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             E-MAIL    R.Gomes Freire, nº 3, 5º dto,  Lisboa.  PORTUGAL  #  ph.00.351.21.353100  #       "BECHEGAS"HOME-PAGE                                                

                                                   TO BUY RECORDS  on below sites :

 

                           DISTRIBUTORS:   ( U.S.A )  CADENCE     //    ( Canadá   VERGE MUSIC    //     ( Europe ) – FMP    //     FORWARD.REC 

 

 

 

                                                                                RECORDS LIST and  related reviews:___________________________ 

 

 

 

   _______________________LAST RELEASES ( December 2006 )
 

             

                 " OPEN TEXTURES " forward.rec 06

 

                    Carlos" BECHEGAS " flutes / effects

                       Barry GUY - double bass

                        6. takes - total time 61'.12'' -

                       LIVE RECORDING Sept.20th / 2005

    

 

 

                

                                                      

                               " OPEN BETWEEN "   forward.rec 07

 

                  Carlos " BECHEGAS " flutes

                         Reuben RADDING- double bass

                         9  takes -  total time 57' 05''          

                                              STUDIO RECORDING August / 2005            

 

 

 

 

 

            

                            

 

Open View“  - 2005

    forward.rec # 005                 

 

   “ Open Density “  2005

      forward.rec # 004

 

 

     “ Open Speech “ - 2004

      forward.rec # 003

 

 

  “ Open Frontiers - 2004

      forward.rec # 002

---------------------------------------------

 

 

 

 

      “ Open Secrets “ - 2001

              forward.rec # 001

---------------------------------------------

    Other C. Bechegas CDs,

        for distribution:

    

 

   

 

---------------------------------------------

 

 

 

 

 

  “ Flute Landscapes 99

      audEo # 002

 

        “ C. B. Projects  97

            leo/Lab # 032

        Right Off “ -  2002

            numérica # 0011

 

  --------------------------------------  RECORDS LIST   and  related  REVIEWS 

( 2006)  " Open Between "  forward.rec 07 -------------------------------------------

( 2006)  " Open Textures "  forward.rec 06 -------------------------------------------

( 2005)  Open View forward.rec 005 - duo with Peter Kowlad   - - - - - - - - - - - - - - -  CD 8- REVIEWS           

( 2005)  “ Open Densiry forward.rec 004 -  flute duos with Michel Edelin;   - - - - - - - CD 7 -REVIEWS       

( 2004)  Open Speechforward.rec 003 - duo with Alex V. Schlippenbach.  - - - - -  CD 6- REVIEWS

( 2004)  “ Open Frontiers forward.rec 002 -  flute duos with Michel Edelin;  - - -- - -  CD 5 -REVIEWS

( 2001)  “ Open Secrets “-  forward.rec – 001, duo with Peter Kowald; - - - - - - - - - - - CD 3 -REVIEWS

 

________________________OTHER LABEL C. " BECHEGAS " CDs for distribution:

( 2002 ) Right Off Numerica 1100 - duo with  Derek Bailey;      - - - - - - - - - - - - - - -  CD 4 -REVIEWS

( 1998 ) Flute Landscapes audEo 0298 - acoustic solos       - - - -- - - - - - - - - - - - - CD 2 -REVIEWS

( 1997 )Carlos Bechegas Projects Leo Lab 032 – flute and elect - - - - - - - - - - -  -  CD 1 -REVIEWS

 

 

 

 

 

________________CDr DEMO list ( no commercial items - concert proposal demos )

 

 

 

" Open Waves "  forward.DEMO 001 - DUO:C Bechegas - flutes # Joelle Leandre - double bass   

 “Open Diversity "  forward.DEMO 002 - C Bechegas TRIO:- flutes # Ulrich Mitzlaff - Cello

     # Rui Faustino - drum / percussion

 “ Open  Monumental " forward.DEMO 003 -TRIO: C Bechegas - flutes # C Santos - lap top

      # E Rolin - flutes / clarinets

 " Open Landscapes "  forward.DEMO 004 - C. Bechegas flute SOLOS - acoustic and with electrónics

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“ Open  View “ -    forward.rec  # 08

 

Carlos BECHEGAS – piccolo, C, alto flutes, electronics,  voice.

