(Free Improvisation) Schlippenbach Trio (Evan Parker, Paul Lovens) - Bauhaus Dessau - 2010, FLAC (tracks+.cue), lossless
Треклист:
Schlippenbach Trio (Evan Parker, Paul Lovens) - Bauhaus Dessau
Жанр: Free Improvisation
Страна-производитель диска: Switzerland
Год издания: 2010
Издатель (лейбл): Intakt
Номер по каталогу: CD 183
Страна: Germany/USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 1:02:54
Источник (релизер): собственный рип
Наличие сканов в содержимом раздачи: да
1 Bauhaus 1
2 Bauhaus 2
3 Bauhaus 3
Recorded live at Bauhaus Dessau, November 18, 2009.
Жанр: Free Improvisation
Страна-производитель диска: Switzerland
Год издания: 2010
Издатель (лейбл): Intakt
Номер по каталогу: CD 183
Страна: Germany/USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 1:02:54
Источник (релизер): собственный рип
Наличие сканов в содержимом раздачи: да
1 Bauhaus 1
2 Bauhaus 2
3 Bauhaus 3
Recorded live at Bauhaus Dessau, November 18, 2009.
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 7. November 2012, 13:28
Schlippenbach Trio / Bauhaus Dessau
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Содержание индексной карты (.CUE)
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REM DATE 2010
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Об альбоме
***
There are times when you (me) curse musicians like Evan Parker for being so damn hermetic in their playing, or like Von Schlippenbach for being far too abstract or too concrete yet hard to pigeonhole, or someone like Paul Lovens for seeming to be unconcerned about rhythm despite being a drummer, or all of them being so totally out there in their own solipsistic adventurous journey that they completely forgot they still need someone (you, me) to listen to their music and enjoy it.
Then there are times when these three icons of European avant-garde music play together and the result is magic. This is such a moment. Yes, it is abstract, it is hermetic at times, it is an adventurous journey, but one that is strangely accessible, with an openness and a kind of creamy texture (am I influenced by the cover art here? but no the music is creamy too) that is pleasing throughout.
The biggest strength of the album is its forward-moving dynamics, as opposed to the in-the-moment creation of sounds of so much free improv, that take you along, like a boat on a musical river, you're part of it, rather than watching it from the shore how things arrive and disappear, no, here you're floating along, which gives you the great pleasure of being able to follow the flux, evolve with its developments, whether through thundering rapids or ballad-like slower movements.
The biggest strength of the album is its warmth, its gentle and welcoming sound, despite its abstract nature, with Evans' tenor being quite expressive in his short staccato bursts full of multiphonic inflections and subtle nuance, or maddening hypnotic in his long circular breathing bouts, all accentuated by Lovens' storytelling on percussion, unusual, elegant and or disorienting, and Von Schlippenbach is the power that holds it all together, gives context, backbone and direction, although all three are quite volatile concepts in an environment like this one.
The biggest strength of the album is its fantastic interplay by three musicians who've seen it all, done it all, without any need to confirm themselves other than the ambition to exceed the quality of their art: to make it more eloquent, more expressive, offering new vistas into music, sound, texture, timbre ...
And now that we're at it : the biggest strength of this live album, is the enthusiastic audience that gives the three musicians the level of applause they rightly deserve.
This is music made for listeners.
***
These jazz and improvisation pioneers have performed together within various ensembles as leaders and members of numerous band aggregations for decades. Yet, pianist Alexander Von Schlippenbach’s Trio has triumphantly withstood the sands of time, spanning four decades. And the artists intuitive performances are in alignment with the stars, here on this comprehensive outing captured live in Bauhaus Dessau, Germany.
The trio’s acutely visualized artistic craftsmanship parallels Germany’s legendary Bauhaus art school, founded in 1919 via multi-phased patterns, sharp trajectories and diametrically opposed choruses. On this 2010 release Evan Parker performs solely on tenor sax, and drummer, percussionist Paul Lovens helps synchronize or decompose the various cadences with remarkable agility. In effect, Lovens lucidly demonstrates his skills and for my money should be counted among the top-five or so, improvisational drummers of all time.
Essentially, the trio bridges the gap between torrential downpours of music, underscored by emotion and passionate colloquies. The musicians execute ascending search and conquer missions, yet temper the flows into deft frameworks, especially noticeable on the 41-minute opener, "Bauhaus 1." Sparked by whirlwind flurries and 360 degree shifts in strategy the musicians inject budding cadenzas while mimicking each other’s moves and intersecting ideas.
