Acoustic Reverb 
Creative Sources CS 762 CD 

“Portuguese cellist Rodrigues takes his instrument into 11 Berlin churches…”
Review of Acoustic Reverb in The Wire, Issue 468, highlighting the album’s exploration of reverberant spaces, church acoustics and sonic investigation through the cello."
The Wire, February 2023 by Phil Freeman

"For me a Masterpiece of XXIst Century music!!!"
"58 short miniatures for cello that sound truly amazingly with the acoustics of the churches... from the ancient to the contemporary."
"First associations are with ancient music from Biber, Telemann, Bach... [also] 20th century avantgarde from Webern, Cage, Stockhausen to Lachenmann or Scelsi."
"A kind of paradigmatic album... equal superb quality [to Mat Maneri's Trinity]."
by Maciej Lewenstein

"Portuguese, Berlin-based prolific cellist Guilherme Rodrigues describes his solo album Acoustic Reverb as the most important one he did in 25 years of his career."
"A real tour de force... each space affects all parameters of playing – bowing, extended techniques, elasticity of the acoustic sounds... Rodrigues succeeds to make this ambitious journey a cohesive, immersive and beautiful one."
by Eyal Hareuveni (Salt Peanuts)

"Un bijou aux très nombreuses facettes qui révèlent leurs secrets au goutte à goutte."
"Il s’agit du violoncelle universel... concevoir instantanément autant de pièces réussies... est la marque d’un grand talent."
"On peut s’hasarder à citer Telemann, Bach, Webern, Scelsi, Xenakis... mais aussi le chant des baleines ou Terry Riley."
by Jean-Michel Van Schouwburg (Orynx)

"One of the few [CDs] in recent months that were revisited time and again in this writer’s house... this CD is superb."
"Sacred, but of a 'clean' sacredness, unsoiled by religious or faux-otherworldly implications."
"Whatever you hear in Acoustic Reverb will comprehensively satisfy your psychosomatic nature... combinations of singing partials, melody fragments flavored with Bachian canon, minimalist cues, rattling drones bathed in glissando."
by Massimo Ricci (Touching Extremes)

"Herringbone bowings and dulcet pizzicato surround silences spacious enough to hear sounds’ delay, decay, and interplay within and with the architecture."
by Keith Prosk (Harmonic Series)

 "Podróż, spacer, namysł na istotą piękna akustycznego brzmienia wiolonczeli."
by Andrzej Nowak (Trybuna Muzyki Spontanicznej)

dis/con/sent 
München
Dietrich Petzold / Ernesto Rodrigues / Guilherme Rodrigues / Matthias Bauer

“An album for bowed strings, bowed metal, and double bass... active and exciting music that bridges classical technique with free improvisation.” 
“A double opus of improvised String Quartets in four movements each… using impressive technique and exquisite pacing in this live recording.”

— Squidco 

“München thus reaches for symphonic senses of abstraction & ‘completeness’… for the world of the post-Beethoven string quartet…”
 “Technique becomes in service to an overall sense of abstraction…”
 “There’s also a sort of aggressiveness… built into the sound of Dis/con/sent… via extended technique… increasingly bound to the flow of the quartet as a whole.”
— Todd McComb, Jazz Thoughts

dis/con/sent 
Dietrich Petzold / Ernesto Rodrigues / Guilherme Rodrigues / Matthias Bauer

“Dis/con/sent employs a wide array of 20th century string quartet technique, including in its ensemble interactions, making it an improvised successor to some of the most dissonant — yet conventionally motivic — music in that format. Listeners who enjoy e.g. Bartok or Shostakovich might well enjoy Dis/con/sent, although it's that much more adventurous: highly contrapuntal, sometimes calming, sometimes intimidating, difficult to hear as fully improvised.” 

— Todd McComb's Jazz Thoughts 

“An album for bowed strings, bowed metal, and double bass... active and exciting music that bridges classical technique with free improvisation.” 

— Squidco 

“Lueurs vif-argent, couleurs sombres, élégies vespérales, rebondissements primesautiers, créations de formes bien marquées et évolutives, ouvertes à la contradiction, entremêlements de frottés saturés et 

de doigtés en saccade, torsades de sons boisés et moirés... C’est tout bonnement exemplaire... Une œuvre qui appelle à la réécoute, au chérissement Rosenbergien et mérite de figurer dans les annales.” 

