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2 x CD |
| 5.781 Ft
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| 1. CD tartalma: |
| 1. | Let's Sit Right Down/the Passing
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| 2. | Such Credentials As Have Become Pseudonym
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| 3. | Poem For Gretchen Ruth
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| 4. | All's Well That Ends [Excerpt]
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| 5. | Peking Widow
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| 6. | The Prince
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| 7. | What is Free To a Good Home? [For Robert Wyatt]
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| 8. | Still Trying
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| 9. | Breakfast
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| 10. | Today
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| 11. | Song Sung Long
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| 12. | Human Weather Words
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| 13. | Now Can You Tell Me or Can It Still Be Told?
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| 14. | Paint Me!
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| 2. CD tartalma: |
| 1. | Saint Dog
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| 2. | Rudders
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| 3. | Moonlake
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| 4. | Gary Brown
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| 5. | Jim
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| 6. | Saint Croix
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| 7. | Gimme
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| 8. | To the Summer In Our Hearts
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| 9. | It Must Be a Sign
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| 10. | The Hardwood
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| 11. | Today
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| 12. | Paint Me!
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| 13. | What is Free To a Good Home?
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| 14. | Now Can You Tell Me or Can It Still Be Told?
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| 15. | The Prince
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| 16. | Poem For Gretchen Ruth
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| 17. | Such Credentials As Have Become Pseydonym
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| 18. | To the Summer In Our Hearts
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| 19. | Band Introduction
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| 20. | The Hardwood
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Jazz / Rock, Jazz-Rock, Experimental Rock, Alternative/Indie Rock, Avant-Garde Jazz
Amy Denio Vocals (Background), Vocals
Ann Rupel Arranger, Bass, Vocals (Background)
Bob Appel Producer
Davey Williams Guitar, Vocals (Background)
George Cartwright Sax (Tenor), Liner Notes, Sax (Alto), Vocals (Background), Executive Producer
Hugo Dwyer Mixing
Michael Macioce Photography
Pippin Barnett Drums, Vocals (Background)
Roger Seibel Mastering
Ruth Peyser Design
Scott Gilfix Assistant Engineer
Ted Orr Editing
Tom Cora Cello, Vocals (Background)
Disc 1: CD
Disc 2: Live DVD
"Curlew’s A Beautiful Western Saddle is one of those New York genre-bending records that’s ridiculous to categorize. Whatever you call it, it’s the most delightful hour of music I’ve heard all year. To start with, the melodies are gorgeous.... The record is full of brilliant performances too...magnificent" – The Boston Phoenix
This package brings together two great releases which have been unavailable for a very long time and adds unreleased material as well, all at single disc price!
For about five years in the mid 80s/early 90s, not enough people seemed to realize that the best live band in the USA was Curlew. Their heyday featured the classic line-up of leader George Cartwright (saxes), Tom Cora (cello) (who also played with Holland's legendary art-punk band, The Ex, as well as being half of Skeleton Crew, with Fred Frith), Davey Williams (guitar), Ann Rupel (bass) and Pippin Barnett (drums). Curlew were one of the groups that defined ''the Knitting Factory sound', along with Naked City, Ronald Shannon Jackson and the Decoding Society, James Blood Ulmer, Last Exit, etc. They packed the clubs (CBGBs, Mudd Club, The Knitting Factory), toured hard throughout the world, and thrilled audiences and critics alike with their unique, infectious blend of punk-jazz/downtown sound, roadhouse blues & a distinctly Southern esthetic. A Beautiful Western Saddle was the last album by the classic lineup, and it differs from all of their other works in that it's an album of songs, with lyrics by Paul Haines (Escalator Over the Hill, Tropic Appetites, etc) and with wonderful singing by Amy Denio. For me, this is the best-ever musical usage of Paul's words (yes, even better than his great work with Carla Bley). ABWS brings the concept of the "art song" into a whole new light. The second disc releases on DVD for the very first time, the group's live video, The Hardwood. It has been remastered from the original video master files and sonically remastered as well. This is a valuable document of a amazing, long-gone scene and this is a good of a time as any for this to be rediscovered and appreciated as the best quality video that exists of the great music that came out of the early punk/jazz cauldron of NYC and the Knitting Factory in the mid-80s. Featuring an entire 80' show, The Hardwood was shot by a four camera crew on March 23, 1991 and is about as good looking of a program as was possible to get in the sweaty, unbelievably crowded, old Knitting Factory. Also included is an hour of previously unreleased footage, recorded by a local Wasington DC cable show on December 9, 1991 during the 'Saddle' tour. You get two 30' programs; one features Amy and the other is by the quintet.
