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- Djivan Gasparyan - Apricots From Eden
The master of the duduk of Armenia in a recording of rhythmic folk dances from Armenia, accompanied by other duduks and the Armenian folk drum called d'hol.
Djivan Gasparyan gained international notoriety when Brian Eno reissued his I Will Not Be Sad in This World on his Opal label in 1979. That recording, with all of its haunting, deeply ethereal, and entrancing beauty, was recorded with only two duduks -- an Armenian folk instrument that resembles the oboe -- one for the melodic improvising and song structure, and one to accompany strictly as a drone. This album, recorded in 1995 and issued in 1996, is a much more classically oriented outing. It features not only Mr. Gasparyan accompanied by another duduk player -- Vachik Avakian -- but also by a percussionist, Levon Arshakling, on the d'hol. The musical types here are much more varied as well. Produced by the celebrated Richard Hagopian, the set begins with a wedding song, "Taran Taran." The time signatures float in Armenian music, and in the intermittent times they are fixed, it is almost impossible to nail them down. Following is a series of dance tunes, but not in the celebratory sense. These are ritualistic dances and are performed ceremonially. The soundtrack that this music provides is solemn, lonely, and sketched, as the moon through clouds. When Mr. Gasparyan and company move into more celebratory territory, as they do in the love song medley "Yerevan Bagh Em Arel" and "Yes Poujour" and on the folk dance "Halay," they leave their solemnity behind, but the songs themselves becomes a kind of poetry, formal, heartfelt, and full of an elusive grandeur that is central to Eastern European music that has been touched by Asian musical systems. In sum, this is as fine a recording as Mr. Gasparyan's earlier effort, and in some ways more engaging. It should not be missed. ~ Thom Jurek, All Music Guide
Djivan Gasparyan Djivan Gasparyan was born in Solag, a village just outside the capital city of Yerevan, Armenia. He began teaching himself the duduk at age six, gaining much of his knowledge by listening to the old masters. In 1948, he joined the Tatool Altounian National Song and Dance Ensemble and also had his first professional engagement as soloist with the Yerevan Philharmonic Orchestra. Gasparyan's duduk repertoire is primarily comprised of traditional Armenian folk songs though he has composed original songs based on the poetry of Vahan Derian.
Gasparyan's other accomplishments include four Gold Medals awarded to him in the world-wide competitions organized by UNESCO. He has toured extensively throughout Europe and Asia, the Middle East, and the United States. In addition, Gasparyan is the only musician to be given the honorary title of People's Artist of Armenia which he received in 1973 from the Armenian Government.
Gasparyan's exposure to western audiences escalated after the film sound-track of Peter Gabriel's The Last Temptation of Christ incorporated the duduk with classical-rock musical idioms. Since then, Gasparyan has provided the duduk soundtrack for the movie, The Russian House, and for the cable television production, Storm and Sorrow. In addition, Gasparyan has performed with the Kronos quartet, the Los Angeles Philharmonic Orchestra, and in concerts sponsored by the World Music Institute in New York City. He is presented here performing Armenian folk songs and melodies from Armenia's ancient Pagan and Christian traditions.
The duduk is a cylindrical wooden flute of Armenia. Western scholars trace its existence back 1500 years though Soviet Armenian musicologists have found evidence dating the instrument as far back as 1200 BC. It's range is only one octave, however, it requires considerable skill to play, its dynamics controlled by constantly adjusting the lips and fingers. It has eight finger holes and one thumb hole.
In Armenia, the duduk is always made of apricot root and is built in three sizes. The smallest is 28 cm long, with a reed 9 cm long: the medium sized model is about 33 cm with a 12 cm reed: and the largest measures 40 cm with a 14 cm reed. The tuning is basically untempered and diatonic, though chromatic notes may be obtained by partially covering the finger holes. The instrument requires a specific type of double reed categorized as a split or slit-tube reed. In Armenian, the cane used to make the duduk reed is referred to as "ramish" or "yegheg" and grows abundantly along the Arax River.
