Tania Giannouli & Paulo Chagas

          

Collaboration with the portuguese wind instrumentalist and composer Paulo Chagas. A mixture of neo-impressionism and some contemporary european jazz, balancing elements of modal composition and free improvisation.

 

Their first album "Forest Stories" is now released by Rattle label.

 

forest stories.soundcloud

  

 

Video for the track "In the deepest night" by Guillaume Baychelier:

 

 

 

You can get "Forest Stories" in all big digital stores (i-tunes, amazon, spotify etc) 

You can get the  physical here:

 

I was lucky enough to live near a forest for a few short periods in my life. Some of the music on this album was inspired by those times: the light, the reflections, the colors, the scents, the moods, the skies - moments that were absorbed then, but that continue to exist even though I am not in that place and time anymore. But what do we really know about Time? I often have the feeling that Time isn't expanding in a linear manner, but that its following its own journey in different directions and dimensions. I believe that trees have a better understanding of Time, and indeed of life itself, than we humans do. They are old, wise and strong, and they know so much about the seasons, about changing yet being the same, about the sun always coming out and shining after a terrible storm, about spring always following winter, about the cycles of birth and death, and that every step is a beginning and an end… and then a new beginning. If we listen to the forest, we may realize that our own microcosmos - our troubles, fears and pain - is but a small part of a far greater Reality… and it is not forever. In the forest, we sense what it means to find our way "home", to trust the life within, and to be nothing more or less than ourselves. 


Tania Giannouli, 2012



music is a place for encounters 
a special and unique place 
where ideas and feelings come together 
by unfathomable means

a conjugation of sounds 
an abstract and absolute 
procedure 
that makes it magic

the power of music resides above all in its 
simple 
natural 
aggregating capability

the canopy of music brings together people from the most distant places 
… 
as if they had gathered in a forest for the telling of stories 


Paulo Chagas, 2012



INTERVIEWS: 

 

Interview to Thanos Mantzanas (Avgi newspapaper). Read it here (greek)

Interview to Vangelis Poulios (Avopolis). Read it here (greek)

Interview to Haris Symvoulidis (Ihos-Eikona magazine). Read it here (greek)

Interview to www.jazz.pt. Read it here (portuguese) and here (english)

 

 

SPECIAL DISTINCIONS:

 

"Forest Stories" CD included in the best 25 best greek albums of 2013 according to the reviewer/radio producer Antonis Fragos in MusicPaper. Read the article here

"Forest Stories" CD included in the best of 2013 according to the reviewer/radio producer/blogger Theodoros Exintaris. Read the article here

"Forest Stories" CD included in the "Best  Greek Albums of 2013" according to Avopolis. Read the article here

"Forest Stories" CD included in the "Best of 2013" according to Avant Music News. Reat the article here

"Forest Stories" in 2013's best releases (greek artists) according to Athens Voice (Makis Milatos). Read the article here

"Forest Stories" in 2013's best releases (greek albums) accordins to Giannis Plochoras (Mic). Read the article here

 


REVIEWS:

 

 

 

 Review/distiction from Giannis Plochoras in Mic: http://www.mic.gr/team.asp?id=42074 

 

Δυο ταλαντούχοι μουσικοί, μια ελληνίδα πιανίστρια κι ένας πορτογάλος πνευστός φτιάχνουν έναν άμεσο ιδιοσυγκρασιακό δίσκο πυκνής ιδιότυπης ιμπρεσιονιστικής ατμόσφαιρας, ικανής να μου σηκώνει την τρίχα κάθε φορά που τον ακούω.


Γιάννης Πλόχωρας, Μic, Ιανουάριος 2014


Two talented musicians, a Greek pianist and a  Portuguese wind-player make a direct idiosyncratic album of dense impressionistic atmosphere, which is able to make me shiver every time I listen to it.



Giannis Plochoras, Mic, January 2014







 

Review by Fontas Troussas in Vinylmine (Diskoryxeion): http://diskoryxeion.blogspot.gr/2014/01/blog-post_22.html 

 

Το “Forest Stories” [Rattle, 2012] είναι ένα άλμπουμ για… ακρόαση. Εννοώ πως ηρεμείς, αναπαύεσαι, ακούς και ονειρεύεσαι, ή εν πάση περιπτώσει «φεύγεις». Φτιαγμένο από την ελληνίδα πιανίστα Τάνια Γιαννούλη και τον πορτογάλο χειριστή των πνευστών Paulo Chagas, το “Forest Stories” βρήκε στέγη σε μιαν εταιρεία της Νέας Ζηλανδίας(!), στην οποίαν ηχογραφεί κι ένας άλλος Έλληνας (γνωστός σε κάποιους στην πατρίδα), ο Γιάννης Ψαθάς (John Psathas)· όμως αυτός ζει και εργάζεται εκεί, δεν μένει στην Αθήνα ή την Λισσαβώνα.
Το εν λόγω CD, το οποίον επιγράφεται από τους δύο μουσικούς ως… improvised music for piano and wind instruments, είναι, επίσης, ένα άλμπουμ «κλίματος». Δεν γνωρίζω αν είναι… κλίματοςECM (όπως μετά από μια πρώτη ακρόαση ομολογείται), είναι όμως ολοφάνερα τα αργά tempi, οι λιτές μελωδικές γραμμές, η σαφήνεια και απλότητα της αφήγησης, που το χαρακτηρίζουν σε όλη του την έκταση. Όλα τούτα, δε, αφορούν (και είναι έτσι – το επιβεβαιώνει η ίδια η Γιαννούλη στο ένθετο) σε μιαν αναπαράσταση, ή μάλλον καλύτερα σε μιαν ηχητική αντιστοίχιση των ήχων του δάσους, αλλά κυρίως των αισθημάτων που δημιουργούνται σ’ έναν επισκέπτη του, και τα οποία (αισθήματα) ταυτίζονται υποθέτω με την ανάγκη για μια ουσιώδη και φυσική επικοινωνία. Έτσι, ουσιωδώς και φυσικώ τω τρόπω, συνυπάρχουν στο “Forest Stories” οι δύο μουσικοί, αυτοσχεδιάζοντας στο πιάνο και τα (ποικίλα) πνευστά, δημιουργώντας ιδιότυπα και, ενίοτε, υποβλητικά περιβάλλοντα. Οι μουσικές, με άλλα λόγια, παρότι αυτοσχεδιαστικές, δεν χάνουν το ευρύτερο επικοινωνιακό τους χάρισμα, αφού οι δύο οργανοπαίκτες αναζητούν στην προσέγγισή τους όλα εκείνα τα στοιχεία, που θα καταστήσουν τους ήχους τους «κοινό σημείο». Με το πιάνο να μελωδεί, όταν δεν δημιουργεί απλά ρυθμικά υπόβαθρα και με τα πνευστά (ιδίως το φλάουτο) να συμμετέχουν σε μία πνευματική-παγανιστική γιορτή, το “ForestStories” είναι ένα άλμπουμ «περιβαλλοντικής μουσικής», ένα σενάριο ηχητικού πρωτογονισμού που εμμένει στο πηγαίο και το ουσιώδες.

