Aphrodisiac Odor

ECM NS 1922: Nuove musiche

Thu, 29 Oct 2009 23:38:11 +0800

Rolf Lislevand and friends embark on an elaboration of Baroque forms such as the passacaglia and toccata while incorporating more modern styles that seemed to grow naturally out of the nature of both music and instruments: Kapsberger gets a vocalise courtesy of Arianna Savall; Pellegrini gets a stylish Nuevo Flamenco treatment; Frescobaldi’s beautiful ‚Cosi mi disprezzate’ gets double-bass and guitar solos. The expansion and contraction of arranged and improvised elements allows the original Baroque material to breathe authentically in our own time, resulting in a phantasmagoria whose haunting effects are only accentuated by ECM’s beautifully spacious recording.
William Yeoman, The Gramophone

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ECM 1866: In Winds, In Light

Thu, 29 Oct 2009 22:23:35 +0800

Anders Jormin has been a vital contributor to music on ECM over the last fifteen years, a powerful presence on recordings by Charles Lloyd , Don Cherry, Bobo Stenson, Tomasz Stanko and Jon Balke. “In winds, in light” turns the spotlight on Jormin as composer-arranger. Written in response to a commission to compose new sacred music, and setting exceptional poetry for Lena Willemark to sing, the musical concept expanded as Anders' unique quintet toured it through Sweden. Subsequently, the album was recorded in the large and resonant Organ Hall of the Gothenburg Music Aademy.

Pt1+Pt2

上海肯德基20年Say Yes-光阴的故事

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Cesar vallejo ： Obra poetica

Mon, 19 Oct 2009 17:34:58 +0800

诗歌朗诵西班牙语给懂西语和喜诗歌的朋友

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上海肯德基20年Say Yes-光阴的故事

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ECM NS 1871:To Be Sung on the Water

Mon, 19 Oct 2009 17:10:18 +0800

This is an extraordinarily beautiful recording. Michelle Markarski … searches out connections between past and present, always taking the road less travelled. This unaccompanied program juxtaposes works by two very different composers: three Tartini Sonatas and two pieces by Makarski’s friend Donald Crockett. ...
Makarski has a formidable but unobtrusive technique… Her tone, though adaptable to every change of colour, nuance, and intensity, has an unfailingly flawless, pristine purity, an essential element of her distinctive noble, dignified, inwardly expressive style.
Edith Eisler, Strings

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ECM 1449: A Wider Embrace

Wed, 23 Sep 2009 20:50:05 +0800

This is an interesting disk by the Trevor Watts-led Moire Drum Orchestra, consisting of the English saxophonist, a Scottish bassist, and five Ghanians who double on various percussion instruments and traditional wooden flutes. Most of the pieces are largely based on Ghanian folk melodies and on the folk-jazz continuum the playing is closer to "folk" than to "jazz." In contrast, the original compositions by Watts sound more like traditional jazz. An oddball rendition of "The Rocky Road to Dublin" rounds out the collection. (Review from Amazon)

Pt1+Pt2

A Life of Musical Integrity

By Trevor Watts

It's always been important for me to follow my muse, whatever that is. It seems to manifest itself in a subconcious need to do something, change something, explore something. Entwined with a feeling of staving off habit, boredom and self satisfaction. The need to explore new avenues for oneself. These new avenues may not be so for others. But I have always been a great believer in discovering for yourself. More fun that way, and who's to say it's wrong? Probably comes from a background in the industrial North of England in the '50s when there was very little "live" music around, and only a prospect of a job in a factory for the rest of your life. As someone who left school at 15 this was not for me. I wanted to play like the musicians on the 78s I heard that my Dad introduced me to from his sojourn in Canada and the USA in the late '20s and early '30s. Ellington, Tex Beneke, Artie Shaw, Nellie Lutcher, Nat King Cole, Tommy Dorsey, Mills Bros, Fats Waller, etc. I had no awareness of a career in music, just the spirit of what was being played.

This has stayed with me even today. And whatever anyone else feels about the various directions I've gone for, I personally feel that I've retained my integrity. Call it naive if you like. The need to play freely improvised music came at the right time in the early '60s. Before we came on the scene and helped change things through groups like the Spontaneous Music Ensemble and Amalgam, it was very much a jazz history in the U.K. of second hand USA style jazz. Often played well, but not good enough for our generation, like a lot of other things weren't good enough in those days.

We stuck it out at the experimantal Little Theatre Club. My group Amalgam from around 1976 experimented with a rock drummer, noise guitar player, funky bassist and my saxes. Some people thought I'd sold out, but to me, that music would never be commercial in the real sense. If I'd tried for that I'd have done it better. It was always done with the feeling of what would it be like with this group of people. We were all experimenting from our different corners, and discovering aspects of each others playing that we wouldn't have otherwise. I then moved onto the original Drum Orchestra in 1980 which had Steeleye Span violinist Peter Knight. Pete was a friend of mine from the '60s and took an interest at the time of the group's formation in improvised music, which he'd never done. Liam Genockey the drummer stayed on from before and I added Ernest Mothle, a South African upright bassist, and Mamadi Kamara and Nana Tsiboe on African percussion. Again to see how this combination would apply itself to improvising. Some very wild nights, and very exciting. This eventually led to my Moire Music Drum Orchestra with five Ghanaian percussionists, which again began as an improvising situation, but with African rhythm obviously. The only two deliberately more compositionally based groups was the Moire Music 10 & 14 pieces, and my current Celebration Band that recently had a lot of success in America. I feel I've kept that thread of integrity the whole way through whether promoters or fans are into it or not, at least I assure them that that's what they'll hear when they come to listen to any group of mine. No point in letting that drop now. It's been done through a mix of getting other jobs in the first place, but not since 1968, social security benefits, a helpful partner, and looking for that position in life where I'd never overstretch my resources. Eating cheaper food, not getting too stretched with rent, etc.