The duduk has a warm, soft, slightly nasal timbre and is used in both folk songs and dance music. At least two players are used together, the second instrument holding a tonic drone called the dam; its player is called the damkash.
[01]. Taran Taran (They Carried Her Away)
[02]. Erzerum Dance Tunes
[03]. Marash Dance Tunes
[04]. Tanoum en Mayrik & Ghazakhi (They Are Carrying Me Away Mother)
[05]. Yerevan bagh em arel & Yes Poujour ((I Have Planted an Orchard in Yerevan / I am)
[06]. Halay (Folk Dance)
[07]. Pepo's Song
[08]. Tariners antsan (The Years of My Youth Have Gone)
[09]. Shalako (Folk Dance)
[10]. Djangyuloum (Divination Song)
[11]. Sourmaloui Yerk (Apricots from Eden)
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Переслать - Lucia Pulido - Cantos Religiosos y Paganos de Colombia
Lucia Pulido
Cantos Religiosos y Paganos de Colombia, 2000
On this release Satoshi Taikeshi joins Lucía Pulido in a tribute to the rich musical heritage between the Pacific and the Caribbean Sea with Indian, African and European elements, rarely heard in the Western hemisphere.
They are supported by other excellent musicians like Chris Speed, a happening clarinetist from the Knitting Factory 'hood, Cellist Michelle Kinney, who worked with Steve Tibbetts and Ikue Mori as well as with Sheryl Crow so far, Luis Bonilla, a Tromobone player who's blown his horn for Lester Bowie, Paquito D'Rivera and The United Nation Orchestra, Astrud Gilberto, Willie Colon, Ruben Blades, The Charles Mingus Big Band, Tony Bennett, Gerry Mulligan and Latin idol Marc Anthony over the past years, Bassist Jairo Moreno and multi-instrumentalist Ihan Betancourt. Together they have brought to life a very special kind of music, as is outlined by music-ethnologist Manuel Zapata Olivella in the liner notes: "The real treasure of El Dorado lies in the unexplored richness of Colombia's musical tradition: the multi-ethnic and pluri-cultural creativity of the Amerindian, African and Hispanic Hybrid contained in this recording. [...] Instead of fomenting the systematic plundering of the musical wealth, [Pulido and Takeishi] have enriched it with orchestral arrangements. The result has been to nurture rather than despoil what has been accumulated throughout generations: cattle-herding and labor songs, licentious proclamations and carnival rhythms, slavery and servitude notwithstanding. In addition, we find the purest relgious feeling regarding life, love, and death, outcome of the African cult to the ancestors, the Amerindian cult to the deceased, and Gregorian chants to Jesus Christ, the Virgin Mary, the Saints and Souls. [...]" As is further explained by Producer Brian Ales (who himself has released three most fascinating albums with intuition so far): "These are songs out of the past, pagan songs from a beautiful and troubled country I myself have never been to. It's ironic that these fundamentally human and (in in the best sense of the word) 'non-cosmopilitan' songs could really only have been given a bit of a new life in a place as cosmopolitan as New York City: arranged by a Japanese, sung by a Colombian, produced by an American, and released by a German record company. The result is a music you haven't heard before. What Satoshi and Lucia are doing here is a singular experience, and a singular pleasure."
The music of Lucía Pulido pays homage to the "chirimía", one of the many types of Colombian street bands, through a highly experimental style. Traditional genres such as cumbia and bullerengue from the Atlantic Coast, currulaos from the Pacific Coast as well as joropos of the Colombian Eastern Plains are the point of departure for musical creativity.
Lucía's vocal sophistication is enhanced in genres such as herding songs (cantos de vaquería), funeral laments (alabaos) and harvest chants (cantos de zafra) which give the singer the liberty to explore her voice fully.