 
Φώντας Τρούσας, Δισκορυχείον, Ιανουάριος 2014




 

Review by Sergio Piccirilli in El Intruso (http://elintruso.com/2013/11/22/tania-giannouli-paulo-chagas-forest-stories/):

 

"Some cross the forest and see only firewood" (Leo Tolstoy)

Dictionaries define the forest as a "wooded site and bushes." In exchange for naturalists it is much more complex, since it is an ecosystem whose predominant vegetation are trees, where the community of living beings who inhabit it-both animal and plant-related and develop together. All members of the forest community, from microorganisms to large oaks and redwoods, play significant processes in the cycle of life, death and renewal that characterizes the perpetual recycling of their life structure.
In the popular imagination, forests are surrounded with an aura of mystery and fantasy. Perhaps for this reason, its endless folds of life, colors and sounds, always hid secret or gave way to stories and fascinating stories.

Forests also have generated throughout history outbreaks of creative inspiration in various art disciplines. Poetry watered in that source to give life to Hunter in the forest of Pablo Neruda and Forest Friend of Paul Valéry, the painting was nurtured by his magic and gave us such works as Naked in the forest of Pablo Picasso, Beech Forests of Gustav Klimt and Wald (Forest) by Gerhard Richter, while the auteur was no stranger to arouse fascination and referred to them in the films The Forest of birches Andrzej Wajda and Rashomon (The bloody forest) of Akira Kurosawa. The literature did not escape the charm and crystallized in novels such as The King of the Forest of Pierre Michon or The Woodlanders by Thomas Hardy, and classical music, meanwhile, also surrendered their spells through the waltz Tales the Vienna Woods, Op 325 Johann Strauss, the oratorio The Song of the Forests, Op 8, Dmitri Shostakovich and orchestral ballad The wood nymph, Op 15, Jean Sibelius, among other examples.
Forests have inspired myths and legends that lodge in the ancestral human need to count and transmit their observations, experiences, memories and impressions through stories-without resorting to real-narrate events end up being carriers of thought and collective sense of his time.

In a context where the forest as a source of inspiration, the reunion with nature, the music of our time and the urgent need to harmonize artist merge their inner world with what Carl Jung called the collective unconscious gave emerges the remarkable Portuguese music multi-instrumentalist Paulo Chagas and Greek pianist Tania Giannouli entitled Forest Stories ("Tales of the forest").
The work by the duo concocted here officiates as an imaginary journey, open to multiple associations, through the dim and magical forest landscape, in which fascinating tour will naturally connect free improvisation, jazz, contemporary classical music and exploratory distinguishes the music of the new millennium to bring to life an aesthetic argument that combines the idea of art with a timeless sense of beauty and contrasts: abstraction and reality, sound and silence, the spiritual and the corporeal.

The triumphant result obtained by Tania Giannouli and Paulo Chagas Forest Stories have a cardinal importance, knowledge and experience gained by the authors in their respective careers.
The young pianist, composer and multimedia artist Tania Giannouli credited a strong academic background includes graduation with honors in piano study advanced theory and composition obtained in the Athenaeum Conservatory and Conservatory Orfeion city of Athens. In her career she has expressed prone to the development of interdisciplinary projects combining music, text and visual art, also composed for theater, film and video and concert music has been performed by Dissnart Ensemble, the Athens Youth Orchestra and Galaxy String Quartet. However, the center of her aesthetic interests is on the field of improvised music Giannouli is founder of electro-acoustic ensemble 4 +1 (with whom he released the album Live at Sfendoni in 2010) and the Scheme Ensemble. She leads together with the electronic music composer Tomas Weiss the Emotone project and she is involved in a large-scale collaboration in partnership with prominent Greek writer Evgenios Aranitsis.

The artistic work of Paulo Chagas is all but incomprehensible. This composer, multi-instrumentalist (running electronics and an array of woodwind instruments), writer, teacher and academic (has degrees in Special Education and Teaching Music Education Musicians-therapy) and music promoter, today occupies a role privilege at the scene of the Portuguese improvised music. Among the highlights of his extensive record production are the albums Mispel Bellyfull 2004 (trio with Vasco Patrício and Fred Lessing), Crag Miosotis group in 2007, Contagius Insanities with PREC in 2009 and collectanea 2010 with the assembly MIA , Quartet Session No. 1 of 2011 (quartet with João Pedro Viegas, Fernando Simões and Miguel Mira), Plebiscitu The Limbo Ensemble in 2011, Late Winter / Early Spring 2011 in partnership with Bruno Duplant and David Sait, Little Concert in the the Garden (with Matthias Boss and Maresuke Okamoto) in 2012, Old School New School No School Curing Chagas prestigious Viegas Ablaze Wind Trio and the Zpoluras Big Band (both also 2012) and Songs from the Books of Paulo Chagas Creative Ensemble , 2013.
The knowledge accumulated by Tania Giannouli and Paulo Chagas and their aesthetic aspirations, are pooled exquisitely on the album that gives rise to this comment: Forest Stories.

Opening with "Step by Step", will link gradual process of change with a deliberate lack of climax and crisis through a near-classical ideal of simplicity-very interpretive exercise where Paulo Chagas bass clarinet and piano Tania Giannouli avoid the overflowing of emotions and bombastic moods to favor subtle and evanescent gestures.

"Afternoon Forest Valse", even intimate character maintains what identifies the Aesthetic duo, evolves through a foggy territory in which the spell-Giannouli piano and soprano sax Chagas - altered strategic silences, short solo passages with a commendable taste and a sense of spatiality visibly associated with Abstract Expressionism.

"This Beautiful Hard Way" showcases an introspective and elusive beauty. The piece juxtaposes restraint and musicality ornaments with elegance in phrasing and smoothness in the attacks of Tania Giannouli's piano and the sweet sounds with slight dissonances taught flute of Paulo Chagas.