— Jean-Michel Van Schouwburg, Orynx 

Han Jiae
Sebi Tramontana / Guilherme Rodrigues

"They find and create many interesting sonic worlds to explore through this simple set-up."
"Both players exhibit a demonstrativeness which is highly entertaining, and acts as an antidote to the stiffness and rigid pose of the Radu Malfatti school."
"Of the four in today’s envelope, this one is your best bet for enjoyable and entertaining music."
by Ed Pinsent (The Sound Projector)

 "Han Jiae is as good of an album of contemporary free improvisation as I have heard."
"Sebi Tramontana and Guilherme Rodrigues play with the kind of sympathetic rapport that improv duos thrive on... the kind of sound you can only get from free improvisation."
"It’s exactly why the style will never be disposable."
by Samuel McLemore

 "Magnifique échange – partage en sept actes... altérant les sons, étendant et transformant les possibilités sonores, en renouvelant continuellement les éléments de langages dans une dimension ludique souveraine."
"Tout l’intérêt de cet enregistrement réside dans l’adaptation de chacun... une connivence naturelle et joyeuse."
"Un vrai plaisir... Han Jiae est sans doute le plus beau et surtout le plus touchant des albums de ces deux improvisateurs."
by Jean-Michel Van Schouwburg (Orynx)

 "The seven short, untitled pieces highlight the rich and unconventional languages of both Tramontana and Rodrigues and the various dynamics they experienced at the studio."
"Their distinct approaches merge beautifully and suggest imaginative and poetic interplay where the delicate sounds are elastic and tangible entities that can be molded, shaped and reshaped constantly."
"They go through the courses of adjustment, invention, and resistance but at the end, transcendence."
by Eyal Hareuveni (Salt Peanuts)

Naoki Kita / Guilherme Rodrigues / Naoto Yamagishi

"Four tracks uniting contemporary Lisbon-Berlin investigations with a (perhaps) more Japanese sense of line or even noisy starkness."
"The trio can seem like an integral group of bowed strings... with a detailed feeling for individual sounds, but also an evocation of space & distance."
"The sense of musical line can also present as something of a sparse travelogue... distilling maximal influences (noir, carnival, distant rural skulking...) into a sort of perspectival but sometimes noisily dissonant minimalism."
"In its creative engagement with humanity & humility, the trio can sound lyrical or romantic, concluding the album with some quirky rumbling counterpoint."
by Todd McComb (Jazz Thoughts, Medieval.org)

 "Aqui temos perceptíveis influências do free impro japonês, inclusive com elementos noise sensivelmente presentes."
"A música oscila entre passagens mais detalhistas e pontos de ataques ruidosos mais explícitos, em sequências que guiam os ouvintes por labirintos sem muita clareza de para onde se está indo."
"De pizzicato delicado a linhas rascantes, violino e violoncelo compartilham trilhas entrecortadas pela percussão em uma sonoridade que pode oscilar... entre ecos meditativos e ataques penetrantes."
by Fabricio Vieira (FreeForm, FreeJazz)

 "For me, this trio album, recorded live at Barber Fuji in Saitama, Japan in September 2019, is the most beautiful album of Guilherme that I know."
"It contains 4 track, each of them being a masterpiece of meditative free improvised chamber music that combines Western aesthetics with Eastern meditative depth."
"A musical journey between West and East with violin sounding sometimes like koto and cello like an approaching thunderstorm."
"I am ashamed of not knowing Naoto Yamagishi... for me one of the most interesting percussion discoveries of the recent years."
by Maciej Lewenstein

Red List Ensemble - Scope
Marko Hefele / Rieko Okuda / Michael Thieke / Guilherme Rodrigues / Matthias Müller / Mia Dyberg / Klaus Kürvers / Sofia Borges / Richard Scott

 "Electroacoustic freedom created mainly by acoustic sounds. Chamber music charged with concepts, which explodes from time to time, and then quickly returns to the contracted structure of the story."
"Nerves on the lead, patience, meticulousness and dramatic omission. The invisible conductor perfectly controls the temperament of nine instrumentalists."
"After 20 minutes they start to play really loudly (for the terms of this story)... their rehearsals taste almost post-industrial."
"After all, the aesthetics of chamber suspense is his strongest weapon."
by Andrzej Nowak (SpontaneousMusicTribune)