Peter   KOWALD - contrabass and voice

7 takes - total time 50’ 33''

Live rec. at C.C.B. Lisbon Cultural Centre

on 5th October 1999 # release - 2004

 

 

 

                 

           “ I commemorate this CD to P. Kowald – a master musician and a great spirit “

 

SUMMARY REVIEWS:

…the sheer range of sounds, with and without complementing electronics, is simply amazing. What is attractive is that, unlike Kowald, Bechegas is limited by his breath, and he manages to press so much into each phrase, sometimes totally distorting his flute, other times playing straight, while occasionally adding a second instrument by the electronics. The effect is fascinating, surprising, and intriguing. The last three tracks have these two marvels playing together and, after exposure to the solos, the way they work together makes a lot of sense. Budd Kopman ALL ABOUT  JAZZ http://www.allaboutjazz.com/php/article.php?id=16497 ( 80 )

 

In keeping with Paris Transatlantic's current wave of enthusiasm for all things Portuguese, though, all three of these albums ( OPEN SECRETS – DENSITY – VIEW )  are warmly recommended, PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton http://www.paristransatlantic.com/magazine/main/home.html ( 81 )

 

"Open View" pieces give off dynamic after dynamic, many wildly varying in intensity, none of which you can ignore. JAZZ NOW by Kenneth Egbert http://www.jazznow.com/0305/0305NSF.html ( 82 )

During inventive call and response sections  as well as more cautious moments where each player allows the other to lead, there is a sense of improvised composition to the proceedings. CADENCE by Troy Collings / pag. 116 e 17 ( April 2005 )  ( 83 )

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“ Open Density “- forward.rec # 04

 

Carlos BECHEGAS  – flutes and voice

André GOUDBEEK - alto sax; bass clarinet and bandoneon

Peter JACQUEMYN   - double bass

5 takes - total time 45’06’’  

Live recorded, at 29th Antwerp  Free Music  Fest,

on  2 th  August   2002. release - 2004

 

 
 

SUMMARY REVIEWS:

 

Between Jacquemyn's brawn  and Bechegas's brilliance, Goudbeek… picking up ideas from one musician and hurling them towards the other in a thrilling live translation.  It's a truly awesome set…  there's plenty of life left yet in the old cut-to-the-chase improv style. 

PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton ( 70 )

 Dense improvisations predominate here. While all three are accomplished free musicians, there is a sense of homogeneity to  these free improvisations. Dynamics shift, the energy  level rises and falls, but overall, the same thematic  material continues to arise.  Although both  were recorded live at music festivals, the sound on each is impeccable. CADENCE ( April 2005 ) – by Troy Collins ( 71 )

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SUMMARY REVIEWS:

After beginning with Peter Kowald (the CD Open Secrets) . . . and an exemplary collaboration with Derek Bailey (the CD right off . . . Bechegas offers us, in this discursively open work, confrontation, tension, but also mutual seduction. nº 60 juin 04  Pierre DURR - REVUE & CORRIGÉE ( 60 )

Both are great works …   if easy to adhere to the  “ tribalism “ character of  “ Open Frontiers “  is the less expressionism, the given space to the metamorphose structures building, and the more creation of strengthen atmospheres  Open Speech “, that capture the attention   ###     RUI EDUARDO PAES –   http://rep.no.sapo.pt/entrada.ht ( 61 )

Going mano à mano with two of the founders of European Free Music is no challenge for the faint-hearted… and your only weapons are a couple of small metallic flutes.   But Lisbon-based Carlos Bechegas has the talent and technique to hold his own in these situations.

both these CDs prove that Bechegas is another Portuguese innovator. Investigate either of these CDs—especially Open Speech—and open yourself up to a new flute voice. ONE FINAL NOTE  UnAMERICAN ACTIVITIES #16