Then, the languid tones ensue - with more emphasis on chromaticism in the structurally complex and abstract profiles in "Is This Forever", transparent and incorporeal contemplative landscape of "Instead of Clouds" and sustained climax that emerges from the epicenter of the mysterious sound? "Spring's Chronic". At the far end, flowing "In the Deepest Night" and slow movements of the elegiac "The Way Back Home" is happening.

Tania Giannouli and Paulo Chagas show that "Forest stories" continue to cause fascination when they are told with talent and suitability.

"Occasionally it is worth to go off the road and plunge into a forest. You will find things I had never seen" (Alexander Graham Bell)


Sergio Piccirilli - el intruso, Buenos Aires, Argentina, November 2013





 

Review from Stef Gijssles in Free Jazz blog (http://www.freejazzblog.org/2013/10/tania-giannouli-paulo-chagas-forest.html?spref=fb):

 

The label recommends to file this album under "new music", yet it's hard to pigeon-hole the overall sound.

The duo are pianist Tania Giannouli and wind instrumentalist Paulo Chagas, both classically trained. Some tracks have composed elements in them, whether melody, harmonic development or structure, other pieces are clearly improvised, and the genre is pretty eclectic overall, with aspects of ECM jazz, impressionism, new age and free improvisation.

But there is no reason to be scared: the duo keeps on the right side of good taste, with sounds that enter the ear quite easily - at least for lovers of free improv - but also with character and contemplative authenticity.

The eight pieces are extremely coherent and fit well together, full of careful and cautious sensitivity, measured pace, with a sense of wonder and surprise, yet all tracks are also different, not only because Chagas switches his instruments constantly -  oboe, wood flute, soprano sax, flute - but because of the changes in nature between the tracks, and because of the sudden shifts within some tracks, with the long "Spring's Chronic" being my favorite, a track which puts the listener often on the wrong foot, by doing the opposite of what is expected. Giannouli is a master of subtle touches, preferring to use less notes rather than more, just the right amount to set a scene, to create an atmosphere, to add tension and depth, sometimes alternated with a chord for emphasis and effect.

Yet the best thing on the album is the interaction between both artists, and the incredibly strong joint creation of an overall sound.

"In The Deepest Night" is the only track to be found on Youtube, and although it clearly demonstrates the mood of the album, its "new agey" sound is not typical for the rest of the music.

In any case, this is a beautiful album, to be played when in a more meditative mood, somewhere on a dark night during autumn.


Free Jazz blog, October 2013




 

Review at http://thodorosexintaris.blogspot.gr by Thodoros Exintaris. English translation follows.

 

Επιστροφή στην ελληνική δισκογραφική πραγματικότητα. Μια δισκογραφική πραγματικότητα η οποία σε πείσμα των καιρών ανθίζει , πολλαπλασιάζεται και δίνει εξαιρετικούς καρπούς!


Ο Σεπτέμβρης βρίσκει τις κυκλοφορίες νέων ψηφιακών δίσκων σε ακμή και τις κυκλοφορίες των αναλογικών δίσκων σε ακόμα μεγαλύτερη ακμή, περιλαμβάνοντας στην λέξη “κυκλοφορίες”  τόσο νέες  δουλειές όσο και παλαιότερες σε νέες εκδόσεις.Πριν ξεκινήσουμε με τις κυκλοφορίες του μήνα όμως θέλω να αναφερθώ σε έναν δίσκο που άκουσα αρκετά την άνοιξη και το καλοκαίρι που μας πέρασε. Έχοντας ακούσει τις προηγούμενες ηχογραφήσεις της ήμουν ήδη θετικά προδιατεθειμένος. Ένα χαρακτηριστικό που έχουν πολλοί πιανίστες είναι η αδυναμία τους να σηκώνουν πότε-πότε τα χέρια τους από τα πλήκτρα: τα κρατούν πάντα κάτω, με την τάση να παίζουν συνέχεια, γεμίζοντας –θεωρούν – τα κομμάτια, στην πραγματικότητα όμως υπερβάλλουν στα στολίδια και τα γεμίσματα και το αποτέλεσμα είναι πιο… μπαρόκ απ’ότι θα έπρεπε. Η Τάνια Γιαννούλη δεν ανήκει σε αυτήν την ομάδα. Οι νότες της, πέρα από ακριβείς στο χρόνο και πολύ ταιριαστές στην αρμονία, είναι και πολύ προσεκτικά επιλεγμένες ώστε να αφήνουν τα κομμάτια να “αναπνέουν”. Οι συνεργασίες της με τον Spyweirdos , έναν πολύ αξιόλογο μουσικό (και όχι μόνο), και οι μουσικές των "4+1" αποδεικνύουν τις ικανότητές της. Ο συγκεκριμένος δίσκος επίσης.


Στο «Forest Stories» συνεργάζεται με τον γεννημένο στην Πορτογαλία PauloChagas. Ο ίδιος περιγράφει τον εαυτό του ως πειραματιστή ο οποίος έχει αφιερώσει τη ζωή του στην εύρεση νέων συνδέσμων (ή στην ανανέωσή τους) μεταξύ των ήχων που εξερευνά. Παίζει μεγάλο αριθμό οργάνων και στον συγκεκριμένο δίσκο παίζει πνευστά. Περισσότερα μπορείτε να διαβάσετε και να ακούσετε στο http://paulochagas.weebly.com/ 

 

Το «Forest Stories» είναι ένας δίσκος στον οποίο κυριαρχεί ο αυτοσχεδιασμός. Το πιάνο της Τάνιας Γιαννούλη δίνει το κατάλληλο υπόβαθρο για την δημιουργία μιας ατμόσφαιρας ηρεμίας και στοχασμού και τα πνευστά του Paulo Chagas δημιουργούν, στην χαλαρότητα του συνόλου, μια συγκροτημένη σύζευξη εικόνων. Οι νότες του Paulo Chagas και ο τρόπος που τις ερμηνεύει θυμίζουν πουλιά που πετούν από κλαρί σε κλαρί επάνω στα δέντρα τη μορφή των οποίων ορίζει άριστα το πιάνο.

