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| 1. | Joven, Hermosa Y Triste
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| 2. | Surfing
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| 3. | Liberating The American People
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| 4. | Tutu Tango
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| 5. | Musik
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| 6. | Re-Arranging The 20th Century
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| 7. | Lili Marleen
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| 8. | And She Is Happy
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Jazz
Gilad Atzmon soprano sax, alto sax, clarinet, sol, trombone, shabbaabeh flute, piccolo
Frank Harrison piano
Yaron Stavi bass
Asaf Sirkis drums, bandir, riqq
Romano Viazzani accordion
Dumitru Ovidiu Fratila violin, trumpet-violin
Robert Wyatt voice, trumpet
Guillermo Rozenthuler vocals
Matthaios Tsahourides Pontic lyra, Greek bouzouki
Tali Atzmon vocals
London-based multi-reed player Gilad Atzmon thrills his listeners with a powerful, sometimes ironical combination of great bebop artistry and Mid-Eastern roots. Critic John Fordham calls him a "master of dynamics and the slow-build, mixing lyricism with hoarse, Coltranesque squalls, a combination for which he would have a formidable international reputation as a soloist alone. But his self-appointed mission to restore to jazz a cultural-political clout it had in the first bop era and in the free-jazz of the 1960s makes him something considerably bigger" (The Guardian, CD of the week). His Oriental House Ensemble has established itself as one of the leading live bands in Europe trying to restore jazz as a revolutionary art form.
After the international success of his last album "Exile" (BBC Award 2003 for "Best Jazz Album of the Year") and his first novel "Guide to the Perplexed", Gilad Atzmon dedicates his new album "musiK" to the eternal might of music itself. "musiK is music when it is stripped of its market value", he explains the album title. While music stands for Anglo-American showbiz, an American-led globalized culture and a commercially motivated industry, musiK on the other hand stands for the creation of beauty. Reminiscing the elementary meaning that music had before the rise of the music industry, this album looks for gestures of pure beauty. In a way both serious and entertaining it tries to re-arrange the music history of the 20th century - mixing tango and cabaret, Greek, Turkish and Balkan musics - thus restoring the heritage of "the lost European Aboriginal."
"Atzmon was a key presence on Robert Wyatt's Mercury-nominated 'Cuckooland', and here Wyatt returns the favour, his deadpan voice reading out a suitably Rushdie-esque narrative over a montage of war-time standards. Witty, weird, bolshy and beautiful, this is a great album"
---Time Out |
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