This display of this piece(s) that I present are the result of this daily recollection. I wanted to build a composition or, to a great extent, to put together ideas already worked on, recorded until now. I take this opportunity to give myself for the first time to the nylon string acoustic guitar, better known as classical guitar, after superficial contact during adolescence, with reservations and/or doubts if I am that person who “existed there” if I was if I am, if I am not, or if existing, and if it is worth it. I then evoke ideas of composition, harmonization, technical resources, and other institutions, internalized somewhere, sometimes complex, sometimes simple, I’m not sure if so. A mistake without destiny in my own way, a schism towards the persecuted place, an eminent loneliness perhaps. Something by miracle or simply by chance remains. “The contact that I remember! I have with me, it attacks me, that I follow and will always follow, regardless of reason or reasons, a certain path that perhaps points wisely to “my” path, “this my” dream or simply visions the flashes that echo from me to myself or to others, in short, the poetry of this phenomenon that is what fascinates me and forces me, in accordance, of course, with the (world) that I observe/feel and/or restricts me, because the “truth” is a whole, I learned! Vulgarizing: a single response to any act or phenomenon is an affront. Everything is very difficult and a disgrace… And a violence. But: Better to die than to violate! Everything wanders side by side with the fear of not dying. And that’s what it will sound like! In short: Compositional solo written with nylon string acoustic guitar.
— 'Emmentes' presentation
The concert will take place at the Aquário, being compliant with the rules of social distancing provided by the DGS. The capacity is limited and use of mask is mandatory.
Luís Lopes incubated in Rock and Blues, before incurs in Jazz and improvised music. He constitutes and leads musical formations that soon put him on the international scene, of which Humanization 4tet (with the Portuguese saxophonist Rodrigo Amado and the Texans Aaron and Stefan Gonzalez), Lisbon Berlin Trio (with the Germans Christian Lillinger and Robert Landfermann), Guillotine (with the French Valentin Ceccaldi and the Norwegian Andreas Wildhagen) stand out. He participates in collectives such as the Luso-Swiss Big Bold Back Bone or with Portuguese musicians where the Garden Trio (with Bruno Parrinha and Ricardo Jacinto) and the Lisbon LFU-Lisbon Freedom Unit ensemble of 9 elements stand out.
It is also presented in solos that are based on a concept of experimentation that goes from noise to pianissimo, or even of composition and harmonic construction. It also stands out for its taste for duos, which started with Jean- Luc Guionnet, Fred Lonberg-holm or Julien Desprez. Luís Lopes has records published in Clean Feed, Shhpuma Records, Wide Ears, Creative Sources, Ayler Records, JACC, and in his own LPZ Records, which are acclaimed in the most important newspapers, magazines and blogs around the world, such as Wire (England), Citizen Jazz, Jazz Magazine and improjazz (France), Enola Magazine (Belgium), Downbeat, All About Jazz NY, Cadence Magazine, NY City Jazz Records, Signal to Noise, Point of Departure (United States), Toma Jazz (Spain), All about jazz Italy (Italy), Jazz’n’more/blues roots (Germany), FreeForm FreeJazz (Brazil). He has marked his presence on stages such as: Jazz in August (Gulbenkian), Jazz ao Centro Coimbra, Portalegre Jazz Fest, Seixal Jazz, Sines em Jazz, Serralves em Festa, Festival Rescaldo Culturgest, Ljubljana Jazz Fest, Konfrontationen Fest Nickelsdorf Austria, Tricollectif Soiré Tricot Fest Paris, Jazz or Jazz Fest Orlean, Clean Feed New York Fest, Clean Feed Chicago Fest, Clean Feed Cologne Fest, Clean Feed Berlin Fest, Snug Harbor New Orleans, The Stone New York, HideOut Chicago, Ausland Berlin, Exploratorium Berlin, Occi Amsterdam, Klappfon Fest Basel, Win Zurich, Hærverk Oslo, Brötz.