Pridružio: 27 Sep 2007 Poruke: 214 Gde živiš: Saudiska Arabija
Poslao: 10 Jan 2009 17:59 Naslov:
Miles Davis, njegova mjuza bi trebalo da bude Jazz, ne?
Nije lose za promenu, posle Heavy-a i Death-a!!!
Cuo sam, da je Jazz odlican za slusati u toku vodjenja ljubavi... Kao saksofon nesto stimulise ili sta vec... Vredi probati!!!
Pridružio: 05 Apr 2007 Poruke: 1591 Gde živiš: St.Pazova
Poslao: 25 Apr 2009 22:02 Naslov:
Kod:
AMG:
"Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones."
It’s been four years since Norwegian trumpeter/Nu Jazz progenitor Nils Petter Molvær released a studio album (excepting Re-Vision (Sula, 2008), a collection of film music). When he performed at Punkt ‘07 in Kristiansand, Norway, it was one of his final performances with his longstanding group of guitarist Eivind Aarset, live sampler Jan Bang, turntablist DJ Strangefruit and drummer Rune Arnesen. Aarset and Bang return on Hamada, but it’s a significant change for Molvær, representing a number of directional shifts and a sharp contrast to er (Sula, 2005).
Molvær’s music is cinematic in scope; soundtracks to the imagination, his albums are best experienced as an integrated whole, although there are standout features throughout these ten original tracks. “Exhumation” opens with a lone trumpet; a plaintive and darkly lyrical call enhanced by just a touch of reverb. Segueing into “Sabkah”—where soft percussion and Aarset’s tremolo’d guitar recall Ry Cooder’s folkloric soundtrack to Wim Wenders’ Paris, Texas (1984) in spirit, if not in specificity—the mood gradually becomes more atmospheric, leading into the ethereal “Icy Altitude.” Gentle, with the unique, non-guitaristic soundscapes for which Aarset has become known, its paradox of ambient beauty and spare melancholy does nothing to prepare for the harsher realms of “Friction.”
One of two tracks to feature a full group—drummer Audun Kleive creating a busy pulse far distanced from the techno/hip hop rhythms of earlier Molvær releases—”Friction” speaks with aggression and anger new to the trumpeter’s canon. Heavily processed trumpet blends with sharply distorted, noise-laden guitar textures to create an anarchism that settles down, with great respite, into “Monocline,” where Jan Bang’s field recordings of children and other processed sounds from the street lead into a Gamelan-like passage, as Molvær’s economical melodies provide a clear focus for the rich aural landscape around him.
“Soft Moon Shine” builds inevitably, with Aarset’s bass lines and the overall textures recalling trumpeter Jon Hassell’s dark, sensual space on Last night the moon came dropping its clothes in the street (ECM, 2009). Molvær’s debt to Hassell has never been so clear; still, Molvær’s distinctive tone—processed or not—and innate melodicism remain unmistakable.
“Cruel Attitude” best represents Hamada’s paradigm shift. With Kleive’s thundering pulse, bassist Audun Erlien’s throbbing bass and Aarset’s chaotic waves of sound working in concert with Molvær’s equally hard-hitting and aggravated lines, it descends into a maelstrom of sound before settling into a near-anthemic coda with unexpected progressive rock overtones, reminiscent of King Crimson’s “Coda: I Have a Dream,” from The ConstruKction of Light (DGM Live, 2000). Another solo track leads to the more atmospheric “Anticline,” reprising elements from “Monocline” to end the album on a more tranquil and optimistic note.
Hamada sounds unlike anything Molvær has done before, though it would be impossible for him to have achieved it without traveling the path he has since the groundbreaking Khmer (ECM, 1997). Stunning growth and unexpected directional shifts make Hamada one of Molvær’s most moving and challenging records to date. By John Kelman allaboutjazz
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