Lucía Pulido also performs songs written for her by composers Iván Benavides and Sebastián Cruz. Cruz is currently the ensemble's arranger and musical director. Lucía's core performing group consists of percussion, clarinet, bass, guitar and voice.
Lucia Pulido is a Colombian singer with one of the richest voices on the international Latin American musical scene today. She has an experimental style marked by a distinct vocal sophistication, and has participated in various projects, ranging from traditional Colombian music to jazz and world music. Raul d'Gama on Latin Jazz Network says "Pulido inhabits the music with body and soul. She alone commands what it will do to the senses - all six of them, which are at once her prisoner until the song becomes the epiphany." With her ensemble she pays homage to Colombian music. Traditional genres such as cumbia, bullerengue, currulaos as well as joropos are the point of departure for musical creativity. Lucía's vocal sophistication is enhanced in genres such as herding songs (cantos de vaquería), funeral laments (alabaos) and harvest chants (cantos de zafra) which give the singer the liberty to explore her voice fully. The band's core group consists of percussion, clarinet, bass, guitar, and voice.
01. El Pilón
02. Animalito De Monte
03. En Una Tiniebla Oscura
04. Periquitos Con Arroz
05. Carmelita, Adiós
06. Agachen La Rama
07. Cantos De Vaquería
08. Auscencia
09. Porro Magangueleño
10. Zafra
11. Velo Qué Bonito
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Переслать - Helge Sunde & Norske Store Orkester - DeNada
Helge Sunde & Norske Store Orkester
DeNada, 2007
Denada, an album of big band compositions by the talented Norwegian trombonist/composer Helge Sunde, is amazingly complex and original music that brings to mind the work of Maria Schneider. In fact, had I encountered this album in a blindfold test, I would have said immediately that it was a new album by Schneider.
Sunde's music examines themes seldom explored by jazz. On the opening piece, "IO," for instance, the pontillistic opening salvos gradually give way to a swinging counterpoint. This piece is followed by the hauntingly beautiful "Requiscat in Pace," a ballad featuring Schneider-like dense chords and a tremendous, mournful solo by tenor saxophonist Atle Nymo.
The title piece is a hard-driving composition with a Latin underbeat, featuring excellent solos by Petter Wettre (alto) and Borge Are Halvorsen (baritone). Sunde explores Norwegian folk music on "Om Kvelden" ("At Dawn") and follows this with "Small Landscape," a tour de force for percussionist Marilyn Mazur.
Denada is so good that it deserves to be experienced in toto. The various compositions have an overarching flow that gives them a conceptual unity which one seldom encounters in jazz. Helge Sunde and his band have produced an album that is both thought-provoking and forward-looking, but never loses its will to swing. Denada is by far one of the best albums of big band jazz of the last decade. - William Grim
01. IO - 06:17 (Sunde, Helge)
02. R.I.P. (piano solo) - 03:06 (Sunde, Helge)
03. Requiescat in Pace (R.I.P.) - 06:56 (Sunde, Helge)
04. Denada - 07:00 (Sunde, Helge)
05. Nocturnal Nature - 01:40 (Sunde, Helge)
06. At Dawn (Om Kvelden) - 05:10 (traditional)
07. Small Landscape - 09:00 (Mazur, Marilyn)
08. Idapida - 06:26 (Sunde, Helge)
09. Lesson III - 06:21 (Sunde, Helge)
10. The Ugly... (Den Grimme) - 04:33 (Saint-Saëns, Camille)
Nils Jansen - soprano sax (solo:1), clarinet (9), flute and alto flute (3,10)
Petter Wettre - alto sax (solo:4), tenor (solo:6), soprano (3) and bass clarinet (9)
Atle Nymo - tenor sax (solo:3) and bass clarinet (9)
Børge Are Halvorsen - baritone sax (solo:4), alto (7) and flute (7,9)
Frank Brodahl, Eckhard Baur (solo: 7,10), Andres Eriksson - trumpets und fluegelhorns
