(Ethnic Jazz, Harp, Turkish, World, Neo Classical) [CD] Natalia Mann - pasif.ist - 2011, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 8. May 2015, 22:39
Mann, Natalia / Pasif.ist
Used drive  : MATSHITADVD-RAM UJ8C0   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 103
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
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       10  | 46:19.48 |  2:34.23 |    208473    |   220045
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Track 10
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==== Log checksum 6C0C6940CDFD97E8A87BA68C26509ACFCB2DA79FC11255AF13D336F4B75831E4 ====

REM GENRE "New Zealand: Classical"
REM DATE 2011
REM DISCID 8D0B750A
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 8226014002900
PERFORMER "Mann, Natalia"
TITLE "Pasif.ist"
FILE "01 - Gül Çayı.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Gül Çayı"
    PERFORMER "Natalia Mann"
    ISRC NZRA01100147
    INDEX 01 00:00:00
FILE "02 - Butterfly Effect.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Butterfly Effect"
    PERFORMER "Natalia Mann"
    ISRC NZRA01100148
    INDEX 01 00:00:00
FILE "03 - When Once the Birds.wav" WAVE
  TRACK 03 AUDIO
    TITLE "When Once the Birds"
    PERFORMER "Natalia Mann"
    ISRC NZRA01100149
    INDEX 01 00:00:00
FILE "04 - Akşam Duası.wav" WAVE
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    TITLE "Akşam Duası"
    PERFORMER "Natalia Mann"
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    INDEX 01 00:00:00
FILE "05 - Sunshine Sister.wav" WAVE
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FILE "06 - Üç Adım.wav" WAVE
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    INDEX 01 00:00:00
FILE "07 - Greenstones.wav" WAVE
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    PERFORMER "Natalia Mann"
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    INDEX 01 00:00:00
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    INDEX 01 00:00:00
FILE "09 - Time.wav" WAVE
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    PERFORMER "Natalia Mann"
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    INDEX 01 00:00:00
FILE "10 - Interlude for Grozda.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Interlude for Grozda"
    PERFORMER "Natalia Mann"
    ISRC NZRA01100156
    INDEX 01 00:00:00

Natalia Mann is known for her creative and contemporary style of harp playing. She works internationally as performer, composer, collaborator and recording artist.
Casual smiling image of Natalia Mann, against a textured wall, harp in background, grainy finish. Photograph by artist Ferhat Akay.
Natalia Lagiitaua Mann was born in New Zealand in 1975, of Samoan and Anglo-Celtic descent. She began studying classical music at the age of four when her family lived in Los Angeles, her primary instruments being harp and piano. She continued her studies in New Zealand, and at age sixteen began playing for the New Zealand Symphony Orchestra, new music ensembles, opera, ballet and theatre. Her main harp teachers were NZSO harpist Carolyn Mills (Lucille Lawrence) and later Xanya Mamunya (Alice Chalifoux) with whom she obtained her degree in classical music perfomance at the Victorian College of the Arts (Australia).
Curiosity led her to explore other forms of music, and she realised her passion for improvisation. In 1996 She moved to Melbourne, Australia where she immersed herself in the vibrant international folk and roots music scene. She collaborated with various artists in the creation of meditation music, pop, jazz, hip hop, lounge, experimental, abstract, and other contemporary styles. Celebrating her Pacific Island heritage in the process, she co-founded the award winning Samoan trio Suga, and the Brown Roots Pacific arts collective. She was an original member of the Turkish groups Gece and Unified Gecko, and the avant-garde improvisation trio Shima.
From 2005 - 2013 Mann lived in Istanbul, Turkey, working closely with virtuosic percussionist Izzet Kizil. She performed alongside Turkish classical master kanun player and composer Göksel Baktagir in their Tellerin Arasinda (Between Strings) project, a meeting of harp and kanun featuring the two musicians. During this time she was inspired to pen her own compositions in order to begin to express the many musical ideas that she had gathered. She released her first collection of pieces as the album Pasif.ist on the Rattle NZ label in 2011, which reached #4 on the NZ album charts while on national tour with Bic Runga.
Active in abstract music, Mann has worked with sound artists Ros Bandt and Erdem Helvacioglu and with avant garde saxophonist/ethnomusicologist Robert Reigle. Work and performance with mentor Richard Nunns and taonga puoro, soundworld of the Maori, enrich her perspective of this field of music, and its relationship to culture and the earth. Her documentary project Illuminations on Consciousness explores synaesthesia and collective consciousness in relation to art and nature. Inspired by the philosophical approach of John Cage, her installation Space Harp no.1 (2013) is based on his compositional processes.
Always interested in the relationship between the traditional and the avant garde, the earth and the urban, the refined and the raw, The Natalia Mann Trio with Dine Doneff (Greece/Macedonia) and Izzet Kizil (Turkey/Kurdish) was brought together to explore these dynamics. The world itself being a sonic place, and we sonic creatures, Mann's present perspective, working from Polynesia, discusses the nature of resonance and environmental harmony as an extension of the musical activity. She exhibited her first lightscores for resonance music Musique Concrete (2014) in Wellington, NZ.
Mann was recipient of the Iosefa Enari Award for Music from the Creative New Zealand Arts Pasifika Board (2013), and has been awarded grants from Creative New Zealand in support of the Pasif.ist album (2010), the Natalia Mann Trio (2013), and the upcoming Long Mann Nunns album (2014) with David Long and Richard Nunns. She was composer/performer in collaboration with the Black Grace contemporary dance company (NZ 2011).
Her work is unified under the title Weaving of Perceptions, stemming from the indigenous philosophy that a Truth is more dimensional, more resonant for being seen from not one but many perspectives.
http://www.nataliamann.com/biography.html

