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I Plan to Stay a Believer - The Inside Songs of Curtis Mayfield
William Parker
első megjelenés éve: 2010
(2010)   [ DIGIPACK ]

2 x CD
6.141 Ft 

 

IMPORT!
Kosaramba teszem
1. CD tartalma:
1.  I Plan To Stay a Believer
2.  If There's a Hell Below
3.  We the People Who Are Darker Than Blue
4.  I'm So Proud/Ya He Yey Ya
5.  This is My Country (Paris)
 
2. CD tartalma:
1.  People Get Ready/The Inside Song
2.  This is My Country (New York)
3.  It's Alright
4.  Move On Up
5.  Freddie's Dead
6.  New World Order
Jazz

All tracks recorded live in concert spanning: March 2001 (Paris), April 2002 (Amherst, MA), February 2007 (Chiasso, Italy), June 2008 (New York), October 2008 (Cormons & Botticino, Italy)

William Parker: bass, doson’ngoni, balofon
Hamid Drake: drums
Dave Burrell: piano
Lewis Barnes: trumpet
Darryl Foster: tenor & soprano sax
Sabir Mateen: alto & tenor sax, flute
Leena Conquest: vocals
Amiri Baraka: voice, poetry
* with guests on select tracks:
Lafayette Gilchrist: piano
Guillermo E. Brown: drums
New Life Tabernacle
Generation of Praise
Choir of Brooklyn, NY

Luciano Rossetti Photography
Steven Joerg Producer
All compositions by Curtis Mayfield (Warner-Tamerlane Pub Corp.); arranged by William Parker except Ya Hey Yey Ya and The Inside Song by William Parker (Centering Music, BMI)
Vision Festival XIII tracks recorded by Stefan Heger
Tracks 6, 7, 9, 11 mixed by & entire project mastered by Michael Marciano at Systems Two Studio, Brooklyn.

The definitive document of William Parker's The Inside Songs of Curtis Mayfield project, comprised of exuberant concert recordings spanning the past decade.
The project features interpolations of the mighty songbook of R&B/soul music legend Curtis Mayfield by an equally mighty eight-piece band, occasionally accompanied by highly inspired choirs.


I Plan To Stay A Believer is the definitive document of William Parker's The Inside Songs of Curtis Mayfield project, comprised of exuberant concert recordings spanning the past decade (2001-2008). The project features interpolations of the mighty songbook of soul music legend Curtis Mayfield by an equally mighty 8-piece band, occasionally accompanied by highly inspired choirs.

Bassist/composer William Parker is among the most active and highly regarded musicians performing today. This is the first project in his 35-year career devoted to the music of another composer. Curtis Mayfield was a prophet, a preacher, a revolutionary, a humanist, and a griot. Words that all apply to William Parker himself. Included here are two pieces from the group's very first 2001 performance in Paris with a chorus of 90 children, and another pair from New York in 2008 which feature a full gospel choir.

As Parker writes in the liner notes, "Every song written or improvised has an inside song which lives in the shadows, in-between the sounds and silences and behind the words, pulsating, waiting to be reborn as a new song." I Plan To Stay A Believer brings Curtis Mayfield's positive messages of hope and fortitude in the face of potentially overwhelming odds back into the present moment where these energies remain in great need.

The group features all long-standing compatriots of Parker's: the peerless rhythm section of Parker and drummer Hamid Drake, along with elder masters Dave Burrell on piano and poet/activist Amiri Baraka. The horn section features saxophonists Sabir Mateen & Darryl Foster and trumpeter Lewis Barnes. Deeply soulful singer Leena Conquest is also featured in Parker's Raining on the Moon group / Corn Meal Dance album. --SJ



William Parker

Active Decades: '90s and '00s
Born: Jan 10, 1952 in New York, NY
Genre: Jazz
Styles: Modern Creative, Modern Free, Free Jazz, Progressive Jazz, Avant-Garde Jazz, Free Improvisation

In the early '90s, the direct musical heirs of Taylor, Ayler, and Coleman were mostly ignored by New York jazz critics, who found more to like about the hard bop revivalists who dominated major-label recording. Hence, the public visibility of musicians devoted to an "energy music" aesthetic was minimal. Despite its low profile, however, that strain of free jazz was kept alive by a fairly large group of Lower East Side musicians, many of whom gathered around the music's pre-eminent bassist, William Parker. Parker was the scene's major catalyst for musical activity. With his wife, dancer Patricia Nicholson, and other downtown free players such as drummer Jackson Krall and pianist Mark Hennen, Parker founded the Improvisers Collective, an organization that presented free jazz in combination with other types of spontaneous performance. Beginning in 1994 (and continuing in one form or another as of this writing), the collective produced a well-received series of concerts and festivals that featured some of the city's finest free improvisers -- saxophonists Marco Eneidi, Sabir Mateen, and Daniel Carter, trumpeter Lewis Barnes, and pianist Cooper-Moore, to name a few. Parker was the fulcrum of the collective; he played in nearly all of its various ad hoc groups, and led the Collective's enormous big band, which later recorded under Parker's name as the Little Huey Creative Music Ensemble.
As a bassist, Parker is possessed of a formidable technique, albeit an unconventional one. Unlike a great many jazz bassists, Parker was not formally trained as a classical player, though he did study with three of the finest jazz players of the '60s, Jimmy Garrison, Richard Davis, and Wilbur Ware. Consequently, Parker's style is based on a tradition of self-expression and experimentation. His arco work is possibly the most fascinating aspect of his idiom; Parker excels at the creation of dense, hyperactive streaks of color, gleaned from the inherent harmonic properties of the instrument. At bottom, he is a textural player. Lyricism plays a secondary role in his work, with or without the bow. Parker's pizzicato style is overwhelmingly percussive, in intent and effect. Though he does, to an extent, serve as a harmonic anchor in his groups, his more important role is as a source of energy. Parker drives a band like few other bassists; in combination with a powerful drummer, a Parker-led rhythm section is an inexorable force.
Parker grew up in New York City. Very early in his career he formed an association with Cecil Taylor; Parker played Carnegie Hall with the pianist in the early '70s. Parker released his first album as a leader in 1979. Through the Acceptance of the Mystery Peace (on Parker's own Centering Records) featured saxophonists Charles Brackeen and Jemeel Moondoc, and violinist Billy Bang. Parker became Taylor's regular bassist in the '80s. He played on several of the pianist's European records, and on Taylor's most recent domestic major-label release, 1989's In Florescence, on A&M. Parker left Taylor in the early '90s and began working more often as a leader. He recorded a big-band record for his own label, then began releasing a series of CDs for other companies, significantly Black Saint. Beside his activities as a leader and community organizer, Parker would continue to work as a sideman through the mid-'90s; he remained the bassist of choice for downtown free players like David S. Ware, Matthew Shipp, and Rob Brown. 2000 was particularly busy for Parker as he recorded three of his own dates (Mayor of Punkville, Painter's Spring, and O'Neal's Porch) and appeared on numerous other recordings as sideman.
---Chris Kelsey, Rovi

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