Even Andersen, Øyvind Brække, Geir Arne Haugsrud - trombones
Helge Sunde - trombone solo (6,8), trumpet solo (6), tuba and french horn (9)
Olga Konkova - piano
Jens Thoresen - guitar
Per Mathisen - bass
Rune Arnesen - drums
Guest:
Marilyn Mazur - percussion
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Переслать - Abdel Halim Hafez - Abi Foq El ShagaraDespite a fairly short career, singer/movie-actor Hafez was one of the most influential Egyptian stars of the 1950s and '60s. His mellow, resonant voice, subtle vocal style and notably clean intonation marked him out, along with a liking for long, seemingly endless musical phrases. When Mohamed Abdel Wahhaab switched from singing to composition, he pretty much stepped into his shoes. Born in 1929, Abdel Halim studied at Cairo's Institute of Arabic Music and the Higher Institute for Theatre Music, and began his career teaching and playing oboe before taking aim at vocal stardom. His first hit came in 1951, and he soon signed a contract with Abdel Wahhaab to sing his songs and appear in his films. During the 1960s, he started to sing colloquial poetry more colorful and meaningful and nearer to popular folk song than ordinary pop songs, and his work on these lines had a significant influence on popular song in general. He cofounded a film company and the Saut el-Fann record label in the early '60s, and remained a major star until he died in 1977 of Bilharzia, which he had caught as a child and which had begun to affect him intermittently from 1955 onward. ~ John Storm Roberts, Rovi
1. Kady El Belag
2. Ahdan El Haybayeb
3. Ya Khaly El Qalb
4. El Hawa Hawaya
5. Gana El Hawa
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Переслать - Oum Kalthoum - RAK EL HABIBRak El Habib "My beloved become tenderhearted", 1941
Lyrics: Ahmad Ramy
Music : Mohamed Al Qasabji
Maqam : Nahawand
Genre : Ughniyah
MP3 224 kbps including Covers
HERE
Переслать - Tegoto: Japanese Koto Music
Tomoko Sunazaki
Tegoto: Japanese Koto Music
This splendid collection of recordings covers a wide spectrum of Japanese koto music; the compositions span three centuries, from ancient traditional to modern Western influenced pieces. Undoubtedly, the most impressive element of the releases is the artist herself, the world renowned Tomoko Sunazaki. She is internationally recognized as a master of the Japanese koto. From the age of six, Sunazaki was trained in the direct lineage of the famous koto performer and composer, Michio Miyagi. At the age of 14, she had already earned her teacher's license in koto from the Ikuta School. Later she earned her Bachelor and Master degrees at the Tokyo University of Fine Art, and subsequently joined the faculty there. In 1981, Madame Sunazaki was awarded a teaching degree from the Miyagi Koto school, which is a rare honor.
Michio Miyagi's works are an integral part of each of the releases in this collection, performed with respect and devotion. Miyagi was one of the first to integrate Western inspiration into koto music, an aspect Madame Sunazaki found especially important. By recording traditional Japanese music, Western classics, and the delicate blend of both, she hoped to expand the perceived limitations of the koto.
Drawing from Sound of Silk Strings (1984), Spring Night (1984) and Moon at Dawn (1986) this compilation CD presents a delicious sampling of Sunuzaki's most elegant and most exciting performances.
Special note should be taken of the beautiful release Tegoto: Japanese Koto Music. From the stunning rice paper booklet to the choice of titles, this compilation is clearly an artistic masterpiece. This sampling of Madame Sunazaki's most elegant and exciting performances is the perfect choice for the audiophile interested in koto music.