His unique vocabulary, somewhere between Schoenberg Op.19, Dolphy, Cecil Taylor and Ran Blake, is the perfect foil for Bechegas's florid  ##    PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton ( 63 )

The two free spirits wander through an intricate maze of complexities on five spontaneously evolving selections.  Bechegas is a mighty force in this union…brings out of the flute seemingly impossible tones depicting rage and anger. This highly challenging encounter of like-minded musicians touches every crack and crevice of the emotional spectrum, making it a representative of creative art at its best. CADENCE - ( Jan. 2005 ) - Frank Rubolino (64 )

 

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Pieces improvisations, consequence of an invitation made by Carlos Bechegas to Michel Edelin, for a flute duo recording, exploring multiples music aesthetics and ambiences, as the title “ Open Frontiers “ suggest.

Mainly based on a spontaneous open narrative attitude; the intentional research of crossing a diversity of materials through the improvisation, by the confrontation of two flutists with dissimilar music languages and experiences.

 

SUMMARY REVIEWS:

  Bechegas is a highly creative improviser, with many extended techniques up his sleeve and a certain sense of humor. The music ranks from ceremonial drones to frantic dialogues, from delicate instant melodies to intricate textural playing. The shortest pieces are often the most vehement and surprising: Bechegas and Edelin start and stop on a dime, bouncing notes left and right like two limbs from the same body. And despite the abundance of unorthodox techniques —— the music is welcoming, easy to grasp and to enjoy. Recommended.

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:k06wtratkl3x~T1  François Couture -  ALL MUSIC GUIDE

Beyond the declination of all the ways of playing the flute without trickery . . . what we witness here is an immediate complicity between two companions. True to form, this stimulating encounter in twenty small pieces . . . glows with a spontaneity lacking neither humour nor depth. Bechegas and Edelin obviously speak the same language, and their fertile terrain of understanding leaves us to hope that other seeds will come.                                                (Nº 106  - JUIN – 04 )  Claude Colpaert   -  IMPROJAZZ

Bechegas is a virtuoso who has established his entire reputation through total improvisation, sharing with Eric Dolphy a sinuous quality and a vocalizing approach to the instrument, also present in contemporary music. Edelin reveals a tendency to offer more tonal proposals . . . while the Portuguese glows with more abstract evasions. A superb complementarity.   n° 547  Avril 04   2004.Gerard Rouy -JAZ Z  MAGAZINE

After beginning with Peter Kowald (the CD Open Secrets) . . . and an exemplary collaboration with Derek Bailey (the CD right off). . . Bechegas finds [in Edelin] a perfect match, occasionally heightening the force of the album’s evocations through parallelism, circumventing and even straying from the sketches of his companion at other times, through a play of counterpoint, to take command of the moment and impose his own approach to the instrument.      nº 60 juin 04 – pag 33  por - Pierre DURR. REVUE & CORRIGÉE

  Allow him ( Bechegas ) to coax more out of the instrument than one might think humanly possible. it’s an inspired pairing…. surprisingly rich diversity of timbre that keeps things interesting throughout. Bechegas and Edelin are clearly skilled in their respective instruments; and by expanding the sonic capabilities with unusual techniques and vocalizations, they create, for the most part, a lushsound that is strangely compelling.      MAIO / 04 John Kelman - site ALL MUSIC GUIDE  

  Still both CDs are worth investigation… As good as these CDs are…  both are exceptional  High and low timbres, long and short pitches -- these CDs showcase the limits to which woodwinds can be pushed… the sessions enunciate the advanced language of 21st century improvisers.
Open Frontiers showcase a similar meeting of minds for the flute family with Portugal's Carlos Bechegas and France's Michel  
- Ken Waxman www.jazzword.com  - JAZZ WEEKLY

  Both are great works …   easy to adhere to the  “ tribalism “ character of  “ Open Frontiers “,RUI EDUARDO PAES –   http://rep.no.sapo.pt/entrada.htm   

