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Amaryllis
Marilyn Crispell, Gary Peacock, Paul Motian
első megjelenés éve: 2001
(2001)

CD
5.241 Ft 

 

IMPORT!
Kosaramba teszem
1.  Voice From the Past
2.  Amaryllis
3.  Requiem
4.  Conception Vessel/Circle Dance
5.  Voices
6.  December Greenwings
7.  Silence
8.  M.E.
9.  Rounds
10.  Avatar
11.  Morpion
12.  Prayer
Jazz

Recorded: February 2000

Marilyn Crispell piano
Gary Peacock bass
Paul Motian drums

Return of the great American jazz trio that delivered the poll-topping "Nothing Ever Was, Anyway" in 1997. Material heard on "Amaryllis" is by turns thoughtful, touching, joyous and viscerally exciting. Some of the songs are well known - almost classics of new jazz - including Crispell's "Rounds", Peacock's "Requiem" and "December Wings, Motian's "Conception Vessel". There are also a number of startlingly effective free improvised ballads. As leader Marilyn Crispell says, "There's a great depth of communication, a rare delicacy. " Interaction between the musicians is exceptional.

* Cheryl Koralik - Photography
* James Farber - Engineer
* Manfred Eicher - Producer
* Sascha Kleis - Cover Photo, Design

The gathering of this trio in February of 2000 guaranteed little except that they had demonstrated ably -- on Nothing Ever Was Anyway: The Music of Annette Peacock -- the ability to play together almost symbiotically. This follow-up attempts to extend the trio's reach across Peacock's music and into the terrain of the trio as an entity in and of itself. That said, not all the pieces here are new; in fact, some of them are decades old -- Marilyn Crispell's "Rounds" is from 1981, Gary Peacock's "Voices of the Past" and "December Greenwings" are both from the early '80s, and Paul Motian's "Conception Vessel/Circle Dance" is from the early '70s. The trio brings to these vintage pieces not only new eyes, but the freshness of this relationship and the willingness to reinvent them. In addition to the older works, producer Manfred Eicher asked the group to improvise a number of pieces just for the session. The results of this combination are quite remarkable. Perhaps the most noticeably gripping is the melodic invention in Crispell's playing. While it's true she has often displayed her lyrical side in free improvisation, she has never done so to this extent or with this much restraint. No matter where the improvisation goes, no matter whose tune she's playing, Crispell insists on harmony and an inventive yet attentive melodic framework as the session's basis. A shining example is on Peacock's "Voices From the Past," where his opening modal bassline is graced over by Crispell's pianistic melody, offering both line and harmony for Peacock to insert his lyric bassing. Motian uses his slip-dance on the cymbals to offer her just enough counterpoint to create a crystalline, droning melody that gleams in the darkness of the minor key signatures. On the brief title track, Crispell's tune, Peacock once again opens with the time signature and the underside of the melody. Motian joins him to usher in a minimal melodic architecture by Crispell. Short arpeggios are woven into diminished chords and the texture of the interplay. This is improvisation at its most restrained, its most closely listened to, executed with hushed yet dynamic brilliance and emotion. Crispell's "Rounds" echoes Mal Waldron and Dave Burrell in its angular architecture. Peacock takes the piece through from underneath, playing a modal counterpoint to Crispell's sharply arpeggiated harmony. The set ends with "Prayer," an anthem-like hymn. Motian taps out a restrained magisterial rhythm on his ride cymbal with satiny flourishes on the high hat, as Crispell calls Peacock forth from the middle registers and he drones his assent to a chorded melody that moves from augmented sevenths to flatted fifth to major chords. One can hear everyone from Thomas Dorsey to Bill Evans, but underneath it all, is the exacting hand (if the young Claudio Arrau played jazz, he may have sounded like this) and enormous, tender heart of Crispell, calling the piece -- and set -- to a close. More than a follow-up to their first work together, on Amaryllis, Crispell, Peacock, and Motian have established a new yet authoritative voice in melodic improvisation for the jazz trio.
--- Thom Jurek, All Music Guide



Marilyn Crispell

Active Decades: '80s, '90s and '00s
Born: Mar 30, 1947 in Philadelphia, PA
Genre: Jazz
Styles: Avant-Garde Jazz, Free Improvisation, Modern Creative, Modern Free

One of the finest modern jazz pianists, Marilyn Crispell first emerged as an exciting, adventurous soloist and composer on the free scene in the early '80s. She was a member of the Anthony Braxton Quartet during the '80s and '90s, and also led a number of her own dates (mostly for Leo and Music & Arts) during this period. Although not as widely acclaimed as she deserves to be, Crispell has nevertheless gained an increasing amount of respect and fewer write-offs simply as a pianist in the Cecil Taylor vein.
Crispell is a rarity in that she's not interested in hard bop, jazzhip-hop, or fusion. Her style, with its slashing phrases, percussive mode, clusters, and speed, pays homage to Cecil Taylor (whom she reveres) but isn't merely an imitation. She's not as dance-oriented, and her use of space, African rhythms, and chording also recall Thelonious Monk and Paul Bley, two others she cites as influences, along with Leo Smith.
Crispell started piano lessons at age seven at the Peabody Music School in Baltimore. She later studied piano and composition at the New England Conservatory in Boston. She abandoned music for marriage and medical work in 1969, but returned to the music world six years later, moving to Cape Cod after a divorce and being introduced to the sound of transitional John Coltrane (A Love Supreme) by pianist George Kahn. Crispell attended Karl Berger's Creative Music Studio and studied jazz harmony with Charlie Banacos in Boston. She met Anthony Braxton at the studio, and toured Europe with his Creative Music Orchestra in 1978, recording on his Composition 98 album in 1981. Crispell began playing solo and leading groups in the '80s, teaming with Billy Bang and John Betsch in one band. She made several albums on the Music & Arts and Leo labels, among others, working with Reggie Workman, Doug James, Andrew Cyrille, Anthony Davis, Tim Berne, Marcio Mattos, Eddie Prevost, and several others.
Crispell continued recording throughout the '90s, yielding a number of incredible albums and interesting lineups that included her Braxton Quartet bandmates Mark Dresser and Gerry Hemingway, as well as sessions with Paul Motian, Irene Schweizer, Workman, Georg Graewe, Braxton, Gary Peacock, Fred Anderson, and many others, not to mention a few solo recordings, including Live at Mills College 1995. Marilyn Crispell has performed at a large number of jazz and avant-garde festivals, occasionally as a solo artist, as with her set at FIMAV 2000 (aka Victoriaville 2000), which preceded a solo set by Cecil Taylor. Since that time she has kept busy releasing Amaryllis in 2001, Storyteller in 2004, and Vignettes in 2008.
--- Ron Wynn, All Music Guide
Weboldal:ECM Records

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