Κομμάτια πολύ ελεύθερα, άλλα πιο μελωδικά και συγκεκριμένα ενώ σε άλλα ο αυτοσχεδιασμός και οι φράσεις συνυπάρχουν. Η αυτοσχεδιαστική ποιότητα και το δέσιμο των μελωδιών που προκύπτουν είναι έκδηλα. Το βασικό, ωστόσο, χαρακτηριστικό του δίσκου είναι μια εντυπωσιακή εικονοπλασία από την αρχή ως το τέλος η οποία δικαιολογεί απολύτως τον τίτλο του δίσκου. Η Τάνια Γιαννούλη έζησε, όπως λέει η ίδια, δίπλα σε δάση σε διάφορες περιόδους και μέρος της μουσικής  του δίσκου υπήρξε αποτέλεσμα έμπνευσης από την αίσθηση και τα αισθήματα της αλληλεπίδρασης με αυτά και τις μνήμες που αφήνουν.

 

Η μουσική του δίσκου είχε την τύχη να συνοδεύεται από αντίστοιχης αισθητικής φωτογραφίες και σχεδιασμό ώστε το σύνολο να είναι μια ολικά άρτια δουλειά από την Rattle, με έδρα τη Νέα Ζηλανδία.

 

Περισσότερα για την Τάνια Γιαννούλη στο: www.tania-giannouli.com

 


Θόδωρος Εξηντάρης (απο το μουσικό οστολόγιο του Θόδωρου Εξηντάρη), Σεπτέμβριος 2013



 




 

Return to the Greek discographic reality. A discographic reality that in spite of times, it blooms, multiplies and gives extraordinary fruits.

September finds the releases of new digital albums in prosperity and the analog album releases in even bigger prosperity, including new but also older editions.

Before we start with the releases of the month I would like to talk about an album I listened a lot in the last spring and summer. Having already listened to her past recordings I was already positively predisposed. One of the most common pianists’ characteristics is their inability to raise, once in a while, their hands from the piano keys: They always keep it down, with a tendency to play all the time, filling-they think- the pieces, but actually exaggerating on the ornaments so the result is more...baroque than it should be. Tania Giannouli does not belong to this group of pianists. Her notes are, apart from accurate in time and very matched in harmony, very carefully chosen so that they allow the pieces to "breathe". Her collaborations with Spyweirdos, a remarkable musician (and not only) and her music with "4+1" proves her skills. So does this album.

In "Forest Stories" she collaborates with the Portuguese-born Paulo Chagas. He describes himself as an experimenter who has dedicated his life in finding (or re-inventing) new links between the sounds he explores. He plays a large number of instruments and in this album he plays the winds. You can see and listen more about him at: http://paulochagas.weebly.com/

"Forest Stories" is an album in which improvisation dominates. Tania Giannouli's piano gives the necessary background to create an atmosphere of calmness and reflection and Paulo Chaga's winds and the way he interprets resembles of birds flying from branch to branch on the trees, whose 's forms are excellent provided by the piano.

Pieces with much freedom, some more melodic and concrete, in some other improvisation and music phrases coexist. The improvisational quality and the knotting of the resulting melodies are evident. The main, though, characteristic of the album is a striking imagery, from the beginning till the end, which fully justifies the title of the album. Tania Giannouli has lived, as she says, close to a forest for some time and part of the music of this cd has been a result of inspiration from the feeling and the emotions of interaction with them and the memories that they leave.

The music of the album had the luck to be accompanied by photos and design of similar aesthetic so that the result is a totally perfect artwork from Rattle label, based in New Zealand.

More about Tania Giannouli at: www.tania-giannouli.com


Thodoros Exintaris, September 2013, Music blog of Thodoros Exintaris




Review at www.jazz.pt by Rui Eduardo Paes. English translation follows.

 

Vá-se lá saber porquê (ou sabe-se, mas a explicação não satisfaz), identificam-se as abordagens “vanguardistas” (com aspas, porque o que é isso realmente de “vanguarda” nos dias que correm?) do jazz e da improvisação com práticas musicais em que imperam uma extrema intensidade e um exibicionismo técnico e expressivo que roça a histeria. Ora, nesta parceria entre a pianista grega Tania Giannouli e o soprador português Paulo Chagas, que do seu costumeiro arsenal de instrumentos de palheta só deixou de lado o oboé, passa-se precisamente o oposto: a música é contemplativa.

Sem que tal signifique um alinhamento nas fileiras do reducionismo e do “near silence”, a dupla rege-se neste “Forest Stories” por duas premissas cruzadas: tocar o mínimo de notas possível e não contrariar demasiado o silêncio. Há algumas passagens mais energizadas, mas regra geral o passo é suave e, até, de uma leveza que chega a surpreender. Não propriamente mole ou destituído de força, antes focando-se em pequenos elementos: a construção de um subtilíssimo painel de cores ou o gradual estabelecimento de um esbatido, mas complexo, estado de espírito. Muito bom.


Rui Eduardo Paes, August 2013, www.jazz.pt


"One wonders why (or knows, but the explanation does not satisfy), the "avant-gard" -- between quote marks, once what exactly is avant-garde nowadays? -- and improvisational jazz are identified with extreme intensity and a technical and expressive, almost hysterical, exhibitionism. In this partnership between the Greek pianist Tania Giannouli and the Portuguese wind instrument player Paulo Chagas, who left the oboe aside of his usual arsenal of instruments, the impression is exactly the opposite: the music is contemplative. 

Without getting aligned with the rows of reductionism and to the "near silence", the duo conducts in this "Forest Stories" two crossed premises: play the least amount of notes possible and not contradict silence too much. There are rather energised moments, but the pace is soft and surprisingly light/delicate. Not properly limp or lacking strength, but focusing in small elements: the construction of a very subtle colours panel, or the gradual establishment of a dimmed but complex state of spirit. Very Good"


Rui Eduardo Paes, August 2013, www.jazz.pt

 



Review at Jazz & Tzaz magazine (issue July/August) by Kornilios Diamantopoulos (greek). English translation follows.

 

Ας ξεκινήσουμε κάνοντας τις συστάσεις.Η Τάνια Γιαννούλη σπούδασε πιάνο,  και ανώτερα θεωρητικά το Ωδείο Αθηνών. Έχει ιδιαιτέρως ασχοληθεί με την μουσική για το θέατρο, την mixed-media music, την σύνθεση για videos και film, όπως και για κάθε Τέχνη που περιλαμβάνει συνδυασμούς ήχου-λόγου-εικόνας. Ειδικότερα οι σκηνικές δημιουργίες της έχουν λάβει μέρος σε πολλά φεστιβάλ σε όλο τον κόσμο. Στην τέχνη της σημαντικό ρόλο έχει ο αυτοσχεδιασμός. Πολλά έργα της έχουν παρουσιάσει τα σύνολα DissonArt Ensemble και  Athens Youth Orchestra, όπως και τα "4+1" Schema Ensemble των οποίων είναι ιδρυτικό μέλος. Η δισκογραφία της περιλαμβάνει 5 κυκλοφορίες (δες www.tania-giannouli.com) ενώ άξια αναφοράς είναι η συνεργασία της με τον Ευγένιο Αρανίτση και τον συνθέτη ηλεκτρονικής μουσικής Tomas Weiss.