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                                  Label NUMÉRICA    /    site SHEF.AC.UK    site ALL MUSIC GUIDE  

SUMMARY REVIEWS:

  Two masters of 21st century improvised music suspend most conventions associated with their instruments and the Jazz genre.  Definable chords…  standard song forms, and limited harmonic palettes are successfully flouted in seven spontaneous performances  Fortunately, Messrs. Bailey and Bechegas have not abandoned the notion that form and content are inseparable; The new interval combinations heard throughout the session challenge   the simplistic notion that there is a “correct” scale for every chord.  If anything, these performances prove that for every sound, there are an infinite number of sonic relationships.  This is an excellent recording. ( May )  interactive Magazine – by James D. Armstrong, Jr. JAZZ  NOW

  Portuguese flutist Carlos Bechegas creates an impressive variety of sounds using pitch-to-MIDI controllers on Right Off. This instinct of Bailey's intensifies whenever Bechegas' sound bank turns either lush or whimsical, …  prompting some of Bailey's most agitated playing in the set.…   the sum far exceeds the parts provided by Bechegas and himself on Right Off, resulting in riveting music from beginning to end.01’ Abril '03  Bill Shoemaker  - JAZZ TIMES 

  The flute has a hard time being accepted in free improv circles -- for reasons this reviewer doesn’t fully understand but probably have to do with its heavy classical historical baggage.
Bechegas thrive  to find new state-of-the-art ways to make it fit in, but
in the end..    his acoustic playing remains his best argument.

http://www.allmusic.com / François Couture -
ALL MUSIC GUIDE

We could listen for hours to the exclusive sounds of an electric guitar and the flutist Carlos Bechegas. Having already distinguished himself (on previously released CDs), Bechegas extends his flute playing to a range of intersections, diverging productively from those of Kirk, Dolphy and Newton. Separately or together, these two musicians find the right distance. ( Janvier nº 91 ) - Guillaume TARCHE -  IMPROJAZZ

  [Bechegas] has already recorded several CDs, including the impressive solo album Flute Landscapes and the duet album Open Secrets, with Peter Kowald. Each piece is an identity; the guitarist and flutist define structures and textures through a sense of contrast and an impressive effort at coordinating intervals. n° 547  Avril -  2004 Gerard Rouy  - JAZZ MAGAZINE

The seven pieces that make up the present album work, above all, at the level of a sonorous inter-action, which frequently results in a blending of the acute, strident sounds of the guitar with those of the different flutes, sometimes treated electronically. A perfect equality presides over the energetic confrontation between these two protagonists, charging the frequently incandescent atmosphere that lights up musicians and listeners.  Nº 55 Março / 03  Pierre DURR - REVUE & CORRIGÉE

  Two masters of 21st century improvised music suspend most conventions associated with their instruments and the Jazz genre.  Definable chords…  standard song forms, and limited harmonic palettes are successfully flouted in seven spontaneous performances  Fortunately, Messrs. Bailey and Bechegas have not abandoned the notion that form and content are inseparable; The new interval combinations heard throughout the session challenge   the simplistic notion that there is a “correct” scale for every chord.  If anything, these performances prove that for every sound, there are an infinite number of sonic relationships.  This is an excellent recording. ( May )  interactive Magazine – by James D. Armstrong, Jr. JAZZ  NOW

  Portuguese flutist Carlos Bechegas creates an impressive variety of sounds using pitch-to-MIDI controllers on Right Off. This instinct of Bailey's intensifies whenever Bechegas' sound bank turns either lush or whimsical, …  prompting some of Bailey's most agitated playing in the set.…   the sum far exceeds the parts provided by Bechegas and himself on Right Off, resulting in riveting music from beginning to end.01’ Abril '03  Bill Shoemaker  - JAZZ TIMES 

  The flute has a hard time being accepted in free improv circles -- for reasons this reviewer doesn’t fully understand but probably have to do with its heavy classical historical baggage.
Bechegas thrive  to find new state-of-the-art ways to make it fit in, but
in the end..    his acoustic playing remains his best argument.