The trio prudently tempers the dynamic via meaningful exchanges that mimic the human element. On "Bauhaus 3," Parker and Von Schlippenbach launch the events with warmly modeled choruses. Moreover, Parker’s yearning notes chart a course for a metropolitan-like hustle and bustle vibe, and they finalize the procedures with a whisper. Hence, the audience’s rousing applause sums up and reinforces the impressionable performance, although most advocates of this genre would not foresee anything less from these consummate pros.
by Glenn Astarita
***
This live exhibition, recorded November 2009 at Bauhaus Dessau, builds on the simple premise of celebrating both the 90 years of Walter Gropius' creation and the fourth decade of activity as a trio of Alexander Von Schlippenbach, Evan Parker and Paul Lovens. This notwithstanding, there's absolutely nothing in the music that could be exchanged for "official", if not plain commemorative. Over the course of an abundant hour, three of the most distinctive voices in the history of improvisation act without affectation, exploring a broad range of dynamics and relations.
Among the trio's salient traits is the cutback of gratuitous flash in creative prototypes devoid of placid anchorages. During the 42 minutes of "Bauhaus 1", for instance, we find several moments of unquiet interplay at the border between well-regulated agitation and rational investigation of a resourceful interconnection. Parker — who articulates visions exclusively through the tenor saxophone — is frequently heard tightening the reins of his renowned cyclical blizzards, channeling notes into structured spurts whose intermittence gives openings for considerate insertions by Schlippenbach and Lovens. The latter's drumming is, as always, equally vibrant and weighty in the overall economy of the playing; occasionally, he seems to choose what to play based on timbral principles rather than an ephemeral propulsive necessity. At the end of the day, he's completely right.
And then, naturally, you have Schlippenbach. A pianism that runs the expressive gamut with power, concentration, and grey-hued pensiveness: the beginning of "Bauhaus 2" is permeated by this sense of evaporating contentment, as if the musicians had suddenly decided to go for bitter realism after sharing long stretches of inspired eagerness. A total control on the mechanisms that police excessive virtuosity — never prevailing upon the unadulterated flow of imagination — is this sober master's specialty, one of the main reasons behind the longevity of this unit and, accordingly, the symbolic extent of this CD.
by Massimo Ricci
***
German pianist Alexander von Schlippenbach's free-improvising trio, with percussion Paul Lovens and British saxophonist Evan Parker, has been around on and off for a remarkable 40 years. This set was recorded at the Bauhaus – a point made much of in the liner notes, showing how Bauhaus theories on space, enclosure, beginnings and endings chime with free-improv's narrative-disrupting methods. But it's inevitable that such a long-running partnership should develop its own personal narrative, and there are passages in these three long tracks in which the players banter and echo phrases as knowingly as any regular jazzers, or even offer a kind of distorting mirror to conventional pulses and grooves. Parker plays tenor sax throughout. He's gruffly lyrical at the opening but soon opens out into his characteristic jagged runs, gutturally swerving around Lovens's clanging cymbals and Schlippenbach's Cecil Tayloresque torrents, before evaporating into soft multiphonics toward the end of the 40-minute opener. The second track develops an eerily Latin groove, while on the third, dreamy, ballad-like swoops over cymbal-edge sounds and soft piano undulations turn stormy and then reflective again. It might be a little grizzled now, but one of the great free-jazz ensembles still throbs with life.
by John Fordham
There are times when you (me) curse musicians like Evan Parker for being so damn hermetic in their playing, or like Von Schlippenbach for being far too abstract or too concrete yet hard to pigeonhole, or someone like Paul Lovens for seeming to be unconcerned about rhythm despite being a drummer, or all of them being so totally out there in their own solipsistic adventurous journey that they completely forgot they still need someone (you, me) to listen to their music and enjoy it.
Then there are times when these three icons of European avant-garde music play together and the result is magic. This is such a moment. Yes, it is abstract, it is hermetic at times, it is an adventurous journey, but one that is strangely accessible, with an openness and a kind of creamy texture (am I influenced by the cover art here? but no the music is creamy too) that is pleasing throughout.
The biggest strength of the album is its forward-moving dynamics, as opposed to the in-the-moment creation of sounds of so much free improv, that take you along, like a boat on a musical river, you're part of it, rather than watching it from the shore how things arrive and disappear, no, here you're floating along, which gives you the great pleasure of being able to follow the flux, evolve with its developments, whether through thundering rapids or ballad-like slower movements.
The biggest strength of the album is its warmth, its gentle and welcoming sound, despite its abstract nature, with Evans' tenor being quite expressive in his short staccato bursts full of multiphonic inflections and subtle nuance, or maddening hypnotic in his long circular breathing bouts, all accentuated by Lovens' storytelling on percussion, unusual, elegant and or disorienting, and Von Schlippenbach is the power that holds it all together, gives context, backbone and direction, although all three are quite volatile concepts in an environment like this one.
The biggest strength of the album is its fantastic interplay by three musicians who've seen it all, done it all, without any need to confirm themselves other than the ambition to exceed the quality of their art: to make it more eloquent, more expressive, offering new vistas into music, sound, texture, timbre ...
And now that we're at it : the biggest strength of this live album, is the enthusiastic audience that gives the three musicians the level of applause they rightly deserve.