Ο γεννημένος στην Πορτογαλία Paulo Chagas είναι συνθέτης, αυτοσχεδιαστής και στον προτεινόμενο δίσκο, μουσικός πνευστών. Είναι ένας συνειδητός ηλεκτρικός μουσικός, αφοσιωμένος στον πειραματισμό. Έχει τάξει την ζωή και την καριέρα του στην έρευνα νέων λύσεων και διασυνδέσεων μεταξύ των ήχων και των εξερευνήσεων του. Έχει το υπόβαθρο μιας κλασικής παιδείας, είναι επίσης συγγραφέας και έχει συμμετάσχει σε μικρά και σε μεγάλα σύνολα. 'Εχει δραστηριοποιηθεί στα Zpoluras Archives (δες www.paulochagas.weebly.com) κι έχει μελετήσει σύνθεση, ακουστική και μουσική ιστορία. Στην πορεία του έχει παίξει απο folk, rock, pop μέχρι jazz, fusion, classical κ.α., όμως εκείνο που τον χαρακτηρίζει είναι οι επιδόσεις του στον αυτοσχεδιασμό.

 Η ακρόαση των "Forest Stories" είναι ενα καλειδοσκόπιο απο ατμοσφαιρικές καταστάσεις και εικόνες, μαγικές εως αισθησιακές! Ακούσματα στυλιστικώς ακατάτακτα, αλλά με την ιδιαίτερη, συχνά παράξενη γοητεία τους. Δυνατά σημεία η αρμονική, λιτή αίσθηση των πλήκτρων, η μικροτονική και μουλτιφωνική ροή των πνευστών, το ευρύτερο ηχοχρωματικό ψάξιμο και η αρκετά προσωπική αντίληψη του όλου εγχειρήματος. Η σχέση ήχου-τίτλου δεν είναι συμπτωματική. Η Γιαννούλη έχει ζήσει ένα κομμάτι της ζωής της σε ένα σπίτι δίπλα σε δάσος και, όπως παραδέχεται, αυτό αποτέλεσε μέρος της έμπνευσης. Χρώματα, φώτα, αντανακλάσεις, συναισθήματα...Όλα έχουν σχέση με το πώς νοιώθει κάποιος σε δάσος, όσο και με το πώς νοιώθει ακούγοντας τις ηχογραφήσεις. Εντυπωσιακό το ότι κανείς απο τους δύο μουσικούς δεν προσπαθεί να "δεξιοτεχνίσει", αλλά αμφότεροι εικονοποιούν την όψη και το πίσω της όψης μιας σειράς φανταστικών τοπίων. Με σύγχρονη, ασύμβατη, αυθεντική διατύπωση, άλλοτε λυρικά κι άλλοτε αιχμηρά, περιγράφουν ή σχολιάζουν χιλιάδες αποχρώσεις του καφέ και του πράσινου…Το απόσταγμα αυτού του κόσμου, υπέροχα το περιγράφει η Τ.Γ. στο φυλλάδιο: "Πιστεύω οτι τα δέντρα έχουν μια καλύερη κατανόηση του Χρόνου, ακόμη κι αυτής της ίδιας της ζωής. Καλύτερη κατανόηση απο τους ανθρώπους. Είναι παλαιά. Σοφά, δυνατά και ξέρουν τόσα πολλά για τις εποχές…Αν ακούσουμε το δάσος ίσως ν'αναγνωρίσουμε οτι ο μικρόκοσμός μας, τα προβλήματα, οι φόβοι, ο πόνος, δεν είναι παρά ένα μικρό κομματάκι απο μια πολύ μεγαλύτερη Πραγματικότητα". 
Συνιστούμε την ακρόαση κατά μόνας, με κλειστά μάτια ή στο σκοτάδι. Οι σιλουέτες των κορμών και η υγρασία των φύλλων, γρήγορα θα γεμίσουν το δωμάτιο...


Κορνήλιος Διαμαντόπουλος, Ιούλιος 2013, περιοδικό Jazz & Τζαζ


 

Let's start by making the references. Tania Giannouli studied piano, advanced theory and composition in Athenaeum Conservatory. She has specially been involved with music for theatre, mixed media, videos, film and wih each kind of Art that combines sound-speech-picture. Her creations for stage have participated in many festivals abroad.I mprovisation plays an important role in her art. Her music has been performed by the Dissonart Ensembe and by the Athens Youth Orchestra. She is a founding member of "4+1" and "Schema ensemble". Her discography includes 5 releases (look at www.tania-giannouli.com) and it is worth to mention her collaborations with Evgenios Aranitsis and Tomas Weiss. The portuguese born, Paulo Chagas, is a composer, improviser and wind instrumentalist. He is a conscious electric musician, devoted to experimentalism. He has set his life and career in searching for new solutions and links between the sound and its explorations. He has a classical education background, he is also a writer and he is part of small and big ensembles. He is active with Zpoluras Archives (see www.paulochagas.weebly.com) and he has studied composition, acoustics, and music history. During his career he has played several styles from folk, pop, rock to jazz, fusion, classical etc but he is mostly characterized by his improvisation performances. Listening to "Forest Stories" is a kaleidoscope of atmospheric situations and pictures, from magical to sensual. Sounds that cannot be categorized to one style, but that have their own special, often bizarre, charm. The strong points are the harmonic, minimal sense of the keyboards, the microtonal and multi-phonic flow of the winds, the wider timbal search and the quite personal approach of the whole project. The relationship between the sound and the title is not random. Giannouli has lived part of her life near a forest, as she admits, and this was a source of inspiration. Colors, lights, reflections, emotions. All has to do with how one feels in the forest as well as with how one feels when he listens to the recordings. It is impressive that none of the two musicians is trying to show "technical skills", but both visualize the view and the back view of a series of imaginative landscapes. With contemporary, incompatible, authentic formulation, sometimes lyrical and sometimes sharp ,they describe or the comment on thousands shades of brown and green…Tania Giannouli wonderfully describes the distillate of this world, in the booklet of the CD: "I believe that the trees have a better understanding of Time, and of Life. Better understanding that we humans have. They are old. Wise, strong and they know so much about the seasons…If we listen to the forest maybe we will realize that our microcosms, the problems, the fears, the pain is nothing that a small part of a greater Reality".

