- "In
an act of extraordinary imagination and deep homage, the Aarhus Jazz
Orchestra (AJO) and its conductor Lars Møller take on one of the
landmark works of the 20th century, Igor Stravinsky’s The Rite of Spring.
Møller invited a former teacher, saxophone master David Liebman, and
percussion maestro Marilyn Mazur to help realize this ambitious
undertaking in both studio and live recordings.
From the “Evocation of the Ancestors” section of Stravinsky’s
original comes the rhythmic and harmonic germ for Møller’s Part 1,
“Evocation”. It starts with some subtle percussion underpinning from
Mazur’s udu drum and progresses insistently to include Liebman’s
impassioned soprano and then a blaring complement from the orchestra’s
wind and rhythm sections. Michael Bladt, an AJO veteran, takes a smoking
tenor solo and proceedings culminate in a famous chord straight from
Stravinsky.
Next, there’s a very brief “Interlude”, which features chords from elsewhere in the piece and a paean to Stravinsky’s Symphonies of Wind Instruments.
The playing is haunting and a simple pointer to the increasing drama on
the way. The live version does not include the interlude but rather an
introduction more suggestive of the original opening. Part 2, “Spring
Movement”, is rich and emotionally poignant, with an opening that feels
ancestral thanks to Mazur. The orchestral playing, somber and
atmospheric, is soon joined by the sinuous and assertive soprano, which
works with the orchestra to hypnotic effect.
“Procession” is the final part of this brilliant work and is
spectacularly colored by Mazur’s hand percussion, leading first to
sensitive, muted chords in the winds and the rest of the band and then
into an almost jam feeling with a hot guitar solo from Thor Madsen and
more of Liebman’s sparkling soprano work. The energy and motion seem
unbounded. The section and the work end as the orchestra wails to a
fade-out. It’s a stunning realization expertly played."
After the Butterfly is a concerto-like work for trumpet and an ensemble of seven instruments composed in 1979. In this recording, Mario Guarneri is soloist with an ensemble conducted by Subotnick. The piece is among his earlier works that incorporate “ghost electronics”, technology that allows for real-time processing and manipulation of amplified acoustic instruments in live performance. Independent layers of sound material are subjected to these manipulations, creating complex sonic textures of varying intensities throughout the work.
Written in 1978, The Wild Beasts was commissioned by trombonist Miles Anderson and premiered in Valencia, California with pianist Virko Baley that same year. Originally inspired by Les Fauves paintings, The Wild Beasts seeks to create “atmospheres” through gradually transforming sound palettes. The trombonist is required to perform several extended techniques, in addition to the manipulation of ghost electronics, creating an otherworldly sonic atmosphere that unfolds throughout the 27-minute work.
Well, I'm surprised that I've almost caught up with my downloads. I've been saving this one since July, hoping to find the whole thing at emusic or Bandcamp before listening to a part of it. A big thanks to @Doofy for this post back in July. I'm still planning on figuring out that soundcloud someday (I couldn't help but notice the download button). At any rate, 1973, mostly 20 years old with 3 apple crate boxes of albums (the beginning of my weight set, thanks to my first Seismic years in the Arctic) and I was really enjoying making mixes for friends. I still feel a connection with all of them (friends included)......Thanks for taking me back there!!! from dusty groove A stunner of a record from trumpeter Donald Byrd – a live set recorded at a time when the musician was sounding pretty electric on his studio sessions, but really reaching out in a spiritual way in concert performances like this! The music has a soaring, open flow that's a lot like Woody Shaw's best from the time – or maybe a bit like Lee Morgan on those majestic last few albums of his life – although Byrd definitely blows in his own familiar modes during his solos – with that focused, sharp, soulful sound that really put him on the map during the early 70s. The group's an unusual one – and a great one too – with Kevin Toney on piano, Bernard Perry on guitar, Alan Barnes on sax and flute, David Williams on bass, Keith Kilgo on drums, and Ray Armando on congas – working together beautifully on long tracks that include "Kwame", "Flight Time", "Fancy Free", and "The Good Reverend".
