  |
|
|
 |
|
2 x CD |
| 6.001 Ft
|
|
| 1. CD tartalma: |
| 1. | Roode Lion
|
| 2. | Reves d'Assadour
|
| 3. | Twin Dragons
|
| 4. | Squares, Domes and Cones
|
| 5. | Fervent Void
|
| |
| 2. CD tartalma: |
| 1. | If She Be a Wall
|
| 2. | Grey Chair and Parrots
|
| 3. | Dennis d'Or
|
| 4. | Untitled Swirl
|
| 5. | Interior A
|
| 6. | Fringe
|
| 7. | Stairway to Nowhere
|
| 8. | Interior B
|
Jazz / Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Recorded:
Disc 1: live at "Ruhr Jazz Festival Bochum", October 1991 - 56:00 min.
Disc 2: IBACH Piano Factory on two pianos with a special "diagonal tuning" - 56:00 min. Absolute must for any student of piano.
Marilyn Crispell - Piano
Georg Graewe - Piano
Alan Mosley Remastering
Ansgar Ballhorn Engineer
Barbara Freeman Cover Art
Leo Feigin Producer
Lora Denis Artwork, Design
Stefan Hackspiel Engineer
Stephan Hahn Engineer
Thomas Henke
This double-CD documents the meeting of two intuitive and frighteningly innovative musical minds (who both happen to play the same instrument) playing tuned and "detuned" pianos, one at a festival in 1991, and one at a piano factory in Germany. These duets are investigations into sonorities and tonalities that are accomplished during the act of duet improvisation. There are textures and rhythms possible only when one pianist is experiencing directly the tonal possibilities and harmonic registers in the act of responding to them. On the "tuned" set, there is so much of a musical meld, gentle competition, and sonic revelry, it's impossible to hear who is playing where; the feeling is one of confusion for the listener, but as comfort, there is a familiarity in the tones these improvisations take on. On disc one, each of the players is in a setting where they can hear themselves with familiarity; listening is an important element, but improvisatory know-how can rule the duel in a tough moment. On disc two, the "detuned" set, where the pianos are diagonally tuned -- "both pianos are tuned a quarter tone apart in their middle registers, while the lower and upper registers are stretched flat, respectively sharp, gradually, within the range of a minor second" (from the liner notes) -- no such thing is possible. Each musician is feeling his/her way through a new set of seemingly infinite tonal possibilities and equations that don't add up in the same manner. To add this kind of discovery onto a duet with a player in the same circumstances is either brave or stupid in a recording session. Pure musicality and instinct are the only components applicable with intense listening. There is the notion of dynamic, of course, but it would be too easy, too remedial to take that way out. What makes this recording so interesting to listen to is the "how" in each player's vocabulary that makes it work -- and most of the time it does very well. It may be excessive, but it's also a one of a kind document of a nearly hidden moment in musical history. ~ Thom Jurek, All Music Guide
Marilyn Crispell
Active Decades: '80s, '90s and '00s
Born: Mar 30, 1947 in Philadelphia, PA
Genre: Jazz
Styles: Opera, Modern Creative, Modern Free, Avant-Garde Jazz, Free Improvisation, Jazz Instrument, Piano Jazz
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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