Natalia Mann's pasif.ist
by Alexandra Ivanoff (music journalist who contributes to Time Out Istanbul, Today’s Zaman newspaper, Andante and Jazz magazines, and MusicalAmerica.com)
Harpist/composer Natalia Mann’s exquisitely atmospheric compositions dwell in the subconscious’ netherworld. They could underscore paintings or photographs that conjure a perfumed dream where maybe only some things are familiar, but highly redolent of the unfamiliar. In general, the feeling of much of the music is soft and ambient, creating a flowing stream to jump in with eyes closed and heart open.
Indeed, Mann says: “It is my desire that people would experience pleasure when they listen to this album. That they could be taken away from the drudgery of ordinary life for a moment.” However, it is not a high-powered energetic impetus for dancing away your doldrums; on the contrary, it blissfully lifts you like a feather to float away from it all.
This album uses Turkish instruments along with Western instruments, but the former’s “Turkishness” is not apparent in traditional ways because they are being completely subsumed into another kind of texture. Using a pure approach to his sound, Sercan Halili’s relatively noninflected contributions on the kemençe in Akşam Duası don’t have any ethnic identity, per se; they are simply musical threads in the larger musical carpet, but they do add a color that can’t be found elsewhere.
However, these pieces are environmental, according to Mann, in that they were written in and under the influence of Istanbul. Listening to them, even without any prior knowledge, one can instantly feel a part of the hazy, mysterious, and sensual ambiance of Turkey, even if it’s completely drawn from one’s imagination of what Turkey might be like.
Gül Çayı (Rose Tea) is an intensely soulful piece, made so particularly by Halili’s sweet sound on the kemençe, a Turkish bowed string instrument that has its origins in Central Asia. It’s almost as if he’s absent-mindedly singing a plaintive song full of hüzün, the Turkish word for melancholy. Mann’s harp and Riki Gooch and Izzet Kızıl’s delicate percussion provide the perfect cradle for this baby.
Butterfly Effect has a chamber music feel with the bowed bass’ predominant melody accompanied by harp arpeggios and gently pulsating drums. Green Stones’ mystical setting of the Celtic harp tradition mixed with Pacific and New Zealand influences and sounds of taonga pūoro, instruments created from nature’s raw materials (the timbre of greenstone, the wing bone of an albatross, the leg bone of a dog), and Kızıl’s skillful support on drums gives us one of Mann’s most haunting creations.
When Once the Birds is a harp solo which is a paean to a time when birds had forests, which by now have been cut down, effectively forcing their migration. An almost ghoulish threnody on the edge of a primal scream, made so by some ambient tappings and scrapings from percussion; nevertheless, it keeps its animus intact with a strong adherence to its tonic chord modality, but with ghostly decor.
Akşam Duası (Evening Prayer) takes us into the imperceptibly slow descent of the sun at dusk and the ezan (prayer singer from the mosque’s minarets) via a lazy drumbeat and the kemençe’s unearthly voice. Both are joined by a more regular pulse from the harp and bass and a joyously jazzy groove is ended with the bass’ unfinished improv.
Sister Sunshine is an unabashedly major mode improvisational mix featuring Halili, who is able to swing nonchalantly on his ancient instrument. Üç Adım (Three Steps) is more in the dark ambient jazz mode where spooks may be lurking around the corner. Lucien Johnson’s chimerical soprano sax, somewhat in the background, is a sinewy siren, while his alto sax makes little side comments as Mann’s harp improvisations poke some innocent fun. But bassist Dine Doneff’s tremelo gets the last word like a scratchy cough in the dark.
This first full-length effort from Natalia Mann, as composer and leader, and her like-minded colleagues blends more than the East and West, it is a global musical collage of who she is. Her music is gently sexy, powerfully descriptive, abstract but not obtuse, and sings clearly from her soul.
http://www.rattlerecords.net/index.php?page=shop.product_details&flypage=flyp...t&Itemid=214

NATALIA MANN harp
SERCAN HALILI classic kemençe, alto kemençe
ABDULLAH SHAKAR fretless & electric basses
DINE DONEFF double bass
IZZET KIZIL percussion & drums (sponsored by Istanbul Mehmet Cymbals)
RICHARD NUNNS taonga pūoro on Green Stone
LUCIEN JOHNSON soprano & tenor saxophone on Uç Adım
SERDAR PAZARCIOĞLU violin on Butterfly Effect
RIKI GOOCH drums & percussion on Gül Cayı, Sunshine Sister, Uç Adım
NAOMI JEAN O’SULLIVAN co-writer & gongs on Time
DENIS GÜNGÖR aqua on Butterfly Effect