"Cinestesia as the self-consciousness lived experience of movement and gesture, associated to the body unity, to the development of an extended ego schema, and to spatial perception." Edmund Husserl

Cinestesia offer you the result of a beautiful meeting in Lisbon after the legendary MIA improvisation festival in Atouguia da Baleia.
The music on this CD evokes a special human tension present in all three musicians-composers, delicate and tenacious, which explores a form of a common sensitivity where sound matter processed instinctively through gesture in action, deeply involves the three musicians complicit in balancing the elusive sound matter and structure most relevant to instant composition, most often avoiding the severity of clichés in improvisation. The pictorial work on the cover oh the eclectic Miguel Mira, whom I warmly thank here, embodies the essence of our musical work-meeting and in order to better grasp the details and strength of our little sound work I advise you to listen to "Cinestesia" with closed eyes and in an environment full of good silence. Thank you and have a nice listening." Carlo Mascolo

′′ The world of improvisation and creative jazz is made of encounters and intersection. With regard to the first respect, this record is the result of the several that the Italians Carlo Mascolo (trombone) and Felice Furioso (drums) were having with the Portuguese contrabassist João Madeira in several editions of MIA - which this same month will take place in Atouguia da Whale, Peniche's municipality, with the new participation of the same -, meetings that were repeated for other concerts and jams in our country. Mascolo expressly comes from Italy, Furious has resided here since the pandemic caught him in Lisbon last year. In terms of intersection, we only need to note that the theme of ′′ Cynesthesia ′′ coincides with the young drummer has been exploring, with Maria do Mar, in the Transitional DeScomposition cycle, which will also have its fourth edition in June at SMUP, Parede: a interrelation of music, the art of time par excellence, with the moving image.
The search for synesthesia, as set out in the title of this new album in cinema and in parts designated as ′′ Motionscape ", ′′ Watching the Soundscape ′′ or ′′ Blind Sense ", results from an impromptu perspective of what you call yourself ′′ imagetic music ". Music as a sound image, not necessitating the visuals to be what it intends, cinema for the ears, something they couldn't even dream of Schoenberg and Kandinsky when they talked in a letter about the perceptive phenomenon in which one sense stimulates another or Others and what possibilities such could open up to the arts, in collaboration with practices and disciplines or with one taking advantage of the properties of another.
Specifically performative musicians, these who gather here give a lot to see beyond hearing: Mascolo uses extensions of his trombone with hoses and traffic pins,
Furioso articulates the textural and rhythmic works that you really need to observe it to make sure that a certain passage was his work and not a synthesizer. This is one aspect that doesn't immediately appear in an audio record, but we can imagine it, and even more so if we've seen these instrumentalists live.
The cover plays a landscape painting by Miguel Mira (plastic artist besides improvisational musician), which is all of her gesture, in the musical sense of the term. It couldn't be clearer the purpose of ′′ Cynesthesia ′′ while ′′ transitional composition ". It's well worth stopping for a while and giving full attention to this sensory party." Rui Eduardo Paes, Jazz. pt

"L’improvvisazione totale ha trovato un punto di riferimento importante in Portogallo, con diversi musicisti che praticano il genere con idee e risultati di tutto rispetto. Qui, sulla FMR Records, casa discografica inglese, ritroviamo ancora João Madeira al contrabbasso (dopo il duo insieme al collega e connazionale Hernâni Faustino), questa volta insieme agli italiani Carlo Mascolo al trombone e Felice Furioso alla batteria, nel passato organizzatori del Free Flow Festival in Puglia. Si tratta di sette brani piuttosto movimentati, in cui i musicisti utilizzano tecniche eterodosse, basati sulla comprensione telepatica dei musicisti. I tre trovano un terreno comune, spingendo la musica costantemente in avanti, irrequieta, sull’orlo di una superficie sotto la quale le tensioni sono una costante. Il contrabbassista è un motore ed un ancora durante l’intera session, anche se ovviamente, in questo tipo di registrazioni, il ruolo di ciascuno dei tre è paritario. Un ottimo esempio di cosa è possibile fare quando fra musicisti si è in sintonia di intenti ." Vittorio, MusicZoom

"Two Italians, Carlo and Felice, meet a Portuguese and play seven phenomenal free improvised tracks. The opening "Blind Sense" is a permanent explosion of expression. "P.L.S (Phantom Limb Syndrome)" is more peaceful and abstract, but it also has a dramatic bowed double bass part. "Watching The Soundscape" is a kind of ballad woth wonderfully muted trombone parts. "Giurassico" remind me a little of the sounds that velociraptors can make, while "PLaying with bead" starts kien a minimal music, but develops into quite an eruption of emotions at the end. "Motionscape" and the title track, "Cinestesia" end this very interesting album -- a clear message to me how much of amazing Portuguese creative music is still missing in my collection." Maciej Lewenstein