 

We recommend listening to it singly, with eyes shut or in the dark. The silhouettes of the the boles and the moisture from the leaves will fast fill the room…..


Kornilios Diamantopoulos, Jazz & Tzaz magazine, issue July/August 2013




 

Review in Avopolis by Harris Symvoulidis (greek). English translation follows.

http://www.avopolis.gr/international-album-reviews/45508-forest-stories-improvised-music-for-piano-and-wind-instruments

 

Θα "έπρεπε" να έχω γράψει συντομότερα αυτήν την κριτική, όμως μερικές φορές οι δίσκοι χτίζουν μια περίεργη, δική τους σχέση μαζί σου, στα πλαίσια της οποίας εκμηδενίζεται ο χρόνος και η έννοια του τάιμινγκ: θα είσαι έτοιμος να τους αποτιμήσεις, όταν... Και καλώς κάνουν, αν θέλετε τη γνώμη μου. Γιατί μας έφαγε τους κριτικούς η ταχύτητα –να το ακούσω τούτο στα πεταχτά (και να το γράψω ακόμα πιο πεταχτά) γιατί βγήκαν και 3 άλλα και είναι «hot». Λες κι έτσι οικοδόμησες κάποτε τη σχέση σου με τη μουσική και όχι με συνεχείς βουτιές σε εκείνους τους δίσκους που σου έκαναν κλικ. Φαστφουντάδικο και αγώνες ταχύτητας το καταντήσαμε. 

Το Forest Stories της Τάνιας Γιαννούλη και του Paulo Chagas θέλει λοιπόν τις εξερευνήσεις του, τις εμβριθείς, επαναληπτικές του ακροάσεις αλλά και τις μέρες εκείνες που θα το αφήσεις στην άκρη και θα το σκεφτείς ενόσω βαδίζεις στην πόλη. Αν θες τον σύντομο δρόμο προς την τέχνη του, υπάρχει ο υπότιτλος: «Αυτοσχεδιαστική μουσική για πιάνο και πνευστά όργανα». Ένας πολύ ακριβής υπότιτλος, καθώς εδώ τα πάντα εμφορούνται πράγματι από αυτοσχεδιαστική λογική και εκπορεύονται από το πιάνο της Γιαννούλη και τα πνευστά του Πορτογάλου συνοδοιπόρου της (άλτο και σοπράνο σαξόφωνο, φλάουτο, κλαρινέτα). Αλλά αν πάρεις τον μακρύτερο δρόμο, θα βρεις έναν πολυσχιδή κόσμο γεμάτο έντονες συγκινήσεις –ένα «δάσος» σαν κι εκείνο του τίτλου. Για να το γνωρίσεις και να αφουγκραστείς τις ιστορίες του, θα πρέπει να δηλώσεις διαθέσιμος για περιπλανήσεις στα σύνορα τζαζ και κλασικής, σε μια μουσική που αρέσκεται στο περίπου, στη διακριτικότητα, στο εξπρεσιονιστικώς ρευστό της υπόστασής της και στην τυχαιότητα, χρησιμοποιώντας εξίσου ήχους και σιωπές για να επικοινωνήσει. 

Ασφαλώς και υπάρχουν αναφορές, όσο και εκλεκτικές συγγένειες –στο μεγάλο φάσμα διεθνών κυκλοφοριών σύγχρονης δημιουργικής μουσικής που καλύπτουν συνήθως εταιρείες όπως η ECM και η ACT. Τίποτα όμως δεν επισκιάζει τελικά την προσωπικότητα και την ιδιοσυγκρασία των δύο συν-δημιουργών του Forest Stories: περισσότερο από το τι τους έχει επηρεάσει, μετράει εδώ το πώς συνδιαλέγονται. Μετράνε δηλαδή οι τρόποι με τους οποίους συνυπάρχουν, καθώς και η μη ευκλείδεια «γεωμετρία» που χτίζουν με τις αραιές ή πυκνές νότες, τα γεμίσματα, τα φόντα, ακόμα και με τα σημεία εκείνα όπου τα όργανα απλώς σταματούν να παίζουν κι εσύ μένεις (για κάποια δευτερόλεπτα) με την τελευταία τους ηχώ. 

Πάρτε για παράδειγμα το "Step By Step": το πιάνο φλερτάρει το μπάσο κλαρινέτο κι εκείνο τσιμπάει και ενδίδει –χάνονται αμφότερα σε μια όλο νόημα σιωπή• στο "Spring's Chronic", πάλι, ούτε που καταλαβαίνεις πότε περνάνε 12 λεπτά έτσι όπως παρακολουθείς το πιάνο και το φλάουτο πότε να βαδίζουν χέρι-χέρι, πότε να προσπαθεί το ένα να κλέψει λίγο την παράσταση από το άλλο, με τη Γιαννούλη να ανεβάζει ταχύτητες και τον Chagas να ακολουθεί κατά πόδας, υπερθεματίζοντας σε σκουξίματα• κι αν στο "The Way Back Home" πιάνο και σαξόφωνο δείχνουν να κινούνται σε δρόμους γνωστούς από τη διεθνή δισκογραφία, ποιώντας ό,τι συνήθως καλείται «μικρές νυχτερινές μουσικές», το κάνουν μένοντας στην ουσία των πραγμάτων και όχι υπηρετώντας μια προκάτ φόρμα πρόκλησης γαλήνιων συναισθημάτων. 

Δεν έχει λοιπόν τόση σημασία αν ο Πορτογάλος πνευστός κομίζει τα πιο ελευθεριακά τζαζ ηχοχρώματα ή αν η Ελληνίδα πιανίστρια πατάει περισσότερο σε έναν μοντέρνο κλασικό κόσμο. Το τελικό αποτέλεσμα του Forest Stories έχει να κάνει με τον καθαρό αυτοσχεδιασμό, έχει να κάνει με την εδώ-και-τώρα αποδόμηση του (όποιου) συγκεκριμένου και την αναδόμηση μιας αισθητικής εμπειρίας πέρα από τη σηματοδότηση των «ειδών». Μουσική στα όρια, ίσως, μα με μουσικότητα ατόφια, συγκινητική, η οποία διεκδικεί την αμέριστη προσοχή σου και σε κερδίζει ολοένα και περισσότερο με κάθε καινούρια ακρόαση. 