This is music made for listeners.
***
These jazz and improvisation pioneers have performed together within various ensembles as leaders and members of numerous band aggregations for decades. Yet, pianist Alexander Von Schlippenbach’s Trio has triumphantly withstood the sands of time, spanning four decades. And the artists intuitive performances are in alignment with the stars, here on this comprehensive outing captured live in Bauhaus Dessau, Germany.
The trio’s acutely visualized artistic craftsmanship parallels Germany’s legendary Bauhaus art school, founded in 1919 via multi-phased patterns, sharp trajectories and diametrically opposed choruses. On this 2010 release Evan Parker performs solely on tenor sax, and drummer, percussionist Paul Lovens helps synchronize or decompose the various cadences with remarkable agility. In effect, Lovens lucidly demonstrates his skills and for my money should be counted among the top-five or so, improvisational drummers of all time.
Essentially, the trio bridges the gap between torrential downpours of music, underscored by emotion and passionate colloquies. The musicians execute ascending search and conquer missions, yet temper the flows into deft frameworks, especially noticeable on the 41-minute opener, "Bauhaus 1." Sparked by whirlwind flurries and 360 degree shifts in strategy the musicians inject budding cadenzas while mimicking each other’s moves and intersecting ideas.
The trio prudently tempers the dynamic via meaningful exchanges that mimic the human element. On "Bauhaus 3," Parker and Von Schlippenbach launch the events with warmly modeled choruses. Moreover, Parker’s yearning notes chart a course for a metropolitan-like hustle and bustle vibe, and they finalize the procedures with a whisper. Hence, the audience’s rousing applause sums up and reinforces the impressionable performance, although most advocates of this genre would not foresee anything less from these consummate pros.
by Glenn Astarita
***
This live exhibition, recorded November 2009 at Bauhaus Dessau, builds on the simple premise of celebrating both the 90 years of Walter Gropius' creation and the fourth decade of activity as a trio of Alexander Von Schlippenbach, Evan Parker and Paul Lovens. This notwithstanding, there's absolutely nothing in the music that could be exchanged for "official", if not plain commemorative. Over the course of an abundant hour, three of the most distinctive voices in the history of improvisation act without affectation, exploring a broad range of dynamics and relations.
Among the trio's salient traits is the cutback of gratuitous flash in creative prototypes devoid of placid anchorages. During the 42 minutes of "Bauhaus 1", for instance, we find several moments of unquiet interplay at the border between well-regulated agitation and rational investigation of a resourceful interconnection. Parker — who articulates visions exclusively through the tenor saxophone — is frequently heard tightening the reins of his renowned cyclical blizzards, channeling notes into structured spurts whose intermittence gives openings for considerate insertions by Schlippenbach and Lovens. The latter's drumming is, as always, equally vibrant and weighty in the overall economy of the playing; occasionally, he seems to choose what to play based on timbral principles rather than an ephemeral propulsive necessity. At the end of the day, he's completely right.
And then, naturally, you have Schlippenbach. A pianism that runs the expressive gamut with power, concentration, and grey-hued pensiveness: the beginning of "Bauhaus 2" is permeated by this sense of evaporating contentment, as if the musicians had suddenly decided to go for bitter realism after sharing long stretches of inspired eagerness. A total control on the mechanisms that police excessive virtuosity — never prevailing upon the unadulterated flow of imagination — is this sober master's specialty, one of the main reasons behind the longevity of this unit and, accordingly, the symbolic extent of this CD.
by Massimo Ricci
***
German pianist Alexander von Schlippenbach's free-improvising trio, with percussion Paul Lovens and British saxophonist Evan Parker, has been around on and off for a remarkable 40 years. This set was recorded at the Bauhaus – a point made much of in the liner notes, showing how Bauhaus theories on space, enclosure, beginnings and endings chime with free-improv's narrative-disrupting methods. But it's inevitable that such a long-running partnership should develop its own personal narrative, and there are passages in these three long tracks in which the players banter and echo phrases as knowingly as any regular jazzers, or even offer a kind of distorting mirror to conventional pulses and grooves. Parker plays tenor sax throughout. He's gruffly lyrical at the opening but soon opens out into his characteristic jagged runs, gutturally swerving around Lovens's clanging cymbals and Schlippenbach's Cecil Tayloresque torrents, before evaporating into soft multiphonics toward the end of the 40-minute opener. The second track develops an eerily Latin groove, while on the third, dreamy, ballad-like swoops over cymbal-edge sounds and soft piano undulations turn stormy and then reflective again. It might be a little grizzled now, but one of the great free-jazz ensembles still throbs with life.
by John Fordham
Состав
Alexander von Schlippenbach - piano
Evan Parker - tenor saxophone
Paul Lovens - drums
Evan Parker - tenor saxophone
Paul Lovens - drums