(01) Sea of Spring (Michio Miyagi) Moon at Dawn
(02) London no Yoru no Ame (Michio Miyagi) Sound of Silk Strings
(03) Shinsencho Bukyoku (Shiniche Yuize) Sping Night
(04) Koto Tanshishu (Monoru Miki) Sound of Silk Strings
(05) Tegoto (Michio Miyagi) Sound of Silk Strings
(06) Mittsu no Dansho (Kin'ichi Nakanoshima) Sound of Silk Strings
(07) Kamimu (Hozan Yamamoto) Spring Night
(08) Midare (Yatsuhashi Kengyô) Sound of Silk Strings
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Переслать - Suleyman Dâwûd - Chants d'extase en Syrie
recorded at the Great Umayyad Mosque of Ommiades of Damascus, Suleyman Dâwûd interprets an "A Capella", accompanied by his sons, of his vocal Master teacher and composer Saîd Farhât, who was the mentor of a whole generation of musicians, of sacred and profane music.
01 - Appel à la prière (al-adhân). Maqâm Hijâz.
02 - Suite sacrée (Nawba) de la Grande Mosquée des Omeyyades à Damas
1 - Muwashshah - Maqâm Bayyâti.
2 - Qasîda - Maqâm Bayyâti.
3 - Muwashshah - Maqâm Zunjurân.
4 - Qasîda - Maqâm Hijâz.
5 - Muwashshah - Maqâm Sikâh Huzâm.
6 - Qasîda - Maqâm Sikâh Huzâm.
7 - Qasîda - Maqâm Râst.
8 - Muwashshah - Maqâm Sikâh Baladî.
9 - Qasîda - Maqâm Sikâh Baladî.
10- Muwashshah - Maqâm Sûznâk.
03 - Appel à la prière (al-adhân). Maqâm Râst.
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Переслать - Can Atilla - Mevlana'dan Cagri Dans MuzigiHe was born in Ankara in 1969. In 1980, he started to attend the violin class of Hacettepe University, Ankara State Conservatory, and graduated with BA degree in 1990. In Turkey, he participated in numerous competition, festival and music organizations as composer, arranger and conductor.
His debut solo album, "Bilinçaltı" was released in 1992 and his second solo album, "Waves of Wheels" was released in 1994 in Turkey, and in United Kingdom and Europe by Midas Records Ltd. In 1995, his third solo album, "Efsaneler", and in 1996, the symphonic album version of the play score, "Kuvayi Milliye Destanı", were released. With this work, he was awarded "Avni Dilligil Best Original Play Score". In 1999, his album "AVE" was released in the Netherlands by Eat Records.
In 1997, he prepared the original scores of the movie "Bir Erkeğin Anatomisi", a film by Yavuz Özkan. For Ankara State Theatre, he prepared the original play scores of the plays "Büyük Misafir" in 1996, "4. Murat" in 1997, "Kanlı Düğün", "Ya Devlet Başa Ya Kuzgun Leşe" and "Liola" in 1998, "Goya", "Balerin", "Aşk Öldürür" and "Kanaviçe" in 1999, and "Tanrılar Erkek Olunca", "Abelard ve Heloise", "Andora" in 2000, GHETTO (Yön:Erhan Gökgücü), HAYDUTLAR (Yön:Selçuk Sazak), SEVDALI BULUT (Yön:Selçuk Sazak), MASALLARDA YENIDEN (Yön:Cahit Çagiran) and BIR CEZA AVUKATININ ANILARI (Yön:Cemil Özbayer) in 2001
He has prepared numerous scores within a period of more than ten years for the dramas and documentaries made for television channels, and currently continues to prepare.