http://www.allmusic.com / François Couture -
ALL MUSIC GUIDE

We could listen for hours to the exclusive sounds of an electric guitar and the flutist Carlos Bechegas. Having already distinguished himself (on previously released CDs), Bechegas extends his flute playing to a range of intersections, diverging productively from those of Kirk, Dolphy and Newton. Separately or together, these two musicians find the right distance. ( Janvier nº 91 ) - Guillaume TARCHE -  IMPROJAZZ

  [Bechegas] has already recorded several CDs, including the impressive solo album Flute Landscapes and the duet album Open Secrets, with Peter Kowald. Each piece is an identity; the guitarist and flutist define structures and textures through a sense of contrast and an impressive effort at coordinating intervals. n° 547  Avril -  2004 Gerard Rouy  - JAZZ MAGAZINE

The seven pieces that make up the present album work, above all, at the level of a sonorous inter-action, which frequently results in a blending of the acute, strident sounds of the guitar with those of the different flutes, sometimes treated electronically. A perfect equality presides over the energetic confrontation between these two protagonists, charging the frequently incandescent atmosphere that lights up musicians and listeners.  Nº 55 Março / 03  Pierre DURR - REVUE & CORRIGÉE

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Site ALL MUSIC GUIDE   /   site FORWARD.REC    /  site DISTRIBUTOR FMP  

SUMMARY REVIEWS:

  These secrets reveal in 13 parts are a rather astonishing meeting… P.Kowald remain an adventurer  in “ L’Ame “.  REVUE & CORRIGÉE  ( 33 )

  Bechegas has the agility and versatility to activate the bassist’s vast inventiveness, like a mosquito Successfully goading a bull.  WIRE ( 3 )

In Bechegas' hands, various flutes become breeding vessels for an astonishing ecology of sounds. ONE FINAL NOTE ( 2 )

  The Bechegas’s speech, profuse but firmly directs, using of all the techniques.  Power and brilliance, speed and construction conspire so much, so that this first meet ( Carlos / Kowald ), succeeded already, and on the field delectable, seems to engage a fertile future. JAZZ MAGAZINE. ( 29 )

  Some free improv records are inhabited by a magical atmosphere. CD Open Secrets is one of them. ( Bech / Kowald )They were born to play together.  Strongly recommended. ALL MUSIC GUIDE ( 1 )

  Open Secrets CD, an extended dissertation of energy-driven creativity. This is quite an exciting and unusual recording. Bechegas and Kowald converge on the battlefield in perfect synchronization. CADENCE MAGAZINE ( 31 )

  Carlos Bechegas… transforming a genre of dialogue and self–questioning into audience wowing melodrama. A track from this – CD “ Open Screts “ , conveniently divided on 13 short morsels - would sound terrific on the radio Ben Watson -  HI–FI–NEWS ( 25 )

  the listener is carried away in the maëlstrom of their passionate and generous play. GERARD ROUY (4 )

  This  marvelous 13 part suite record, underscore the importance of contrast and dialogue in the improvised art… narratives that is unprecedented in improvised music. ( flute ) singularly vocal approach, and a virtuoso-level knowledge of intervals relationships. JAZZ NOW – USA   ( 30 )  

Its duo with Kowald makes to appear for a magic act, linking’s  between the techniques of these two brilliant Coryphées. . JAZZ LIVE ( 34 )

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Label AUDEO        /   site ALL MUSIC GUIDE

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SUMMARY REVIEWS:

  ( Bechegas ) it was signaled through an astonishing virtuosity,  without futility, in a first Leo album, followed by, a  remarkable  solo record  in " Flute Landscapes JAZZ MAGAZINE.( 28 )

  his originality and virtuosity are just as striking.  slowly establishing himself as a creative force, Flute Landscapes showed all the extent of his talent. … a glossary of the modern flute.    ALL M. GUIDE ( 7 )

