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*Super Audio CD* |
| 6.033 Ft
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| 1. | Prelude No. 1 in C major from The Well-Tempered Clavier, BWV 846
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| 2. | Italian Concerto: Allegro
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| 3. | Italian Concerto: Andante
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| 4. | Italian Concerto: Presto
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| 5. | Italian Concerto: Air on a G String
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| 6. | Italian Concerto: Toccata & Fugue in D minor
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| 7. | Italian Concerto: Pastorale in C minor
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| 8. | Italian Concerto: Jesu, Joy of Man's Desiring
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| 9. | Gavotte in B minor from Suite in D major, BWV 1068
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| 10. | Fugue No. 5 in D major
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| 11. | Gavotte in D major
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Jazz
Jacques Loussier - piano
Vincent Charbonnier -- bass
Andre Arpino -- drums
Available in multi-channel surround SACD only!
Telarc celebrates Jacques Loussier's 70th birthday with the release of The Best of Play Bach. The new year also marks the 45th anniversary of the first live Jacques Loussier Trio performance as well as the 20th anniversary of the reformed Jacques Loussier Trio.
This one-of-a-kind recording is being released in hybrid SACD only, and is the first Telarc recording to be released solely in this format. Hybrid SACD is a CD with two layers - the first containing the normal CD layer and the second containing the high definition two channel version, as well as a high definition surround sound version. This recording is compatible with CD players as well as SACD players.
"Today, when someone asks me how I got the idea of Play Bach, I'm not sure what to say," says Loussier in his extensive liner notes. "Perhaps because it came not from an idea, but quite naturally. When I think about it, I remember that I began playing the piano - Bach of course - at the age of ten, that is in 1944, the year the American army landed in France with its jeeps, its chewing gum, and its jazz music.
"An interesting coincidence. Truth be told, it has always seemed to me that jazz music flows naturally from Bach's music, so much so that I sometimes wonder if the old master from Leipzig had not, through some inspired intuition, anticipated the rhythms that were to come from the new world. Six years later, while a student at the Conservatory, I began to work on my first jazz improvisations of Bach's music. No, not during school of course, but at lunch time, at the cafeteria, when my friends would ask me.
"That's when I discovered a totally different musical approach: varied, with broad perspectives, open to all influences, sounds and techniques. In one word, freedom. I soon left the Conservatory to go find inspiration in less academic locales, first in Cuba and then in Turkey, after a prescribed tour in Algeria as a private first class in the mountain light infantry.
"Upon my return to Paris, these exotic rhythms still fresh in my mind, a question I had never bothered to answer all those years suddenly became unavoidable: what kind of career, which path to choose" Classical music? Too classical. Pop music? Not classical enough. Jazz? Come on! I'm not from New Orleans. So?
"So, that's the question I was brainstorming with Marcel Stellman and Max de Rieux one evening in 1959 at the Decca Paris studios. It was late, and we still didn't have an answer when I sat down at the piano, for no reason other than to distract myself from a conversation that was dragging on. Marcel jumped off his seat: "What's that?" "Well, it's Bach...my way", I said. Marcel glanced at Max and, two weeks later, I recorded the first Play Bach with Christian Garros and Pierre Michelot. My career as an "unclassifiable" musician was launched.
"When it was first released, Play Bach was a sensation; mixing the sacred aspect of classical music with the underground culture of jazz shocked many a purist. Today, the controversy merely brings about smiles. At the time, it didn't even bother me, I so deeply felt the themes "swing" naturally, as if invited, suggested even, by Bach's music.
"I could change the chords somewhat, I could alter the rhythms slightly and make them glide toward jazz, and it worked. It was so cool, so open, it had everything. Success was resounding, and my intuition as to Bach's music was marvelously confirmed.
"Since the 60's, the technique of the Play Bach trio has, of course, been systematized. First, out of respect for the master as much as for purely practical reasons, I start with the score. When I create an arrangement, I decide which part will be played as classical music, which part as jazz music and which pieces are suitable for piano and bass improvisation. Obviously, it's in these improvised parts that my most diverse musical influences merge together.
"Then, I pass out the scores prior to our work sessions and we always make quite a few changes along the way. There's no score for the drummer but he reads the bass one, so he can locate the caesurae.
"It took me over thirty years to master it with Bach, and a few more years to make up my mind to try it with other composers...Today, I feel the technique can be adapted to any composer. The main thing is to respect the themes while exploring their variety in order to give free rein to improvisation and to achieve the proper balance! Ravel, Satie, Debussy, Handel, and Beethoven followed, always with the same concern, just as when I played at the cafeteria at the Conservatory: to preserve the freshness of the original while creating something new, varied and different." |
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