"It's been awhile since anyone has written such compelling SONGS. I still can't believe (Western Saddle) is as magnificent as it is. Should be a massive hit in every kitchen...." – Mike King (Reel Recordings)
A bit of a departure for the band, this CD may be regarded by some listeners as a noble failure, although as experimental pop music it has its moments. Curlew collectively sets poems by Canadian poet Paul Haines to music, and brings in Amy Denio for guest vocals. The poems themselves are insubstantial and often a little silly, and not all of them fit comfortably into song form. (How, for example, is a songwriter or singer supposed to manage lines like "No silly lucidity/of wound/but an illicit extract of broken nose"?) A few of the song "arrangements" are also rather primitive (perhaps out of necessity), consisting of successive lines, each sung one note higher than the last -- with the lyric simply repeated itself two or three times over the course of the song. Still, Denio has a compelling, attractive voice, and Curlew's members seem to be enjoying themselves. With allowances made for the triviality (or inscrutability) of the lyrics, when Curlew is able to fit the lyrics into a half-decent tune, or even an interesting riff, the results are quite satisfying. ~ Bill Tilland, All Music Guide
Curlew
Active Decades: '80s, '90s and '00s
Born: 1979
Genre: Rock
Styles: Modern Creative, Prog-Rock, Experimental, Jazz-Rock, Experimental Rock, Alternative/Indie Rock, Avant-Garde Jazz, Avant-Prog
Curlew were formed in 1979 by George Cartwright, who has served as the group's leader, saxophonist, and main composer for nearly three decades. Although Curlew have been viewed as pioneers of New York City's so-called "downtown scene," Cartwright was born in Mississippi and has consistently brought a roadhouse R&B swagger -- not to mention the influence of early hero Ornette Coleman -- to the band's sound. Throughout the '80s and '90s, Curlew served as something of an incubator and showcase for N.Y.C. avant jazz and rock talent. The group's eponymous first album, recorded in 1980, featured Cartwright on alto, tenor, and soprano saxophones along with cellist Tom Cora, guitarist Nicky Skopelitis, bassist Bill Laswell, and drummer Bill Bacon. (In 2008 the album was re-released by Downtown Music Gallery paired with a live disc recorded at CBGB [also in 1980] and featuring Denardo Coleman on drums.)
By the mid-'80s and the release of North America on the European Moers label (later re-released by Cuneiform with live bonus tracks), the bandmembers included guitarists Fred Frith and Mark Howell along with drummer Pippin Barnett. Barnett was a founding member of the Orthotonics and later performed with Cora in the Swiss group Nimal; Cora was also a founding member of Skeleton Crew with Frith and played with many downtown artists of the era, including Eugene Chadbourne and John Zorn. Maverick keyboardist Wayne Horvitz played on Curlew's third album, Live in Berlin, a release that also saw the arrival of guitarist Davey Williams, who -- along with Barnett (and of course Cartwright) -- would remain a mainstay of the band for a number of years.
Curlew's first album of the 1990s (a studio recording released by Cuneiform) was Bee, and marked the first appearance of bassist (and vocalist on a fine rendition of Cream's "As You Said") Ann Rupel, who also played in the group No Safety. One of Curlew's more experimental releases, the 1993 A Beautiful Western Saddle, featured singer Amy Denio and lyrics by poet Paul Haines. By 1996's Paradise, drummer Barnett had been replaced by Samm Bennett, also a member of Third Person, a trio that included Cora. Bennett was also leader of the N.Y.C. jazz-rock band Chunk. In addition, Paradise featured Chris Cochrane, another member of No Safety, on second guitar. By 1998's Fabulous Drop, Bennett was gone from the drummer's chair, replaced by Kenny Wollesen, one of the most prolific drummers in New York creative jazz.
By the new millennium, most vestiges of the downtown scene had moved from the geographic center of Lower Manhattan, with punky CBGB and the late-arriving avant jazz-centered Tonic soon to disappear and the Knitting Factory long having hitched its wagon to more mainstream rock (the Stone remaining one of the few venues consistently serving up adventurous creative fare on the Lower East Side). While Brooklyn (where a lot of "downtowners" lived anyway) in many ways took over as the locus for what might have been termed downtown music in earlier decades, by then George Cartwright had moved to -- somewhat surprisingly -- the Twin Cities of Minnesota, while still fully immersed in avant jazz and keeping the Curlew story alive and ongoing.
The ironically titled Meet the Curlews (released in 2002, again on Cuneiform) featured Cartwright and Williams with a band whose members lived in places that would make the prospect of weekly rehearsals exceedingly difficult: drummer Bruce Golden (who Cartwright says is his "oldest [and] longest...musical pal") is a lifelong Mississippean, keyboardist Chris Parker lives in Memphis, and bassist Fred Chalenor (Wayne Horvitz, Hughscore) is from Seattle. In 2003 this lineup, with Minnesota guitarist Dean Granros replacing Davey Williams, appeared on Mercury, the eighth Curlew album to be released by Cuneiform. Regarding Williams, Cartwright vowed "he'll be back," suggesting the possibility of a two-guitar lineup with both Williams and Granros at some point in the future. The diverse energy of Curlew's various bandmembers has kept the group continually on the creative cutting edge throughout its history, and any particular version of the band is filled with surprises and dynamic musical interactions.
---Bill Tilland & Dave Lynch, Rovi |
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