01. Belh Afganistan 1207
02. Rüzgarlar Sustuºunda
03. Gevher Banu'nun Aski
04. Maracel Behreyn
05. Ates'in Daveti
06. Sems-i Tebrizi'nin Ardìndan
07. Isìkla Gelen
08. Kervan ve Son Yolculuk
09. Bir Meltem Esintisi
10. 1.gece melekle dans
11. Göklerin Daveti
12. 2.Gece ×ehvet Dansì
13. 3.Gece ×eytanla Dans
14. Sararmìs Yìllar
15. Yine Gel Ne Olursan Ol
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Переслать - Michael Schiefel - Don't Touch My Animals
Michael Schiefel
Don't Touch My Animals, 2006
Michael Schiefel has something of a cult following in his native Germany – and has also toured abroad quite extensively, often under the aegis of the Goethe Institute. Born in Münster in 1970, he has been working as a professional singer since the early 1990s. In 2001 he was made Professor of Vocal Jazz at the Franz Liszt Conservatory in Weimar. He sometimes works in relatively orthodox jazz settings, but he has attracted most attention with his solo albums, such as Invisible Loop (1997; Traumton CD 4426) and I Don't Belong (2000;Traumton CD 4433). With reference to both these earlier CDs – and to the one now under review – 'solo' means just that; no other musicians are involved.
Schiefel has a voice of extraordinary range and tonal variety; he can be convincing in both the soprano and baritone ranges; his voice has more than once been described as androgynous and certainly there are times when, without knowing otherwise, one would assume that the voice heard belonged to a woman. On this CD his voice is fed through a loop machine and subjected to other kinds of electronic manipulation, with the use of flangers, octavers, echo machines etc.; what sounds like an instrumental accompaniment is all vocally produced.
The results are decidedly odd – and intriguing. There is layer upon layer of sound, though with a solo voice foregrounded most of the time. Even if there are sometimes echoes of other vocalists, and even if one is tempted to make comparisons with Bobby McFerrin, for the most part Schiefel is a true original.
Judgement of jazz singers is peculiarly subjective (more than is generally the case with instrumentalists). Indeed, even a basic attempt to define the species of jazz vocalist, or to circumscribe the act of jazz singing, is an exercise fraught with serious difficulties. I'd guess that not all that Schiefel does on this CD would fall within most definitions of jazz singing. But perhaps that isn't of any great significance. More important is the question of how satisfying one finds what he does, whatever one calls it. For my tastes, his work here is too often lacking in real emotional content. There's a cleverness and knowingness, almost an excess of sophistication, which somehow acts largely – and probably not deliberately – to draw attention to the virtuosity of the how and away from the what of the singing. No doubt I am all too likely to make such a judgement because several of the tracks are sung in German (no texts and translations are provided), and I can make only limited sense of them. But even when I do understand the English words of the other tracks, my reaction is much the same. It is as if Schiefel is inhibitingly aware of how clever, how virtuosic, his work is. Vocally there is a kind of self-admiring (I don't accuse Schiefel of the same fault in terms of personality) which approaches archness, and which limits the impact of his work.
For all my reservations, there is much to enjoy here, both in terms of Schiefel's dazzling vocal technique and in terms of the moments of tenderness and brashness, of inventiveness and humour, which characterise his very considerable talent. There is much that is striking, and the CD certainly deserves a hearing. Given the notorious subjectivity of taste where jazz vocalists are concerned (after all, there are those who prefer Dinah Washington to Billie Holiday), other listeners may not share my qualms. - Glyn Pursglove
01. My Animals - 03:54 (Schiefel, Michael / Schiefel, Michael)
02. Aufm Dorf und Inner Stadt - 03:46 (Schiefel, Michael / Schiefel, Michael)
03. Walking - 03:31 (Schiefel, Michael / Schiefel, Michael)
04. Deutsch - 04:04 (Schiefel, Michael / Schiefel, Michael)
05. Do The Rumba - 03:22 (Schiefel, Michael / Hirsh, Max)
06. Mann und Mann - 04:19 (Schiefel, Michael / Schiefel, Michael)
07. Just A Little Me - 03:35 (Schiefel, Michael / Schiefel, Michael)
08. Waiting For You - 02:55 (Schiefel, Michael / Schiefel, Michael)
09. Being Lonely - 03:24 (Schiefel, Michael / Schiefel, Michael)
10. Be My Toy, Be My Joy - 03:57 (Schiefel, Michael / Schiefel, Michael)
11. Matthew - 03:40 (Schiefel, Michael / Schiefel, Michael)
12. Im Winter - 03:12 (Schiefel, Michael / Schiefel, Michael)
13. Apple Pie Queen - 03:55 (Schiefel, Michael / Schiefel, Michael)
14. Watersong - 03:34 (Schiefel, Michael / Schiefel, Michael)
Michael Schiefel – vocals (all sounds are vocals only)
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Переслать - Ida Sand - True Love
Ida Sand
True Love, 2009
Man ist bisweilen schon etwas irritiert über all die Schweden, die grandiose Krimis schreiben, hervorragende Rockbands gründen, einfallsreiche Möbel bauen - oder fantastische Jazzsängerinnen werden. Wie ist es nur möglich, dass ein Land mit so geringer Einwohnerzahl einen so überdurchschnittlichen kreativen Output erzeugt?