I always looked for this, and whilst I know there are others less fortunate than myself, there's others who say they need X amount of money, that they'd like to be able to do what I do but can't. Well it hasn't been easy, but it can be done. I feel as though I understand and have retained the true spirit and integrity of jazz music, something I heard and was taken with so long ago. The music told me right from the start "Be yourself". So many musicians want to be someone else, and of course it's good to study others. But to try and find your own voice is THE KEY. So many colleges knock the stuffing out of people; they learn all the tools of the trade, and then what. Get a career in music I suppose. Well, good luck in that respect. I always wanted to win through by playing music exactly the way I wanted to, irrespective of fashion. I'm still trying to make that wider breakthrough, because I believe the fans and promoters anywhere will really enjoy the music of my current project Trevor Watts and the Celebration Band, as was recently proved on our recent USA/Canada tour. Who knows, we may even get a gig in New York one day. But no compromises here.

上海肯德基20年Say Yes-光阴的故事

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ECM 1977:Pierre Favre Ensemble_Fleuve

Thu, 17 Sep 2009 20:08:28 +0800

It is hardly surprising that the musician who produced such unexpected colours and textures as a solo act and from a percussion quartet should find so many possibilities in the almost wilfully unconventional instrumentation employed for this edition of the Ensemble. BBC Music Magazin

Subtle, with lovely dynamics and beautifully balanced colours, ultimately it burns with more light than heat.Irish Times

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上海肯德基20年Say Yes-光阴的故事

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ECM NS 1695:Lux Aeterna

Wed, 02 Sep 2009 23:28:17 +0800

Personnel
Patrick Demenga cello
Thomas Demenga cello

The prodigiously gifted cellist brothers from Berne, Switzerland, in a rare duo programme - with première recordings of new music by Alexander Knaifel and Barry Guy, and compositions by Roland Moser, Thomas Demenga and Jean Barrière. As England's The Strad noted, "Few are prepared for the sensational panache, dazzling virtuosity and sheer musicianship that characterises the Demenga brothers' playing."

live recording(pLay Barriere Sonata No.10) http://www.youtube.com/watch?v=5sQLdWBYgxQ

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ECM NS 1893: Stephen Stubbs_Teatro Lirico

Fri, 07 Aug 2009 22:11:51 +0800

With this recording American lutenist Stephen Stubbs makes his ECM debut as leader of his own ensemble. His first ECM New Series appearance was on the album of troubadour songs “Proensa” with Paul Hillier. On the Dowland Project records “In Darkness Let Me Dwell” and “Care-Charming Sleep” he can be heard alongside John Potter, John Surman, Maya Homburger and Barry Guy.

Reviews:

Stephen Stubbs ... has put together a risky but irresistible project of a kind that has lately become standard operating procedure at ECM. Instead of a traditional early-music program Mr. Stubbs and his period-instrument chamber band, Teatro Lirico, offer an extended fantasy built on musical free association. … Though the program is essentially Italian, it ends with dances from a 17th-century Slovak manuscript and a guitar piece by Mr. Stubbs. … Amid all this, Mr. Stubbs and company offer two imaginative deftly played improvisations on “Folias d’Espagnas”, a chord progression on which many Baroque works are built… But the improvisatory spirit is not confined to these: the players take every opportunity to embellish the formal works as well. … The playing is tight and shapely. In the improvised pieces, the musicians work together with the unity of purpose a listener expects of a good jazz ensemble.
Allan Kozinn, The New York Times

Another method of forging new music from early sources is to improvise around them, as Stephen Stubbs’ Teatro Lirico ensemble does on the celebrated “Folia bass”, a hypnotic chord pattern that became popular at the close of the 16th century. Stubbs, a skilled baroque guitarist, encourages his players to perform with laudable ease of gesture both in improvisation and in attractive, low-key written works.
Rob Cowan, The Independent

Much of this disc is devoted to improvisations on La Follia; it begins with an elaboration of a slow section of Corelli’s op 5/12, and subsequent returns to take up the theme the same manner, which is sonorous and laid back, beautiful but self-indulgent.... The performers are subtle, and play with the listener’s expectations.
Clifford Bartlett, Early Music Review

U won't miss this one,trust me.值得一听。

CD1+CD2

上海肯德基20年Say Yes-光阴的故事

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Early Years of Ketil Bjørnstad Ⅲ: Old

Wed, 05 Aug 2009 18:16:54 +0800

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Early Years of Ketil Bjørnstad Ⅱ:Seafarer's Song

Tue, 30 Jun 2009 16:09:15 +0800

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