(Free Jazz, Avant-Garde Jazz, Free Improvisation) [WEB] Weasel Walter Large Ensemble featuring Henry Kaiser - Igneity: After The Fall Of Civilization - 2016, FLAC (tracks), lossless
Weasel Walter Large Ensemble featuring Henry Kaiser / Igneity: After The Fall Of Civilization
Жанр: Free Jazz, Avant-Garde Jazz, Free Improvisation
Год издания: 2016
Издатель (лейбл): ugEXPLODE Records
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 01:00:04
Источник (релизер): WEB
Наличие сканов в содержимом раздачи: front
http://www.cdbaby.com/cd/weaselwalterlargeensembl
Треклист:
01. Igneity 01:00:04
Released February 17, 2016
Composed by Weasel Walter / Sedition Dog Music (BMI)
Recorded at JACK, Brooklyn, NY on April 22, 2015 by Weasel Walter
Mastered by Henry Kaiser
Другие мои раздачи на трекере
Жанр: Free Jazz, Avant-Garde Jazz, Free Improvisation
Год издания: 2016
Издатель (лейбл): ugEXPLODE Records
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 01:00:04
Источник (релизер): WEB
Наличие сканов в содержимом раздачи: front
http://www.cdbaby.com/cd/weaselwalterlargeensembl
Треклист:
01. Igneity 01:00:04
Released February 17, 2016
Composed by Weasel Walter / Sedition Dog Music (BMI)
Recorded at JACK, Brooklyn, NY on April 22, 2015 by Weasel Walter
Mastered by Henry Kaiser
Состав
Weasel Walter (drums)
Henry Kaiser (guitar)
Alan Licht (guitar)
Chris Welcome (guitar)
Peter Evans (trumpet)
Steve Swell (trombone)
Dan Peck (tuba)
Jim Sauter (saxophone)
Michael Foster (saxophones)
Chris Pitsiokos (saxophone)
Matt Nelson (saxophone)
Tim Dahl (double bass)
Brandon Lopez (double bass)
Henry Kaiser (guitar)
Alan Licht (guitar)
Chris Welcome (guitar)
Peter Evans (trumpet)
Steve Swell (trombone)
Dan Peck (tuba)
Jim Sauter (saxophone)
Michael Foster (saxophones)
Chris Pitsiokos (saxophone)
Matt Nelson (saxophone)
Tim Dahl (double bass)
Brandon Lopez (double bass)
Weasel Walter
“‘Igneity’ was composed in response to Henry Kaiser asking me if I would assemble a big band, rather than a small group, for us to play a concert with in New York. I had previously included him in the large ensembles I had led when I lived in Oakland, California. However, I had not yet tackled the format in New York City. There is certainly no shortage of excellent players around here, but unlike the Bay Area, logistics tend to be somewhat more complicated, especially when it comes to rehearsal. As such, I set about devising an hour long structure which would allow me to control the general momentum and the various densities inherent in the orchestration while granting the individuals maximum freedom.”
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