Luis Vicente is a portuguese trumpet player based in Lisbon. He’s a very active musician, playing in several groups with diferent concepts – from totally free to composed music – having always present the sense of freedom, which he can never leave aside.
He already played in dozens of venues, festivals across Europe and in North America.
He performed and recorded with Carlos Zingaro, Wilbert De Joode, Akira Sakata, Johannes Bauer, William Parker, Hamid Drake, Michael Moore, Roger Turner, Mars Williams, Jorrit Dijkstra, Jasper Stadhouders, Mary Oliver, Paal Nilsen Love, Joost Buis, Tobias Delius, Wolter Wierbos, Frank Gratkowski, Mark Sanders, Olie Brice, Marco Franco, Mette Rasmussen, John Dikeman, Alexander Hawkins, Ziv Taubenfeld, Roberto Negro, John Butcher, João Lobo, Hugo Antunes, Valentin Ceccaldi, Seppe Gebruers, Onno Govaert, Théo Ceccaldi.
He plays his own tunes in trio and quartet and is a member of: Vicente-Gebruers-Govaert; Vicente-Trila; Chamber 4; Vicente-Brice-Sanders; Corda Bamba; Twenty One 4tet; Frame Trio; Clocks and Clouds; Deux Maisons; In Layers; Vicente-Marjamaki; Ziv Taubenfeld’s Full Sun; Echoes of South Africa; Fail Better!; Jasper Stadhouders’ International Improv Ensemble.
Think of Vicente as the Portuguese Nate Wooley or maybe better still Wadada Leo Smith from his Kabel Records. With Maré (in English, "tide"), he floats waves of notes that echo within the monastery's walls. The sounds can be interpreted as cetacean sounds, maybe from the songs of humpback or blue whales. While nature may be the inspiration, Vicente speaks trumpet. His voice and tone control are the epitome of humaneness and Maré is overflowing with gentleness and mercy. (Corroto; 2020)
His music remarkably highlights the resonant atmosphere of the “conventual” place and its specific frequencies which color the very timbre of the instrument. I will not declare that Maré is a great masterpiece or a revelation to seize immediately, but rather a beautiful work which offers beautiful qualities and a form of spleen a little nostalgic. Successful development during performance. Lyricism and poetry emerge naturally and make this solitary exercise enough to fill a feeling of loneliness welcome in the corner of the fresh autumn. The audacities of the third part (Quebra Mar) in the treble are striking." (Van Schouwburg, 2020