Clean Feed: CF120 
http://www.cleanfeed-records.com/disco2.asp?intID=257

* Daniele Martini: tenor saxophone
* Giovanni di Domenico: piano
* Gonçalo Almeida: bass
* João Lobo: drums



What does Tetterapadequ mean? Is it an obscure Italian or Portuguese term that
reflects this ensemble's mix of two Italian and two Portuguese musicians? No it
is not. It's an anagram of “De Patter Quartet, ” which was named after the De
Pater jazz club in Haia, The Netherlands...

De Pater jazz club: 
http://www.patermuziek.com/

Reviews
~~~~~~~
by Stef

This band's curious name is a defective anagram of De Pater Quartet, referring
to Muzikantencafé De Pater in The Hague, The Netherlands, a place which this
band apparently likes a lot, and for which an "r" is missing, hence the
title. There is nothing wrong with the music, though, quite on the contrary. The
band consists of Belgian-Italian Daniele Martini on tenor sax, Belgian-Italian
pianist Giovanni di Domenico, Portuguese bassist Gonçalo Almeida who resides in
Rotterdam, and Portuguese drummer João Lobo. Whatever their origin, I must again
congratulate Pedro Costas of Clean Feed for his unbelievable ear for good music,
and for giving young musicians the chance to have their music released. The
music of Tetterapadequ consists of 13 mostly short tracks of improvised music,
mostly subdued, introverted and restrained, with the exception of the third
track "Dopey", which is a short drum solo. The four musicians create small
creative aural environments, with scarce sounds, lots of empty space. Di
Domenico's piano usually sets the tone and the scene. Although some of the
sounds come from extended techniques on the various instruments, the music is
very accessible and intimate, between traditional jazz (there is even a short
reference to Glenn Miller's Moonlight Serenade) and modern classical music, with
the other musicians taking the overall sound to a higher stage, creating depth
and perspectives that are new and fresh. They are not afraid to push things to
the limit, as on the last track, when the first four minutes are nothing but
silence, then the bass starts playing softly, with the piano strings being
plucked gently, then the drum joins sparingly, and only after eight minutes can
the sax be heard, hesitatingly, sensitively, over a one note piano rhythm, yet
gaining in power, gaining momentum, hypnotically, majestically, ending in a
scream/cough/laugh. Nice music, very creative and subtle.

--

di Vittorio Lo Conte (it) 
http://italia.allaboutjazz.com/php/article.php?id=3473

por Yahvé M. de la Cavada (es) 
http://www.tomajazz.com/discos/breves.php?d=2009-02-01#t_atmr