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E-MAIL
# R.Gomes Freire, nº 3, 5º dto, Lisboa. PORTUGAL
# ph.00.351.21.353100
#
"BECHEGAS"HOME-PAGE
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_______________________LAST RELEASES ( December 2006 ) |
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" OPEN TEXTURES " forward.rec 06
Carlos" BECHEGAS " flutes
/ effects
Barry GUY - double bass
6. takes - total time 61'.12'' -
LIVE RECORDING
Sept.20th / 2005
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" OPEN BETWEEN " forward.rec 07
Carlos " BECHEGAS " flutes
Reuben RADDING- double bass
9 takes - total time 57' 05''
STUDIO RECORDING August / 2005
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“
Open View“ -
2005
forward.rec # 005
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“ Open
Density “ 2005
forward.rec # 004
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“ Open Speech “ - 2004
forward.rec # 003
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“ Open
Frontiers “ - 2004
forward.rec # 002
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“ Open Secrets
“ - 2001
forward.rec # 001
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Other C. Bechegas CDs,
for distribution:
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--------------------------------------
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 Speech
“ forward.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
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“ I
commemorate this CD to P. Kowald – a master musician and a great
spirit “
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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
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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 )
TOP
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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.
### Ken Waxman ONE FINAL NOTE
UnAMERICAN ACTIVITIES #16 27
September 2004 ( 62 )
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.
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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
TOP |
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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
TOP
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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 )
TOP
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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 )
TOP
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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 )
TOP
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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
27
September 2004
( 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
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( 2001 ) “ OPEN SECRETS “ duo Bechegas / Kowald__________________
( 33 ) – (
REVUE & CORRIGÉE – Pierre Durr – issue 49
/ Sept. )
(
1 )
( ALL MUSIC GUIDE – François
Couture internet enciclopedia www.allmusic,com
)
( 2 ) ( ONE FINAL NOTE - review
by Derek Taylor / issue #7-8
summer/fall 2001 )
(
3 ) ( WIRE - by
– Julian 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 site – www.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 )
CODA – R. 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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