DESCRIPTION:
Tarika Tao (full album) 1998

1.- Inconmovible 00:00
soprano saxophone-bass clarinet

2.- Inaprensible 10:30
flute-alto clarinet

3.- Materia prima 18:38
alto saxophone-alto clarinet

4.- Ritual 30:25
alto saxophone-bass clarinet

5.- Ni existente ni inexistente 38:54
soprano saxophone

6.- Esencia 45:37
soprano saxophone-contralto clarinet

7.- Incomprensible 50:00
alto saxophone


Marcos Miranda:
Clarinete alto (2,3), clarinete bajo (1 y 4) clarinete contraalto (6) saxofón soprano (5)

Remi Alvarez:
Saxofon soprano (1 y 6)
Saxofon alto en (3, 4 y 7)
Flauta (2)


Hacer free jazz requiere de músicos despojados de ataduras, pero también exige de escuchas dispuestos a compartir la aventura Tarika-Tao, disco que cierra el primer ciclo de cuatro duetos iniciado por Marcos Miranda con Sama, marca su encuentro con Remi Alvarez en una sesión que es provocación pura y un llamado a tornarse cómplices de un vuelo sin redes protectoras.


Marcos Miranda is an impressive Mexican multi-instrumentalist who crosses many boundaries in promoting his creative craft. These four recordings feature him in a variety of musical contexts. On (1), he takes a totally improvised route in duet with fellow reed player Remi Alvarez. The two frequently line up on opposite sides of the sonic spectrum, where Miranda spews out a swirling to rrent of low-pitched spontaneity w hile Alvarez interlaces sharply barbed high-end notes. They engage in an intimate unstructured conversation using a complex improvised language of quick blasts and lengthier phrases sewn together in overlapping.
layers totally intelligible to an open ear. One musician feeds off the output of the other, allowing them to juxtapose and then branch off into complementary but diverse directions without losing the cohesiveness that identifies their meeting.
The mixture of a plethora of woodwinds gives each encounter a different consistency, typically pitting Miranda's several versions of clarinet against Alvarez's flute, alto or soprano saxophone. Alvarez becomes an advanced foil for Miranda on "Inaprensible." He negotiates his flute into strange regions using unique breath textures and overblowing to urge Miranda into a zone of primal screaming on alto clarinet. "Materia Prima," in contrast, takes a more subdued route of alto sax/alto clarinet competition to arrive at a similar unstructured haven. Two of the cuts are solo endeavors; Miranda takes a forceful stance on soprano sax as he pushes the instrument to its limitations with guttural grunts or high-pitched squeals, while Alvarez explores virgin territory on alto sax on his extended solo opportunity. Still, the beauty of the recording remains with the challenging dual interaction emanating so flawlessly from these two free spirits.

Frank Rubolino,Cadence NY. Julio del 2006.