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| 6.177 Ft
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| 1. | Solitary Woman
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| 2. | Anthem
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| 3. | Haunted
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| 4. | The Lutemaker
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| 5. | Simone
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| 6. | Gloria's Step
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| 7. | Four Comets, Pt. 1
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| 8. | Four Comets, Pt. 2
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| 9. | Four Comets, Pt. 3
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| 10. | Four Comets, Pt. 4
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| 11. | Raffish
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| 12. | Very Late
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| 13. | The Prowler
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| 14. | Three Comments, Pt. 1
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| 15. | Three Comments, Pt. 2
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| 16. | Three Comments, Pt. 3
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| 17. | Goodbye Pork Pie Hat
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Jazz / Folk-Jazz; Third Stream; Modern Creative
Recorded: February 2000, Rainbow Studio, Oslo, Norway
A new solo album from one of the great masters of the acoustic guitar, recorded in Oslo early last year. Ralph Towner has appeared in many contexts for ECM since 1972, but it is perhaps his outstanding solo recitals, 'Diary' (1973), 'Solo Concert' (1979), 'Ana' (1996), and now 'Anthem' which most clearly emphasise both his improvisational brilliance and his finely-wrought compositional sense.
The dictionary defines an anthem as a solemn song of praise; there are several on this disc. Most are written by Towner himself and played with the 'almost oriental sense of balance and dignity' that the New York Times long ago singled out as hallmarks of Ralph's work, but the repertoire here also includes Charles Mingus's solemn song of praise in memory of Lester Young, 'Goodbye, Pork Pie Hat' as well as 'Gloria's Step', written by the late Scott LaFaro (of Bill Evans's great bassists, the only one with whom Towner never played).
Amid the sculpted, strongly melodic songs, two sets of miniatures ' 'Four Comets' and 'Three Comments' ' for classical and 12-string guitars respectively, dazzle and flare. As ever, they resist easy categorisation, for jazz and a very personal approach to modern composition overlap in Towner's world.
In an interview with Mark Murshet the guitarist described himself as '100% improviser and composer: I work in both areas in a total way. I do completely composed pieces and I improvise completely improvised pieces. And I do pieces that are partially composed and partially improvised. Improvising is instant composition anyway, a kind of composition that you do on the fly. The difference is that with written composition you have time. You can write until you perfect it. With improvisation you take a skeletal system and work within it in real time. Often, improvised things won't have the real content of a thoroughly composed piece of music. You can improvise two voice lines and it can be very exciting. But if you have a chance to sit down and compose something of the same order, you're able to work carefully with the contrary motion, with the voice leading, and control the tension in the music even more'.
Towner's writing represents the sum of his adventures in an unorthodox biography that takes in classical composition studies (with an emphasis on serialism and Stravinsky), guitar tutelage under Karl Scheit, an intense immersion in Brazilian music, and a kind of pre-history as a pianist and as a trumpeter before he even took up the guitar (at the grand old age of 23). These experiences have left their mark upon his music, as has of course the work with ' for instance 'John Abercrombie, Keith Jarrett, Jan Garbarek, Egberto Gismonti, Gary Peacock, Eddie Gomez, Marc Johnson, Gary Burton, Weather Report, and Elvin Jones, and with Paul McCandless, Glenn Moore and the late Collin Walcott in the group Oregon. A still wider range of associates has taken in all the aesthetic positions between Freddie Hubbard and Tim Hardin, between Astrud Gilberto and John McLaughlin ' Ralph Towner has played with all of these.
'What I've assembled in my own musical world is literally that: an assembly of experience. You can hear the parts, you can hear the influences'. Of his unique 'jazz.' playing, which often maintains the illusion of multiple parts unfolding, he says,' I'll often play the bass part, the chords, the melody and a percussive 'cymbal' part all at the same time, distributed in a way that sounds like there are three or four people working on it.' It is at such moments that debts to the Bill Evans Trio are most evident. 'In a way I'm leaping from one role to another, keeping everything alive. It's like cooking four dishes on a stove. You're cooking one meal but you've got four separate things cooking at different temperatures and with different timings, so you're tending to each one. You run over and make sure you're not burning one thing while making sure something else isn't boiling over or cooking too fast. You have to tend to everything. It's a very good analogy because if you stay with one thing too long, the other things will, in musical terms, not burn up, but fade from existence. Basically, I'm touching on all these things in order to keep their existence in the listener's memory. Instead of it being a one man play, you're hearing multiple colours, qualities and characters in the music simultaneously, so you're drawn away from the fact that it's a guitar.' In brief, 'technique' in Towner's world is never empty display of virtuosity - he maintains a sense of drama and expectation in his music.
'Anthem' marks several anniversaries. Towner, born 1940 in Washington, turned 60 during the recording in Oslo's Rainbow Studios. The release of the disc ushers in the guitarist's 30th year as an ECM associate. It was 1971 when Manfred Eicher first heard the guitarist playing at The Space, a rebuilt church on New York's West Side, an encounter that led directly to the recording of the 'Trios/Solos' album. 'Anthem' also happens to be Towner's 20th album as a leader for the label (there are another three discs with the group Oregon, plus guest appearances with Keith Jarrett, Azimuth, Kenny Wheeler and Egberto Gismonti). A lot of round numbers to celebrate.
Ralph Towner - classical and 12 string guitars
Ralph Towner
Active Decades: '70s, '80s, '90s and '00s
Born: Mar 01, 1940 in Chehalis, WA
Genre: Jazz
Styles: Modern Creative, Post-Bop, Third Stream, Folk-Jazz
One of the founders of Oregon, Ralph Towner is one of the few modern jazz musicians to specialize on acoustic guitar. His playing often stretches beyond the boundaries of conventional jazz into world music and is quite distinctive. He started playing piano when he was three and trumpet at five, performing in a dance band when he was 13. Towner studied classical guitar in Vienna and played with classical chamber groups in the mid-'60s. After moving to New York in 1969, Towner worked with Jimmy Garrison, Jeremy Steig, and Paul Winter's Winter Consort (1970-1971). In the latter group, Towner first met up with Collin Walcott, Glen Moore, and Paul McCandless, and in 1971 they broke away to form Oregon, a highly versatile group that ranges from jazz and free improvisations to folk music. Towner (who guested with Weather Report in 1971 and played with Gary Burton a bit during 1974-1975) has performed and recorded with Oregon extensively since its formation, in addition to recording as a leader and with many other artists on the ECM label.
--- Scott Yanow, All Music Guide |
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