It’s difficult to conceive of a more thorough documentation of the flute’s range of sound… Bechegas appears to relish the opportunity to carve new pathways in sonic formation. CADENCE MAGAZINE ( 31 )

this excellent Portuguese musician define again the flute play. …  with an extraordinary unknown amplitude of sounds. This instrument required fresh impulses, Bechegas sets it. Fascinating. ( Flute Landscapes ) a  rarely stretching recital. JAZZ LIVE 34 )

  What strikes is the independence  play of  Bechegas,  between the various techniques.. .. A remarkable musician with an attaching Humor CITIZEN JAZZ (32 )  

  I was surprised and tickled repeatedly by this CD. I would recommend, especially those who don't like flutes.   THE -  IMPROVISER ( 8 )

  A musician of great technical virtuosity in the service of a heightened creativity. …creatively engaged in the struggle against  the physical and material limits of the instrument, he achieves true notability in such pieces as... DIÁRIO  NOTÍCIAS( 11)

  With a multiplicity of effects  Carlos open ups other technical possibilityes. A sort of work  that hasn´t been developed since Dolphy or the Bob  Downes/ Lyn Dobson school. He deserves your listening as he did retain our attention.  Phillipe Renaud   IMPROJAZZ( 26 )

In Bechegas' hands various flutes become breeding vessels for an astonishing ecology of sounds.   Attentive ears are likely to glean a great deal from the stories he has to tell.  ONE FINAL NOTE ( 2 )

Many possibilities …( Bechegas  ) constantly pushing the limits of his art. The listener is quickly sucked into  his  universe, discovering with each cut more and more facets.  Bechegas style truly is his own… open ups other technical possibilities. He deserves your listening. ALL M. GUIDE ( 7 )

Bechegas  knows all the secrets  and how to practice transgression…. So let me pay tribute to… his undeniable love for music in motion. …( Open Secrets )  just different.  Historical, inevitably.  JOSÉ DUARTE ( 5 )

The Carlos Work, surprise, by the abnormal flute speache.  Unforeseen.The CD audition, attest… the experimental work of search and well sucesseful instrumental and compositional innovation.   MANUEL GUIMARÃES ( 15 )

  Bechegas flute solo, in a  astonishing landscapes multiplicity, suggested by intentionally and contrasted short images. One record to discover, listen and absorb with the deserve attention. …already a part of the history of Portuguese music. Luis freixo MINIMAL ( 16 )

  Bechegas is as impressive as Eberhard Blum in his work for Hat hut. He can create a havoc  of bat-notes in one part of is instrument, while puffing low notes on another. (OTL – COMMUNICATION ( 24)

  Flute Landscapes CD  a purely acoustic investigation of extended techniques. Twenty eight  takes,  each with a particular focus.  Bechegas is little known outside of his native Portugal. Hopefully this album will go someway to rectify that.  Gus Garside – RUBBERNECK ( 9 )

  Rarely in our time  the perspective of improvisationalist one of exploration, which increases the importance of this launching.  He uses. . . extensive flute techniques, which allow a flute to be more than a flute; he possesses the laudable virtue of expanding his map of sounds    Rui E. Paes    MONITOR( (14 )  

  «Flute Landscapes» is an exercise towards an open attitude, committed with study and the divulging of improvised music as background... Rogelio Pereira -  MARGEM ( 27 )

  .Bechegas … impressive for the  techniques he developed and uses with enthusiasm and well them...   His CD «Flute Landscapes»   is recommendable to everybody, - José Duarte  –  VISÃO ( 17 )    

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                 site ALL MUSIC GUIDE  /  label LEO.RECORDS - LAB    /   www.leorecords.com/catalog/ll032.html   

SUMMARY REVIEWS:

The two concerts here,  reveal with startling clarity what his acoustic and electro-acoustic environments are capable of creating… the  phenomenal trio. His ability to create sonic terrains  for the group to explore is remarkable The flute playing is marvelous  Given that,  this is such an auspicious debut… ( Thom Jurex-  internet music enciclopaedia expert review  - www.allmusic.com  ALL MUSIC GUIDE ( 21)

