Clean Feed Records (2024)
Carlos Bica – double bass
José Soares – saxophone
Eduardo Cardinho – vibraphone
Gonçalo Neto – guitar
Carlos Bica feat. José Soares, Eduardo Cardinho, Gonçalo Neto
11:11
„Cannot. Stop. Listening. To. This. Album. Melodically, it is mysterious and strange and stupendously mesmerizing. It’s not unlike wandering through a labyrinth, always a blind to the path ahead, yet pulled forward by some irresistible force. Rhythmically, it’s like the rustling of autumn leaves, overhead and underfoot, in all of their tones. These qualities are not a new thing to a Carlos Bica recording, but never have they been quite so damn affecting. The double bassist is joined by alto saxophonist José Soares, vibraphonist Eduardo Cardinho, and guitarist Gonçalo Neto (who adds some banjo, to boot).“
– Bandcamp @ DaveSummer
„Dive into the ethereal blend of jazz and improvisation with Carlos Bica’s album “11:11.” This album is a testament to Bica’s ingenious ability to bridge the gaps between traditional jazz roots and contemporary innovation. Each track unfurls with a delicate balance of spontaneity and meticulous composition, featuring a quartet of Portugal’s finest musicians. From the introspective melodies of “Blue in Grey” to the vibrant rhythms of “Love Boat,” the album serves as a narrative of musical exploration and emotional depth. The genius of “11:11” lies not only in its composition but also in the seamless interplay between the double bass, saxophone, vibraphone, and guitar. The album captures a moment in time, encapsulating the essence of the Carnation Revolution’s spirit of freedom and expression through its jazz-infused lenses. It’s a soul-stirring journey through the landscapes of sound and history, making it a pivotal addition to the contemporary jazz scene.“
– @ wt.flac
„From the start with “Roots” to the end with “Love Boat”, this is an album where the bass plays the main role. And the tone of Bica’s bass is one of the finest bass sounds I’ve ever heard, while the compositions have a lot of Portuguese in them, which can often be related to the Portuguese folk music fado. His singing bass leads the way, and together with almost “frighteningly” beautiful playing from the other musicians, this is a brilliant album…And even though the start is the one I fall for the most, he collaborates with exquisite musicians who help to make the release a delicious performance. Beautiful!“
– @ salt-peanuts
– @ Jazz Podium (Ulrich Steinmetzger)
Well into his sixties, Portuguese composer-bassist Carlos Bica has been on a roll lately, releasing a string of albums that are likely to cement his legacy as one of today’s foremost European creative musicians. Remarkably, after leading the already legendary Azul trio for over two decades, Bica was able to totally reinvent himself with two of his most adventurous projects to date: the I Am the Escaped One (2019) trio and its no less intriguing „Playing with Beethoven“(2023) quartet extension, both of which featured strikingly original, unclassifiable music, notable for some largely unheard-of timbral combinations. More recently, he has assembled a new all Portuguese quartet, featuring three up-and-coming creative musicians about thirty years younger – alto saxophonist José Soares, vibraphonist Eduardo Cardinho and guitarist Gonçalo Neto. After the aforementioned couple of albums, its debut, 11:11, may feel like going back to basics. And yet it is another distinctive chapter in Bica’s trajectory: more than a reinvention, a renewal, perhaps, and a most fruitful one…Nobody here forces anything, and nobody ever hurries. Everyone listens deeply and lets the music float effortlessly, displaying an altogether rare patience and sensitivity. And although it does nonetheless have its climaxes, such music doesn’t knock one out, but slowly takes one in, until one is totally hooked and has no choice but to let oneself go and float alongside it, too. All in all, deceptively simple tunes, haunting atmospheres and nuanced interplay make up for a statement of timeless beauty.
– @freejazzblog (João Esteves da Silva)
https://www.freejazzblog.
“Like the blues, this music is not just about sadness, but the beauty of the human condition“
– Allaboutjazz (Mark Corroto)
https://www.allaboutjazz.com/
This is not a music that lends itself to serial solo work, but instead is played as if arrangements were everything. In fact, as the press release states, “The arrangements of the songs on this album are the result of collective work by the band.” In real time, no doubt…The mesmerizing melody floats, resting on Bica’s selective bass lines, everyone moving in and out as in a dream. – DownBeat
And from the start with “Roots” to the end with “Love Boat”, this is an album where the bass plays the main role. And the tone of Bica’s bass is one of the finest bass sounds I’ve ever heard, while the compositions have a lot of Portuguese in them, which can often be related to the Portuguese folk music fado. His singing bass leads the way, and together with almost “frighteningly” beautiful playing from the other musicians, this is a brilliant album. – Saltpeanuts
It was tough rounding out a top ten in a strong year where many albums could have made the cut. I went with Bica’s 11:11 because it reminded me of Charlie Haden’s Revolutionary Music Ensemble and simply for the album’s arresting beauty. Every time I listen, I need to remind myself this is only a quartet – the rich colors created by José Soares’ alto sax, Eduardo Cardinho’s vibraphone, and Gonçalo Neto’s guitar and banjo over Bica’s bass were the most calming and enveloping music of the year. – thenecessaryblues.com
