Brazilian Luiz Moretto moved to Portugal in 2000 to work with Lisbon's African communities; he has performed with saxophonist Alípio C Neto for almost a decade. On 'Vampyroteuthis Infernalis' he fuses the Afro-Brazilian rabeca (fiddle) with free jazz.

The compositions are inspired by the rhythms of Afro-Brazilian music, which give the necessary freedom for intense improvisational interplays. It was Alípio's idea to invite experienced musicians from within the Italian free jazz culture, namely Francesco Lo Cascio, Gianfranco Tedeschi and Marco Ariano, whose combined experience and creativity pervade the music.

Moretto has been a PhD candidate in ethnomusicology at King’s College London since 2012; together with his studies of musicians in rural areas of Brazil, this work shows in his fusion of the Afro-Brazilian rabeca (fiddle) and the free jazz aesthetics.

Luiz Moretto: violin, rabeca
Alípio C Neto: tenor and soprano saxophone, Brazilian bells, whistles
Francesco Lo Cascio: vibraphone, percussion
Gianfranco Tedeschi: double bass
Marco Ariano: drums, percussion

“A vivid, and wondrously engaging date, like an old Dolphy session with Hutch recorded on some far flung planet. The tart, keening sound of Moretto’s rabeca and violin interact really well with Neto’s horns, all suspended in a supple web of vibes, bass, and percussion. The band trades in a music that balances texture with rhythmic intensity, and it’s hard to deny how compelling that combination can be...It’s all shaped by three distinct band elements that blend marvellously: the intense expression of the two frontline players, the generous rhythm team (who really shape the music via the space they leave between the notes), and Lo Cascio’s vibes the coloristic middle. It’s cohesive, and as a group they play with control and dynamic variation...Do check this one out.” - Jason Bivins, Cadence

“Slam’s a rich source of new music from Italy and this, along with recent work by fellow violinist Stefano Pastor is among the most compelling. Moretto has a wild, slightly eldritch tone, with a fine instinct for rhythmic variation. Brazilian and African sources collide and combine. Great support from the rest of the group; Neto’s already widely admired, but Lo Cascio is a monster who’ll be spreading alarm among the Chicago guys. Recommended.” - Brian Morton, Jazz Journal

“Dark sounds from reeds and vibes create spooky atmospheres on "Rio Vermelho do Desterro" and eerie violin pitches will make you look over your shoulder on "Espiral do Tempo." Modern classical modes step up to the bar on "Refracoes Geometricas" while the shadows great long and stark on "Saturnia" and "Terras de Arroz e Acucar." The interplay between the lurking vibes, ominous violin and harrowing reeds are good for some imaginatively melancholy moments.” - George W. Harris, Jazz Weekly

“Exquisite bowing introduces the album in its opening track, "Espiral do Tempo", which continues on its way with lovely, spirited work from both violin and vibraphone. Lo Cascio sustains the saxes and violin beautifully in the absence of piano, as well as taking some enthusiastic solos...Moretto's compositions are strongly evocative of Afro-Brazilian arrangements which allow the individual's improvisation to flourish. It's cool and there is a strong sense of empathy between the musicians which, with the strength of Lo Cascio's provision, holds it all together.” - Ken Cheetham, Jazz Views

“The violin and soprano sax sound great together as they bend their notes in similar snake-charming ways. Instead of using a piano, it is the vibes player who supports the violin and sax so well. Vibesman Lo Cascio is also a strong soloist and takes a few inspired solos throughout this disc. I dig that this music is often laid-back yet adventurous at the same time, loose but not really free. What is interesting about this group is that they don't quite sound like anyone else, even the leader's violin playing and sound is completely unique.” - Bruce Lee Gallanter, Downtown Music Gallery

“A gripping avant-garde session from violinist Moretto. He doubles up on rabeca for this session, which is reflective of the unconventional instruments he brings together so splendidly on this recording. A strangely alluring melodicism throughout this fun, invigorating challenge of an album.” - Dave Summer, Bird Is The Worm