- Kargatron, Jonah (and possibly others), do you know these guys ? John Edwards - double bass, cello, drum programming
Caroline Kraabel - baritone sax
Sue Lynch - tenor sax
Rosa Lynch-Northover - keyboards, percussion
Adrian Northover - soprano, sopranino and alto saxes
David Petts - tenor sax, noise generator
- "They just get better and better with each release. A sextet now (acoustic but with some discreet electronics), the compositional tone has also changed; its less austere and warmer now - though still pared back. And its beautifully recorded and mixed with a wide variety of very crafted sonorities, extremely carefully placed. This seems to be the pivot on which everything turns: a Feldmanesque integrity to every sound, sometimes offset in pieces that are built around involved but linear drum patterns that then have several defined and separated layers of activity overlaid or intertwined; some driving forward, some holding the line, some trying to break free, but it always comes back to the particularity of sounds and to the sounds having their space to be in. And stretched harmonies. Within all that, the range is wide and disparate, with a great deal of fine detail and careful use of dynamics (vertical and horizontal). Played by great (and disciplined) players. This is a very stimulating and unusual CD, very composed, with some independent parts, and theres no on else working near this ground. Plus they arent the old gang but a (relatively) new voice thats still evolving. So, time to check if you havent yet."
- Chris Cutler @ http://www.adriannorthover.co.uk/theremoteviewers.com/New%20Releases2.html
Light drones swirl around slow, beautiful melodies to form a cohesive whole. Also present in this piece are minute, interesting rhythms and percussive tones.
G.
The problem with Satie for me is that I find the Gymnopedies magical and iconically associated with Satie, and then expect everything else to sound like them and am disappointed when it doesn't. Satie should have done more Satie.
ETA, it's partly sequencing. I would have put the Gnossiennes right after the Gymnopedies. Going from Gymnopedie 3 to Je te veux seems jarring to me.
Not a complaint I've heard before, but one I can understand. Satie had more character than style. I also tend to think of him in terms of the influence he had on Les Six.
You know how sometimes you listen to something and it's just a perfect match for what your ears wanted at that moment? That was this album, a free one from a while back that I'd forgotten about, this afternoon.
-The song cycle Seven Translations (1988) combines
translations of Japanese and ancient Latin texts that render
images from the sentimental to the absurd. The cycle focuses
on experiences common to both cultures, and it views them
through a twentieth-century framework. Using scalar
manipulation, the last piece of the set, In Praise of Wine, is
dedicated to the memory of Paul Fromm.
A range of emotions is revealed in Distances Within Me
(1979), which was written in an instinctive rather than formal
manner. The composer varies density and levels of intensity
to express different sentiments evocative to the individual
listener.
- [/i]- NWR
Comments
If forced to pick a "best of the year" in jazz, this might be the one.
John Edwards - double bass, cello, drum programming
Caroline Kraabel - baritone sax
Sue Lynch - tenor sax
Rosa Lynch-Northover - keyboards, percussion
Adrian Northover - soprano, sopranino and alto saxes
David Petts - tenor sax, noise generator
- "They just get better and better with each release. A sextet now (acoustic but with some discreet electronics), the compositional tone has also changed; its less austere and warmer now - though still pared back. And its beautifully recorded and mixed with a wide variety of very crafted sonorities, extremely carefully placed. This seems to be the pivot on which everything turns: a Feldmanesque integrity to every sound, sometimes offset in pieces that are built around involved but linear drum patterns that then have several defined and separated layers of activity overlaid or intertwined; some driving forward, some holding the line, some trying to break free, but it always comes back to the particularity of sounds and to the sounds having their space to be in. And stretched harmonies. Within all that, the range is wide and disparate, with a great deal of fine detail and careful use of dynamics (vertical and horizontal). Played by great (and disciplined) players. This is a very stimulating and unusual CD, very composed, with some independent parts, and theres no on else working near this ground. Plus they arent the old gang but a (relatively) new voice thats still evolving. So, time to check if you havent yet."
- Chris Cutler @ http://www.adriannorthover.co.uk/theremoteviewers.com/New%20Releases2.html
Info @ Emusers
G.
G.
An excellent album now criminally unavailable.
Excellent chamber opera from New Amsterdam Records. Currently $5 at eMu.
G.
Followed by
G.
The problem with Satie for me is that I find the Gymnopedies magical and iconically associated with Satie, and then expect everything else to sound like them and am disappointed when it doesn't. Satie should have done more Satie.
ETA, it's partly sequencing. I would have put the Gnossiennes right after the Gymnopedies. Going from Gymnopedie 3 to Je te veux seems jarring to me.
BTW, Pascal Rog
"Electronic kosmische drone" . . .
Marvelous album.
G.
You know how sometimes you listen to something and it's just a perfect match for what your ears wanted at that moment? That was this album, a free one from a while back that I'd forgotten about, this afternoon.
Guv.
-The song cycle Seven Translations (1988) combines
translations of Japanese and ancient Latin texts that render
images from the sentimental to the absurd. The cycle focuses
on experiences common to both cultures, and it views them
through a twentieth-century framework. Using scalar
manipulation, the last piece of the set, In Praise of Wine, is
dedicated to the memory of Paul Fromm.
A range of emotions is revealed in Distances Within Me
(1979), which was written in an instinctive rather than formal
manner. The composer varies density and levels of intensity
to express different sentiments evocative to the individual
listener.
- [/i]- NWR
Thanks BN. I've walked along Wenlock Edge, lovely views!
G.