Eine Antwort darauf wird es an dieser Stelle nicht geben, sondern nur ein weiteres, höchst überzeugendes Argument für die aufgestellte These. Ida Sand, einst von Nils Landgren für sein Weihnachtskonzert entdeckt und engagiert, damals noch als Ida Sandlund, anschließend von ihm produziert und mit einem starken Debütalbum ("Meet me around midnight") um die Welt geschickt, gelingt mit ihrer zweiten CD "True love" ein mehr als beeindruckendes Anschluss-Album.
Die 32-jährige Stockholmerin hat bereits jetzt, zu einem überraschend frühen Zeitpunkt ihrer Karriere, einen sehr individuellen Ausdruck gefunden. Ihre fundierte Jazz-Ausbildung bildet dabei die Grundlage, doch ebenso leidenschaftlich ist sie Soul und R&B verbunden: Stevie Wonder, Aretha Franklin dürften sie dabei ebenso stark beeinflusst haben wie übrigens auch die Größen der Rock/Pop-Szene. Auf "True love", wo sich wundervolle Eigenkompositionen wie "My biggest fear", "Devil's game" oder der Titelson "True love" naht- und bruchlos unter individuell geprägte Coverversionen von Jimmy Davies ("Loverman"), Elvis Costello ("Who's gonna help brother get further") und sogar Jimi Hendrix ("Manic depression").
Es ist Ida Sand selbst, die diese sehr unterschiedlichen Vorlagen zusammenführt, bis "True love" schließlich einen einheitlichen, fließenden Sound formt. Ihre Stimme ist - bei aller Wandlungsfähigkeit zwischen hell strahlenden Balladen ("My biggest fear") und kraftvollem Soul ("Devil's game") - unverwechselbar. Dezentes Klavierspiel (Sand selbst) und zwei Gitarristen (ihr Ehemann und Album-Produzent Ola Gustafsson sowie Mattias Torell) unterstützen die klaren Linien der raffiniert-unaufdringlichen Arrangements.
Atmosphärischer Höhepunkt von "True love" ist sicherlich Sands Adaption von Neil Youngs "Heart of Gold". Den Mut, einen über die Jahrzehnte vollkommen überstrapazierten Titel (selbst Boney M. versuchten sich an diesem Song) in das eigene Repertoire aufzunehmen, kann man gar nicht hoch genug bewerten - die Fallhöhe ist enorm. Doch Ida Sand weiß, was sie tut, und sie weiß, was sie kann. So gelingt ihr dieser Evergreen mit der gleichen Souveränität und Gelassenheit, mit der sie auch "Loverman" in eine melancholische Pianoballade verwandelt, bei der sie sich nur von einer vereinsamten Trompete (Peter Asplund) begleiten lässt.
Und zudem gelingt ihr, woran gerade vor wenigen Wochen ihre kanadische Kollegin Madeleine Peyroux noch scheiterte: Ida Sand geht nicht in die Falle der Beliebigkeit. Trotz der sattsam bekannten Originale und der sensiblen Eingängigkeit ihrer eigenen Songs wirkt sie weder anbiedernd, oberflächlich noch auf geschmäcklerische Konformität getrimmt.