Χάρης Συμβουλίδης, Μαϊος 2013, Avopolis


I should have written this review sooner but sometimes discs build their strange, own relationship with you, in which time and timing are nullified: you will be ready to valuate them whenever … (the right time comes). And this is a good thing, if you ask for my opinion. Because the problem with us, the reviewers, is speed- listen to it in a fast way (and write about it in a faster way ) because three more cds are out and they are "hot". As if this was the way you once builded your relationship with music and not with constant diving in those discs that attracted you mostly. It has ended to fast food restaurant and car racing.

So, "Forest Stories" by Tania Giannouli and Paulo Chagas demands its own exploration, the profound repetitious listenings but also the days that you have to put it aside and think about it as you walk in the city. If you want the shortcut to its (the album's ) art there is the subtitle " Improvisational music for piano and wind instruments". A very accurate subtitle, since here, everything is inspired by an improvisational logic and emanate from Giannouli's piano and her Portuguese's fellow traveller winds (alto and soprano saxophone, flutes, clarinets). But if you take the longer route, you will find a multifarious world full of excitement - a "forest" like the title says. In order to know it and to listen to its stories you have to declare that you are available for wandering at the borders of jazz and classical music, in a music that likes the "almost", the discretion, the expressionistic fluid of being and the randomness, using equally sounds and silence in order to communicate.

There are certainly references, as well as eclectic affinities - in the great range of contemporary creative music that is covered usually by labels such as ECM and ACT. But nothing, ultimately overshadows the personality and the temperament of the two co-creators of "Forest Stories":The way they converse is more important than references. The ways in which the co-exist, as well as the non-Euclidean "geometry" in which they build the spare or the dense notes, the fills, the backgrounds, even the points that the instruments just stop playing and you stay (for some seconds) with their last echo, this is what has value.

Take for example the track "Step by Step": the piano is flirting with the bass clarinet and the bass gets the bite (greek expression!!!) and gives in- they both   get lost in a meaningful silence. In "Spring's Chronic", again, you don't even realize how 12 minutes pass as you watch the piano and the flute walking hand in hand, one tries to steal a little more glory than the other, Giannouli speeds up and Chagas following just behind, overbidding in caterwauls (screaming). And if in "The Way Back Home", piano and sax seem to move in familiar ways of the international discography they do it by staying to the core of things and not by serving a ready-made form of creating peaceful emotions.

So it is not so important if the Portuguese wind's musician brings into it the more jazz, free, elements or if the Greek pianist walks more in a contemporary classical road. The final result of "Forest Stories" has to do with pure improvisation, has to do with the here-and-now degradation of (if there exist any) anything specific and the rebuilding of an aesthetic experience which is beyond the signaling (categorizing) of "styles". Music on the borders, maybe, but with pure musicality, touching, which claims your undivided attention and gains you (makes you love it more) more and more with each time you hear it.

 

Haris Symvoulidis, May 2013, Avopolis (Greece)




Improvisation, silence, avant-garde, contemporary music of 20th century, jazz, classical music, meeting of two cultures (she is Greek, he is Portuguese), conflict of emotions, introspection and anguish, the penumbra of a forest, the moisture, the awe it causes. A musical painting that you can not just take a glance



Makis MilatosApril 2013, Athens Voice

 


 

 

Review by Dave Summer at "Bird is the Worm"



A duo collaboration between wood instrument specialist Paulo Chagas and pianist Tania Giannouli, Forest Stories is a set of improvisational pieces that only give the impression of an album divided into individual songs… the album possesses a one-take presence, as if not just the music was created in the moment, but also the silences between the “songs.”  Ultimately, it’s the intimacy derived from this type of spontaneous creation that makes music like this so embraceable.


Your album personnel: Paulo Chagas (alto & soprano saxophones, bass & sopranino clarinets, flute, bamboo flute) and Tania Giannouli (piano).

As a going concern, this is an album that effectively maintains a languid presence.  Sometimes the artists stir things up a bit, but the occasional bursts of dissonance and clashes of notes are akin to ripples in a calm pool of water.

Opening track “Step By Step” establishes that languorous tone.  Piano whispers soft words to bass clarinet when it hums a tune.  Piano murmurs placating notes to bass clarinet when it raises up and shouts.  The song ends with a dissolve into silence from which it began.

“Afternoon Forest Valse” begins with an abrasive tone.  Soprano sax brings some tea kettle steam.  Piano restricts its movements to a small area, while Chagas flutters about it.

“This Beautiful Hard Way” has Giannouli more active on piano, running up and down the length of a melody.  Chagas, now on flute, pokes its head up and speaks at effective intervals.  The beauty of this song isn’t easy to capture, yet has that unmissable quality of a glistening object in light.

“Is This Forever” and “Instead of Clouds” double back onto some territory already covered.  Piano and sax keep in-step with one another, offering thoughtful statements that just hang in the air.  Sax gets a bit querulous.  Piano grows pensive.

While most tracks have an airy motion to them, there are moments of staggered fluidity, like the sharp strikes of piano and flute shrieks of “Spring’s Chronic.”  And “In the Deepest Night” quavers with suspense and dark mystery.

The album ends with “The Way Back Home,” the closest thing to a conventional tune.  Also, the album’s prettiest moment.  A delicate melody, with expressions on sax and piano that respect the fragile state of things.  And, in that it is preceded by seven tracks of a sparse dissonance and formless geometry, the closing song is made more marvelous by the way it allows the album’s various elements to coalesce in its final moments.


Dave Summer, April 2013, "Bird is the Worm"

 


Review by Simon Sweetman at "Off the Tracks":


Don’t be scared off by the announcement that this is a collection of pieces brought about by improvisation/spontaneous composition. Sure, that can reek of pretentious, music-school waffle but in the right hands, to the right ears, the music that is happened upon by chance offers up a new world of possibilities with every listen.

Here Giannouli (piano) and Chagas (flutes/saxophones/clarinets) offer thoughtful dialogues that are fidgety and assured, bold and delicate, confidant and coy – and there is a nocturnal feel of so many wide-eyed surprises.

There is also a cultural exchange at place here, as Greek (Giannouli) and Portuguese (Chagas) disciplines, values and teachings are offered together, the result a combination of the ideas, a beautiful collision of the cultures.