 "As opções daquilo que ouvimos em “Scope” vão para o timbre... e para a textura (a criação de massas sonoras de densidade vária)."
"A abordagem é outra e define-se pela relacionação do ‘near silence’ com o ruído, numa obliquidade performativa que volta a cruzar em John Cage as noções de que tanto o silêncio como o som supostamente não musical podem ser matéria da música."
"Há... um curioso regresso a conceitos mais convencionais de harmonia e de ritmo, em alto contraste com o uso de técnicas alternativas."
"Um álbum que merece escuta atenta."
by Rui Eduardo Paes (Jazz.pt)

 "This beautiful album... forms a coherent superposition of free improvisation, composed free improvisation, contemporary classical music."
"Part 'II'... the final few minutes, with piano taking the lead, are magisterial: it is free minimal music at the highest possible level."
"Part 'III'... acoustic and electronic parts intertwine and create a true wonder."
"It is the music that cannot be compared to anything else, an artistic discovery of incredible importance."
by Maciej Lewenstein

 "An experimental, sonic lab... to create a universe of complex and unusual dynamics and organic mutations."
"The nuanced focus on micro-sound events and textures involves dynamics in which the silence/noise dichotomy has an important determining role."
"There are endless games of contrasting gestures, between the subtle rhythmic patterns, the harmonic exploration, and the continuous timbral search."
"Listen carefully with wide, open ears."
by Eyal Hareuveni (Salt Peanuts)

The Treasures Are
Harri Sjöström / Guilherme Rodrigues

"Ce que j’apprécie particulièrement dans ces Treasures est l’éventail follement exhaustif de très nombreuses variations dans le choix des timbres et les imbrications, tuilages, juxtapositions, contrastes, enchaînements, tournoiements, qui les associent et nous donnent le tournis."
"Une forme de virtuosité véloce est contournée au profit d’une expressivité intense, d’échanges fructueux... C’est assurément un enregistrement unique de deux individus ouverts l’un à l’autre... Une musique pleine de plaisirs et de générosités. Un très grand disque."
by Jean-Michel Van Schouwburg (Orynx)

 "Combining and contrasting their instruments, at times seeming to complete each other's phrases, in a remarkably sophisticated and virtuosic 'Treasure'."
by The Squid’s Ear

 "They bring forth an unfamiliar, yet distinctly European idiom that owes a lot to the history of jazz... as well as contemporary music."
"The synergy between the violin of Guilherme and the saxophones of Harri is incredible... Very beautiful album, highly recommended!"
by Maciej Lewenstein

 "É como se nas 20 miniaturas que compõem o álbum... estivéssemos a assistir a uma passagem de testemunho. Ou melhor: à transmissão de uma herança."
"O que ouvimos ambos fazer... chega a ser motivo de espanto. A música dança, eleva-se do chão e fica-lhe uns metros acima, tornada gesto absoluto, escultura móvel."
"Guilherme Rodrigues fica agora com a responsabilidade de levar para o futuro o legado que Sjöström lhe deu em vida... e percebemos... que o fará com desvelo."
by Rui Eduardo Paes (Jazz.pt)

 "Rodrigues has an almost telepathic ability to complete Sjöström’s phrases, create lucid, coherent harmonies from Sjöström’s melodies, and spin Sjöström’s lines into impromptu canons."
"From abstract expressionist squeals and squeaks, through freely atonal lyricism, to quasi-conventional harmony—without losing a sense of continuity."
by Daniel Barbiero (Avant Music News)

 "A música é improvisação livre do mais alto nível, com precisão, inventividade e técnicas apuradas gestando uma sonoridade desafiadora aos sentidos e de grande apelo expressivo."
"Sjöström trava verdadeiras batalhas com Rodrigues, mas sempre em uma disputa que visa a unicidade... Há peças em que a voz mais enérgica e cortante do duo sobressai... e outras em voltagem mais relaxada."
"De uma possibilidade expressiva a outra, a multiplicidade de ideias de dois músicos em sintonia perfeita."
by Fabricio Vieira (FreeForm, FreeJazz)