby on tenor sax, Joao Sousa on drums, and two bassists—João Hasselberg and Hernâni Faustino—creates a musical landscape that blends bluesy introspection with free improvisation.
The album opens with a nod to history: “Goodnight Irene,” a 1933 composition by Leadbelly. Branco’s semi-free and contrasting piano work, tinged with bluesy intervals, intertwines with Malaby’s soulful melodies, while the bass players and Sousa’s drums provide a gentle rocking rhythm. The solemnity of tracks like “The Sixth Commandment” and “Ballad for Paul” (dedicated to Paul Motian) adds depth, with harmonic piano abstractions, and Malaby’s pleading and yearning saxophone lines. Yet “All of Our Heroes” is where the pianist hammers out a forceful free-form groove as all hell breaks loose, especially when Malaby injects a rippling, full-throttle solo.
“Montanha” (Portuguese for mountain) stands out as the album’s longest and most intriguing piece. Branco’s wistful piano lines evoke distant mountain landscapes that stretch into infinity with supple backdrops provided by the rhythm section. The music transitions, turning bluesy—a New Orleans funeral procession of sorts—melding sadness and joy in an odd but captivating combination. This music refuses to be pigeonholed, constantly shifting, and evolving.
The album weaves together diverse influences, grounding improvisations in melancholy. It serves as a relevant reflection of our increasingly disappointing world. The band scales melodic, nostalgia-fueled summits, leaving listeners with a sense of both longing and hope. In this album, Old Mountain crafts a sonic landscape where soul meets abstraction, inviting us to explore the emotional contours of our inner mountains. Glenn Astarita
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Malaby guests on Another State of Rhythm, the third release under the banner Old Mountain by the Portuguese pairing of pianist Pedro Branco and drummer João Sousa, who add twin bassists João Hasselberg and Hernâni Faustino to the cast for nine selections. The saxophonist proves well-suited to the outfit’s canny blend of “out” there with more inside heartfelt pieces. He shines on the sole cover, a rendition of the offbeat C&W stroll through Leadbelly’s blues classic, “Goodnight, Irene”: first Branco and then Malaby gradually go off the rails, culminating in a final madcap duet. Thereafter, the saxophonist ranges from tender and delicately keening on the wistful “The Sixth Commandment”, to abrasive and raw on the seething “Giraldo”. He doesn’t appear at all on the hymn-like “Ballad For Paul”, a lovely tribute to his erstwhile employer Motian, although his breathy embroidery of the subsequent “Blend in By Standing Out” seems to capture the same spirit. John Sharpe (New York City Jazz Record)
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Another State of Rhythm by Old Mountain, a quintet which features Pedro Branco on piano, Tony Malaby on tenor sax, Joao Sousa on drums, and two bassists, Joao Hasselberg and Hernani Faustino, offers bluesy and soulful introspection within music of grace and beauty parsed with free playing elements and abstractions. The musicians draw upon a wide range of historical idioms – for example, the opening number, “Goodnight Irene,” a 1933 Leadbelly composition, offers a mix of Branco’s free playing juxtaposed with Malaby’s soulful melodies and the gentle rocking rhythm of the bass players and Sousa’s drums. One is also struck by the solemn expressions of some of the numbers. For example, “The Sixth Commandment” offers a subtle repose, with agitating bass lines and harmonic piano abstractions underneath Malaby’s pleading wails. In “Ballad for Paul” the piano overtones provide a sorrowful counterpoint to the bass plucks and bowing that underlie the harmonics (captured magnificently by recording engineer Eduardo Vinhas). And, featuring Sousa’s colorful cymbal and drum work, “Blend in By Standing Out” combines moments of grace beneath its despondent themes.
Perhaps the most interesting tune on the album is also its longest – “Montanha” – which in Portuguese means mountain. It opens with Branco’s wistful lines which seem to imply a distant view of some mountain landscape that stretches forever. Importantly, Branco’s efforts are given space by the other musicians to fully come to life. After a pause, the music turns bluesy again – almost like a New Orleans funeral procession – suggesting the odd combination of sadness and joy. And for those who like pure free playing, the number “Freebus,” will not disappoint. Especially enjoyable here is Branco’s use of the upper registers of the piano to add sprinkles, flavor, and hops to the mix.
Those who enjoy a diverse palette of musical influences interspersed with improvisations that challenge while remaining grounded will most certainly enjoy Another State of Rhythm. Its compositions tinged with melancholy are a relevant reflection of today’s increasingly disappointing world. Don Phipps
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Fado nazywane bywa portugalskim bluesem, być może dlatego płytę “Another State Of Rhythm” otwiera “Goodnight, Irene” autorstwa Huddie’go ‘Lead Belly’ Ledbettera, jedyna jego piosenka, która trafiła na pierwsze miejsce list przebojów w USA. Po niej słyszymy już wyłącznie kompozycje dwójki liderów – Pedro Branco i João Sousa. Od ponad dekady obaj panowie prowadzą duet Old Mountain, który w zależności od potrzeby rozrasta się do kwartetu lub kwintetu, jak ma to miejsce na “Another State Of Rhythm”. Tutaj towarzyszą im zaprawieni w bojach jazzmeni – amerykański saksofonista Tony Malaby, hołdujący tutaj zasadzie “czym mniej, tym lepiej”, i dwaj kontrabasiści – Joao Hasselberg i Hernâni Faustino, jeden z założycieli RED trio, kompan Rodrigo Amado i José Lencastre.
Pianista i gitarzysta Pedro Branco i perkusista João Sousa przynieśli do lizbońskiego Namouche Studios garść kompozycji zabarwionych melancholią, która tak jak w przypadku fado wynika z akceptacji świata w pełni, tego świata, którego nieodłącznym elementem jest cierpienie i strata. Stąd tyle w ich muzyce apetytu na życie, tyle wigoru.
Ich kompozycje mają niejako swoją jasną i ciemną stronę. To napięcie napędza dramaturgię płyty. Doskonale to słychać w absolutnie wspaniałej, kończącej płytę kompozycji “Montanha”. Fortepian Branco przywodzi tu na myśl frazy skomponowane przez Arvo Parta w cyklu jego fortepianowych miniatur “Fur Alina”. Z czasem dołączają kolejni muzycy, podejmując tylko dobre decyzje. Po chwili narracja skręca w stronę fado-bluesa, skrzącego się tym rzadkim połączeniem smutku i radości.
W swoim melancholijnym doświadczaniu świata muzycy proponują pogłębioną rozmowę tylko na ważne tematy. Już dawno żaden album nie pozostawił mnie z poczuciem tęsknoty i nadziei jednocześnie! Tomasz Konwent
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The gimmick for want of a better word on Another State Of Rhythm is the presence of two bassists (João Hasselberg and Hernâni Faustino) that adds a certain complex circuitry to the loose flowing beat generated by this fresh free-jazz aiming outfit from Portugal helmed by pianist Pedro Branco and drummer João Sousa. US sax titan Tony Malaby is excellent throughout especially on the tender ‘Blend In By Standing Out’. Tunes include a tribute to Paul Motian and begins completely out of the blue on Leadbelly’s ‘Goodnight Irene’. Branco’s intro to ‘Montanha’ at the end is another bright moment on what is a very satisfying album no matter how off-the-beaten track all concerned venture. Marlbank