Forest Stories is intriguing but accessible – check out In the Deepest Night. This is not the alienating improvisation that is written off as just noise by those with no clue; this will sit nicely alongside works by Jonathan Besser, Hirini Melbourne, and in fact many others from the Rattle label/stable.

Recommeded.

Simon Sweetman, New Zealand, March 2013, Off the Tracks

 



Review by Nuno Lourenco at Proggnosis:

Listening to this album is like seeing music embodied. Some emotions are shown, other hidden. Complex thoughts and primal (minimal) instincts are revealed, and as the music morphs into an organic entity one can perceive its distinct blueprint. Like someone you know, you can like this music or not, but you cannot deny its soul.

The haunting piano sets the canvas on which the wind instruments add colors, sometimes bright and vivid, other times saturnine and morose. This music is very visual, like a series of paintings, and the overall impression is that of an artistic, maybe surrealistic, self-portrait.

So this was the 2 paragraph review I did at the request of the label, initially for promotional use by the label, but which ended up being framed in the booklet of the release, something that really made me proud when it came to my knowledge.

Anyway, and with the booklet in my hands and the album spinning in my player, I can only stand by my previous appreciation, and then adding something to it.

It is true that, music like the one presented in this album do not normally find its way to this site, as Forest Stories is an experimental, mostly avantgarde and set on atmospheric and improvisation elements. Yet, and in the continuation of an already long and fruitful friendship with Paulo Chagas (see my reviews on many other projects by this exquisite player, such as MiosotisMispel Bellyfuland Zpoluras), and because when music is rich, textured and artistic there is no point in cutting it out just because it does not belong to a certain style, I just had to feature it here in Proggnosis, and develop a bit my initial review.

Forest Stories is a musical journey, mostly through introspective and atmospheric pastures, but always punctuated by difference and originality. The interplay between the two musicians is done in a, many times, bizarre way which seems as disconnected as wavering empathy. This fact, by itself, already demonstrates a strong personality and ensures a quality stamp, but the sheer emotions and states of mind, as well as the playing ability of the intervening musicians, end up taking the result to a whole new level...a level of their own.

There is plenty of contemplative moments here, as well as tense patters that transport the listener to very apart feelings and transmit different images. It is like wandering about in the forest, scanning its beauty but feeling crushed by its quietness and mysterious aura that can be so easily joyful as frightening.

In a more down to Earth analysis, and musically speaking, Tania  Giannouli sets her piano to sound as the basis to the different emotions, while Paulo explores all that gamut of vibes, moods and feels with his experimental and tremendously avantgarde approach.

In the end, this is really not for the average prog listener. One must like free form jazz with lots of experimental and improvisation moments in order to fully appreciate this release. Yet, and as aforementioned, good music does not (always) comes in standard format, and if you happen to like those artists that perceive music as a form of art and that are bold enough to express their most inner thoughts (magical dreams, frightening nightmares) in an uncanny way, then you should really give this excellent experiment of an album a chance.



Nuno Lourenço, February 2013, Proggnosis 



 



Review by Graham Reid at Elswhere:


 

Although not on the Rattle Jazz imprint, these eight diverse, melodic and mood shifting pieces are pure improvisations for piano (Giannouli) and saxes/flutes/clarinets (Chagas) and evoke something of the timelessness, emotional space and natural power of the forests of the title.

Without much difficulty -- and let's be honest, pure improvisation along these lines can be hard going for most -- the thoughtful listener can hear elements of the players' classical training in melodic progressions as much as the nudges towards visceral free jazz when the energy is let off the leash.

From their quite different backgrounds (she Greek, he Portuguese) they find common ground in their willingness to take the risk of a blank page, extrapolate from emotional spaces (the repeated dark piano figure of This Beautiful Hard Way inviting the ballad treatment which Chagas explores on flute as her lines become more fluid and elevating) and not be fearful of space/silence.

There is also great delicacy here -- the reflective closing piece The Way Back Home -- and over the arc from the increasingly confident if dark opener Step By Step (which reads like a walk into a brooding woodland) through the evocative tones of Is This Forever? to those thoughtful final passages, this feels like a poetic journey through space and time as much as music.

Much more approachable and than the description "pure improvisation" might suggest because these players -- who have an intuitive understanding of each other -- can draw of vast traditions of classical and jazz for ideas.

Of and in the moment.

 

Graham Reid, New Zealand, January 2013, Elsewhere 



 





"There is no need to play a lot of notes in order to make exciting music – the secret is to choose the right ones. That is what Giannouli and Chagas achieve with Forest Stories, an album of beautiful, impressionistic pieces that allow us to see that musical construction should be made in harmony with silence. The music on this album has great simplicity and clarity, sometimes pastoral, other times energetic, but always harmonious to the ear. I predict that Forest Stories will become a "must have" for fans of contemplative avant-garde.


João Pedro Viegas, Musician, Musical Programmer and reviewer at All Jazz, Jazz.pt, TomaJazz, and Oro Molido


 



 

Tania Giannouli is a Greek piano soloist from the Athenaeum Conservatory where she studied the piano and composition. Her current experience includes highly regarded compositions for theatre and film and improvisation. She is a member of “4+1”, “Schema Ensemble” and “Emotone”. Paulo Chagas is a Portuguese multi-instrumentalist (reeds instruments and flutes), teacher and music theorist, that leads and participates in many projects. Chagas has an extensive body of work, with compositions for ballet, opera, theatre, multimedia, orchestra, instrumental and vocal ensembles, electronic and computer music. His most significant work as a theorist spreads light into musical semiotics, music and media philosophy (Wittgenstein) or new media and music technology. Both of them have already performed throughout the world with great success.

In Forest Stories they join forces with great success to create evocative tunes that appeal to our inner senses and aural memories of the forest. Experts in their craft, the duo build and interweave their improvisational utterances with seeming effortless creativity and virtuosity. Each of the eight atmospheric compositions convey a rich sense of harmony, and are usually built around measured tempos and well contained dynamics. The rhythmic patterns are diverse and interesting, and the musicians modulate between modal approaches and free improvisation. This fine recording is highly recommended.

 

José Pessoa - Stockholm, September 2012, www.jazz.pt


 




Contemplative, esoteric, atmospheric music with elements of 20th century Avant-garde and free-improvisation, Forest Stories conjures magical, sensual images through sounds that cannot be categorized but that have a special, sometimes strange (bizarre) charm. This music has a very individual and personal character, vivid and painterly.


Kornilios Diamantopoulos, Jazz & Tzaz magazine, Greece

 



 
Tania Giannouli - ©2013