Irgendetwas muss wohl dran sein, dass ein Land wie Schweden immer wieder so hochklassige Musiker hervorbringt. Ida Sand jedoch ragt selbst noch aus dieser illustren Gruppe ihrer Kollegen heraus. - Michael Frost
01. Ventura Highway - 04:53 (Bunnell, Dewey)
02. Notice Me - 04:31 (Sand, Ida)
03. The Weight - 04:16 (Robertson, Robbie)
04. My Biggest Fear - 04:10 (Sand, Ida)
05. As Long As You Love Me - 04:24 (Sand, Ida)
06. Devil's Game - 04:48 (Sand, Ida)
07. Heart Of Gold - 04:03 (Young, Neil)
08. Manic Depression - 03:30 (Hendrix, Jimi)
09. Loverman - 05:34 (Davies, Jimmy / Ramirez, Roger /Sherman, James)
10. Who's Gonna Help Brother Get Further - 04:02 (Costello, Elvis / Toussaint, Allan)
11. Redemption Song - 03:36 (Marley, Bob)
12. True Love - 05:16 (Sand, Ida)
Ida Sand - vocals, grand piano, wurlizer
Ola Gustafsson - guitars
Mattias Torell - guitars
Peter Forss - electric & upright bass, violin
Per Lindvall - drums, percussion
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Переслать - The Very Best Of Guitar 3Track Listing
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[01]. Sultans Of Swing
[02]. Oh Pretty Woman
[03]. Oye Como Va
[04]. Cocaine
[05]. Badge
[06]. Evil Ways
[07]. After Midnight
[08]. Albatross
[09]. Apache
[10]. Rebel Rouser
[11]. Walk Dont Run
[12]. 40 Miles Of Bad Road
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Переслать - Call Of The Valley
PT. SHIV KUMAR SHARMA,
PT. HARIPRASAD CHAURSIA,
PT. BRIJ BHUSHAN KABRA
Call Of The Valley
CALL OF THE VALLEY is a symphony in Indian Classical music. The genius of three brilliant artistes and a collaboration of their music is exquisitely sweet and bewitchingly pleasing to the ear. It paints for us a tonal picture of gorgeous valleys, laden with tall green pine and chiner trees and sun-kissed, snow - clad peaks of the mighty Himalayas.
The three instruments that come together to present this euphorious drama are the santoor, the flute and the guitar.
The santoor is a folk instrument typical of the Kashmir valley and is extremely popular with the masses. It has over a hundred strings and is played with a pair of wooden tongs. The flute is a cylinderical piece made of bamboo with 7 holes arranged in a straight line and is considered to be Indian Classical music in the orthodox, traditional chaste style.
The three instruments are used cleverly for describing vividly a story. The guitar and the santoor also play distinct roles in the drama depicted in the music. There are two main characters - a handsome, sturdy, young lad and a charming lass, a peerless beauty that blossoms only in the Kashmir valley - head over heels in love with each other. The guitar and the santoor play the roles of the hero and heroine, respectively. The guitar with its deep tone, beautiful glides and slurs, and santoor, with its sonorously rich, silvery and tantalising sound are ideally suited to play the main leads. The flute, with an amazing range of nearly three octaves, is effectively used to depict the divinely beautiful nature in its multi-coloured splendour.
The credit for conceiving the idea goes to Pt. Shiv Kumar Sharma. It was developed in the present elaborate musical from with the help and genius of Pt. Hariprasad Chaurasia and Pt. Brij Bhushan Kabra.
(01) Ahir Bhairav(09) Bageshwari
(02) Nat Bhairav - Ektaal
(03) Piloo - Teentaal
(04) Gara - Dadra
(05) Bhoop - Jhaptaal
(06) Des - Dadra
(07) Pahadi - Kaharwa
(08) Dhun - Mishra Kirwani
(09) Bageshwari
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