  …a rich bank of sounds - the magic flute indeed.. His trio IK*Zs( 3  ) rewrites the rules for real-time playing. CODA ( 18 )

  Clearly interesting features are evident both in the solo work and in the trio Pierre Dur.nº 32, June/ 97 REVUE et CORRIGÉ (20 )

  A very interesting and a pertinant work, by which you can feel conquered or even charmed  an ignored talent recommended to hear. JAZZ NOTES  ( 19 )

  This C.D. is clearly one of the best  ever released by Leo Lab records ( 1997 ).     Particularly interesting is the work developed by the trio.  The solo work reveals great structural concern, turning his pieces into curious sound puzzles.  Rui E. Paes  MONITOR ( 22 ) 

  The Portuguese’s manage to grab our attention. Carlos is a interesting case. There are very promising beginings here.    R.B.D.- BAD ALCHEMY( 10 )

  Two relevant live works which reflect the good moment is at, in the Portuguese improvise music scene. (  Rogélio Pereira MARGEN  (23 )  

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                                                         LIST of the CDs REVIEWS PUBLICATION :  

 

 

CD  8 ( 2005 ) " OPEN VIEW " duo with Peter Kowald

( 80 ) ALL ABOUT  JAZZ--Budd Kopman  http://www.allaboutjazz.com/php/article.php?id=16497

( 81 ) PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton http://www.paristransatlantic.com/magazine/main/home.html

( 82 ) JAZZ NOW by Kenneth Egbert http://www.jazznow.com/0305/0305NSF.html

( 83 ) CADENCE by Troy Collings / pag. 116 e 17 ( April 2005 )

 

CD 7 ( 2005 ) " OPEN DENSITY " trio with A. Goudbeek and P. Jacquemyn

( 70 ) PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton

( 71 ) CADENCE ( April 2005 ) – by Troy Collins

 

CD 6  ( 2004 ) “ OPEN SPEECH “ duo Bechegas / Schlippenbach________

( 60 )  REVUE & CORRIGÉE  ( nº 60 juin 04 ) Pierre DURR

( 61 )  RUI EDUARDO PAES  ( http://rep.no.sapo.pt/entrada.htm )

( 62 )  ONE FINAL NOTE -  UnAMERICAN ACTIVITIES #16

( 63 )  PARIS TRANSANTLANTIC ( web site ) – por Dan Warburton

( 64 )  CADENCE - ( Jan. 2005 ) - Frank Rubolino 

 

  CD 5   ( 2004 ) “ OPEN FRONTIERS “ duo Bechegas / Edelin__________

  ( 41 )  ALL MUSIC GUIDE - François Couture

( 42 ) IMPROJAZZ   (Nº 106  - JUIN – 04 )  Claude Colpaert  

( 43 ) JAZ Z  MAGAZINE ( n° 547  Avril 04   2004. ) Gerard Rouy -

( 44 ) REVUE & CORRIGÉE nº 60 juin 04 – pag 33  por - Pierre DURR.

( 45 )  ALL MUSIC GUIDE MAIO / 04 John Kelman 

(46 )  JAZZ WEEKLY  - Ken Waxman www.jazzword.com

( 47 )   RUI EDUARDO PÃES –   http://rep.no.sapo.pt/entrada.htm 

 

CD 4  ( 2002 ) “ RIGHT OFF “ duo Bechegas / Bailey__________________

( 35 )   IMPROJAZZ ( Janvier nº 91 ) - Guillaume TARCHE   

( 36 )  JAZ Z MAGAZINE (  n° 547  Avril -  2004 )  - Gerard Rouy  -

( 37 )  REVUE & CORRIGÉE  ( nº 55 Março / 03 ) -  Pierre DURR -

( 38 )  JAZZ  NOW ( May )  interactive Magazine – by James D. Armstrong Jr.