Ps- My oldest brother was the jazz in our family and it percolated down. I own very few Jazz albums but have enjoyed many listens. Thanks Bob!
only one left to go, not counting 6.5+/- hrs from Kenneth Kirschner. Bandcamp Oene van Geel: viola, violin. Ilya Ziblat Shay: contrabass. Michel Banabila: sampler & melodica. Keimpe de Jong: clarinet, bass clarinet, saxonett.
Comments
Thanks Greg, on my list to see, friends have a V&A card so hope to hit them with it
Just got the new Bruce Spingsteen album, Chapter and Verse, going on the player now
Very nice musical ambient field recording type release, NYOP:
https://asukrai.bandcamp.com/album/landscapes
From the Dacapo Records newsletter:
Mode Records
from https://www.eamdc.com/news/wergo-releases-the-wild-beasts-reissued-landmark-recordings-of-morton-subotnick/
After the Butterfly is a concerto-like work for trumpet and an ensemble of seven instruments composed in 1979. In this recording, Mario Guarneri is soloist with an ensemble conducted by Subotnick. The piece is among his earlier works that incorporate “ghost electronics”, technology that allows for real-time processing and manipulation of amplified acoustic instruments in live performance. Independent layers of sound material are subjected to these manipulations, creating complex sonic textures of varying intensities throughout the work.
Written in 1978, The Wild Beasts was commissioned by trombonist Miles Anderson and premiered in Valencia, California with pianist Virko Baley that same year. Originally inspired by Les Fauves paintings, The Wild Beasts seeks to create “atmospheres” through gradually transforming sound palettes. The trombonist is required to perform several extended techniques, in addition to the manipulation of ghost electronics, creating an otherworldly sonic atmosphere that unfolds throughout the 27-minute work.
Full album playlist
Olivia Block - Aberration of Light
Ps- Thanks, i really enjoyed the listen.
I could go for that.
I could really go for that.
Justin Vernon does it again.
Craig
Just out today...Satisfying if short! Guess I will have to play it twice...
Surprise Tycho releases are fun.
Craig
Today is a REALLY good day for new releases.
Craig
v/a - Space Echo: The Mystery Behind the Cosmic Sound of Cabo Verde
Modality - Endless Winter
but I can't go for that, no no,
no can do.
http://www.revolutionarysnakeensemble.org/
At any rate, 1973, mostly 20 years old with 3 apple crate boxes of albums (the beginning of my weight set, thanks to my first Seismic years in the Arctic) and I was really enjoying making mixes for friends. I still feel a connection with all of them (friends included)......Thanks for taking me back there!!!
from dusty groove
A stunner of a record from trumpeter Donald Byrd – a live set recorded at a time when the musician was sounding pretty electric on his studio sessions, but really reaching out in a spiritual way in concert performances like this! The music has a soaring, open flow that's a lot like Woody Shaw's best from the time – or maybe a bit like Lee Morgan on those majestic last few albums of his life – although Byrd definitely blows in his own familiar modes during his solos – with that focused, sharp, soulful sound that really put him on the map during the early 70s. The group's an unusual one – and a great one too – with Kevin Toney on piano, Bernard Perry on guitar, Alan Barnes on sax and flute, David Williams on bass, Keith Kilgo on drums, and Ray Armando on congas – working together beautifully on long tracks that include "Kwame", "Flight Time", "Fancy Free", and "The Good Reverend".
Ps- My oldest brother was the jazz in our family and it percolated down. I own very few Jazz albums but have enjoyed many listens. Thanks Bob!
Bandcamp
Oene van Geel: viola, violin.
Ilya Ziblat Shay: contrabass.
Michel Banabila: sampler & melodica.
Keimpe de Jong: clarinet, bass clarinet, saxonett.
Mohamed Abozekry - "Karkadé"
Heaven help me, this volume from the almost 12 hour ten Holt box set is tempting me to go back and download the ten hour Minimal Piano Collection too.
Perfect palate-cleanser after Ten Holt.