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Navidad de los Andes
Dino Saluzzi, Anja Lechner, Felix Saluzzi
első megjelenés éve: 2011
(2011)

CD
4.499 Ft 

 

IMPORT!
Kosaramba teszem
1.  Flor de tuna
2.  Sucesos
3.  Fragments from "Trio for clarinet and two bandoneons"
4.  Son qo'nati
5.  Requerdos de Bohemia
6.  Gabriel Kondor
7.  El vals de nosotros
8.  Candor / Soledad
9.  Variaciones sobre una melodia popular de José L. Padula
10.  Ronda de ninos en la montana
11.  Otono
Jazz

Recorded: July 2010

Dino Saluzzi bandoneon
Anja Lechner violoncello
Felix Saluzzi tenor saxophone

Cellist Anja Lechner and clarinet & sax man Felix Saluzzi both appeared as soloists on Dino's orchestral recording "El Encuentro" in 2009, a shared pleasure in the work leading to the formation of the present trio, a group which draws on much musical history. Brothers Dino and Felix have more than 60 years of collaborations behind them. They started making music together as children in Argentina, and Felix frequently plays in Dino's "family band" projects (as heard on ECM albums including "Mojotoro" and "Juan Condori)". Anja Lechner has worked closely with Dino since the mid-1990s, beginning with the "Kultrum" alliance between Saluzzi and the Rosamunde Quartet. She has also toured widely in duo with the bandoneonist, and recorded with him on the critically-acclaimed "Ojos Negros" in 2006. "Navidad de Los Andes" (Andean Nativity) has its own distinct character, at once simple and elusive, like the magical realist tales of the region. From the liner notes by Leopoldo Castilla: "In this beautiful musical work sound is born with the intensity of the wind and the powerful progression of the sand that preserves memories. Between these forces, the melody creates spaces that rise or cascade slowly downward like empty skies. (...) Suddenly, the tango, an outsider, with a hat and a black moon, enters the scene. A long shadow, enticed by the river of music."


If there is an actual sonic intersection between the natural world and music, then Navidad de los Andes, the collaborative recording between master bandoneonist and composer D. Saluzzi, his younger brother, saxophonist Felix Saluzzi, and German cellist Anja Lechner has perhaps found it. The brothers have been playing music together for over 60 years; Lechner has been working with the elder Saluzzi since Kultrum in the mid-'90s. Felix and Lechner were both featured soloists on Saluzzi's 2009 orchestral recording El Encuentro. That said, these previous recordings were but preparation for Navidad de los Andes, a collection of "tunes" where the boundaries between compositional jazz and structured improvisation blur. These moody, wistful pieces reflect everything from the quality of light to the mountainous landscapes of the region to village dances to historical and imagined memory. As a concept, time, in all tenses is called upon to bear witness and act as a prophet. Western classical, jazz, and Andean folk musics meld into something wholly other. The tonal possibilities inherent in Lechner's instrument are given wide range; her sonorities moves from the bowed upper ranges of the instrument, before diving, in a single moment, into plucked lower registers. They point forward always, careful to acknowledge the immediate present and nod respectfully to the past. The bandoneon is the shimmering presence of the what has gone before. Its mournful chords and sprightly touches bear witness to change, illumine its impact, and accept it all with a heart of joy as well as grief. Felix's saxophone and clarinet, though they don't appear on every track, act as a bridge instrument. He creates song-like phrases as a way of finding gravity in the ethereal investigations of the other players, and brings them into the world quietly and authoritatively, as on the haunting "Sucesos." On the gorgeous "Requerdos de Bohemia," he manifests blues inside a tango melody. On "Variaciones Sobre una Melod a Popular de Jos L. Padul," his phrases underscore not only the original motifs, but sing of the newness discovered in them by Lechner and Dino in a spacious dance of slow but dramatic movements. While the music here is often brooding, it is never less than poetic, and often approaches the sublime. ---Thom Jurek, Rovi

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