( 39 ) JAZZ TIMES  ( 01’ Abril '03 )  Bill Shoemaker  -

( 40 ) ALL MUSIC GUIDE http://www.allmusic.com / François Couture -

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CD 3  ( 2001 ) “ OPEN SECRETS “ duo Bechegas / Kowald__________________

 ( 33 ) – (  REVUE & CORRIGÉE – Pierre Durr – issue  49 / Sept. )

( 1 ) ( ALL MUSIC GUIDEFrançois Couture internet enciclopedia  www.allmusic,com )

( 2 ) ( ONE FINAL NOTE -  review by Derek Taylor /  issue #7-8   summer/fall 2001 )

( 3 ) (  WIRE - byJulian Cowley – issue nº 210 –August  / 01 )

( 4 )  ( GÉRARD ROUY / french “ Jazz Magazine “ journalist- in “ Open Secrets” CD booklet -April 2001

(5 ) ( JOSÉ DUARTE - jornalist, radio and T.V. progr.  producer –in“ Open Secrets “ CD booklet - 2001 )

( 30 ) JAZZ NOW – USA  ( CD 3 )  by James D. Armstrong, Jr.

( 29 ) JAZZ MAGAZINE -  L. Renou (  Nº 529 Septemb / o2 )

( 31 ) CADENCE MAGAZINE – USA ( Frank Rubolino – vol 28 nº 6 june 2002 )

( 34 ) JAZZ LIVE - (  site )  Han Schweiger

 

CD- 2 (1998 ) solo  “ FLUTE  LANDSCAPES  “ audEo- 0298:_____________

( 6 ) GERARD ROUY -  Jazz Magazine journalist – in Open Secrets “ CD booklet text – 2001 )

( 7 )  ALL MUSIC GUIDE  internet enciclopédia  - www.allmusic com-– by François Couture )

( 8 )  THE – IMPROVISER (  by - Jeph Jerman  internet sitewww.the –improviser.com )

( 9 )  RUBBERNECK – by  Gus Garside  http://www.btinternet.com/~rubberneck/cdlist7.html  )

( 11)   DIÁRIO  NOTICIAS – Portug. – M. J. Veloso / journalist - in news-paper  29 / 1 / 2000     )

( 12 )  JOSÉ DUARTE / journalist, radio and TV programme. producer – in “ Capital “ news-p, )

( 13 )   BAD ALCHEMY – Rigo Dittmann )

(14)    MONITOR – Portug.-  Rui E. Paes / journalist and musicologue. Issue nº 51   )

(15 ) MANUEL GUIMARÃES /  Porto Jazz Fest. Artistic Director – in “ Flute Landscapes “ CD booklet )

(16 )    MINIMAL – Portug. Luis freixo / editor da label audEo – in issue nº 18 )

(17)-    VISÃO  - Portug. José Duarte, issue: 99/09/30       )                

( 32 )   CITIZEN JAZZ- Charles de Saint Andre ( http://www.citizenjazz.com/ebn.asp?pid=54&id_cd=181 )

( 28 ) JAZZ LIVE (  site )  Han Schweiger (  Nº 133 / 01)

( 27 )  MARGEM Rogelio Pereira, 99/summer -)

( 26 )  IMPROJAZZ -  P. Renaud  issue nº 30 

 ( 25 ) HI–FI–NEWS -  ( Ben Watson,   issue  99/Outubro -  )

( 24 ) OTL – COMMUNICATION - Oct. / 99

 

CD – 1 ( 1997 ) “ CARLOS BECHEGAS Projects “Leo lab – 032: ___________

 ( 18 )  CODAR. Macilroy

( 19 ) JAZZ NOTES.  

( 22 )    MONITOR – Portug. /  Rui E. Paes  critic and musicologue -  in  from AnAnAnA label – nº 36 Aug.

 ( 23 )   MARGEN Spanish magazine Rogélio Pereira

( 21 )– ALL MUSIC GUIDE -  Thom Jurex-  internet music enciclopaedia expert review  - www.allmusic.com 

( 20 ) REVUE et CORRIGÉE - Pierre Dur. nº 32, June / 97

( 10 )  BAD ALCHEMY - R.B.D. n 9, April / 99

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