“Music improvisation is a language unto itself as this multi-national unit proves that point to the highest degree. Recorded live at a venue in Cologne, Germany., this quartet professes a multitude of ebbs, flows, styles and intuitive or at times didactic exchanges that signify some of the finer attributes of free-improv. For whatever reason, the album is named after a Brazilian animal that looks like a spotted hog or boar. Therefore, the quartet might indeed parallel the traits of an animal that can be docile, yet ferocious when approached. But these are just off-the-cuff guess-timations on my part.
The band launches its sinuous attack with the opener titled “Flush and Harmonize.” On this piece, Yedo Gibson (Brazil) uses his Eb clarinet to instill some whimsy via lighthearted and animated phrasings. Then pianist Veryan Weston (U.K.) scatters a pliant framework across the perimeter while bassist Marcio Mattos (Brazil) and drummer/percussionist Martin Blume (Germany) lay out the asymmetrical cadences. Here and throughout many of these passages, the lead soloists traverse all registers amid tiny fusions of melody and greater amounts of contrasting bursts of dissonance. And in many areas, tempers (musically speaking) flare up amid the musicians tension and release incarnations.
On the second piece “Membrance Source,” they execute a non-linear and somewhat ethereal framework, treated with Mattos use of electronics and Gibson’s moody tenor sax lines. Yet all hell breaks loose on the third and final work titled “No Repeats,” where the unit bobs, weaves, rises and descends via swirling countercurrents and fiery exhortations. Nonetheless, this is an all-encompassing exposition that communications a sense that these folks were acutely in-tune and the group-centric synergy was on the money as they say. (Recommended…)”
“Besides being a Brazilian mammal similar to a wild boar, Caetitu is also a stunningly efficient quartet formed by Yedo Gibson (tenor sax, Eb clarinet), Veryan Weston (piano), Marcio Mattos (double bass, electronics) and Martin Blume (drum set, percussion). I was familiar with the involved musicians except Gibson, himself a Brazilian, whose style seems to be born for this ensemble: a unique cross of traditional legacies and hints to the future, his tone splendidly articulated throughout, the sense of note placement and spacing among the most satisfying ones heard recently between these walls. Weston’s playing in this circumstance emphasizes elegance and self-possession at one and the same time, neat chordal chemistries recalling memories from other eras - chamber music meets beguilingly old-fashioned jazz, melancholy-tinged progressions flourishing in the splendid “Membrance source”. Mattos might go a little unnoticed at first, after we’ve been dazzled by the insightful expertise of the main soloists, but an attentive analysis of the low-frequency regions reveals a meticulous counteraction against the glut of lawless inventiveness, as he anchors the group’s overall sound to that wide-ranging intelligibility that knowledgeable audiences expect from this calibre of artist. Blume’s percussive presence defines, once and for all, that what was formerly intended as “section” has by now been forgotten in favour of a methodical liberalization of roles. It’s life that dictates a rhythm: a drummer can’t possibly recommend patterns to someone attempting to respire through a phase of polite self-determination. Accordingly, he’s all over the place and then disappears, inimitable sensitiveness at long last revealed to glad receivers. Remarkable things, complemented by an excerpt from Chefa Alonso’s essay “Composition in motion” full of mind-stimulating truths about the fine art of improvisation.”