Maria da Rocha's name may not be familiar to jazz and improvised music lovers in Portugal, and this is because this violinist and violist from Lisbon has worked mainly on the Berlin and Stockholm circuits and much of her dedication goes to Interpretation of the great authors of contemporary, classical and baroque music. In his own projects, however, are the processes and aesthetics of improvisation that he embraces, and it was in this context that at the end of last year we heard it at Creative Fest. A solo album, "Bet Rot," is about to emerge in daylight, but as such it does not happen its "Pink" card, in duo with the Swedish electronist Maria W. Horn aptly named M2. From an experimental perspective, the proposed music has an intimate character that only does not match the coordinates of improvisational reductionism and the lowercase reduction of electronics and electroacoustics because each theme is made up of many layers and details, usually appearing simultaneously andinviting several Hearings so that we can fully grasp the elements that congregate or disperse. Textured and focused on the set of timbres, the 10 pieces assembled do not follow any definite pattern: they can enter the territories of the "drone" as they are pointillistic in a soft approach to noise. Noise? Yes, the organization and treatment of sounds challenge both the conventions of musical beauty and the so-called "feminine" creativity, with somewhat rough arcades by da Rocha and digital envelopes or interactions that prefer dissonance and atonality. Very, very interesting."-Rui Eduardo Paes, Jazz.pt