(Klezmer Jazz, Tzadik) Masada Quintet featuring Joe Lovano / plays Masada Book Two - Stolas (Book of Angels Volume 12) - 2009, FLAC (image+.cue), lossless

(Klezmer Jazz, Tzadik) Masada Quintet featuring Joe Lovano / plays Masada Book Two - Stolas (Book of Angels Volume 12) - 2009, FLAC (image+.cue), lossless
Masada Quintet featuring Joe Lovano / plays Masada Book Two - Stolas (Book of Angels Volume 12)
Жанр: Klezmer Jazz
Страна-производитель диска: USA
Год издания диска: 2009
Издатель (лейбл): Tzadik
Номер по каталогу: TZ 7375
Страна: USA
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:03:02
Источник (релизер): CD
Наличие сканов в содержимом раздачи: да
1 - Haamiah (04:20)
2 - Rikbiel (05:48)
3 - Psisya (08:27)
4 - Sartael (04:51)
5 - Tashriel (04:04)
6 - Rahtiel (07:56)
7 - Tagriel (13:30)
8 - Serakel (05:09)
9 - Rigal (08:59)
Лог создания рипа
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Masada Quintet Featuring Joe Lovano / Stolas: Book of Angels Volume 12
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Содержание индексной карты (.CUE)
REM GENRE "Avant Garde"
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PERFORMER "Masada Quintet Featuring Joe Lovano"
TITLE "Stolas: Book of Angels Volume 12"
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TITLE "Haamiah"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 00:00:00
TITLE "Rikbiel"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 04:20:12
TITLE "Psisya"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 00 10:07:36
INDEX 01 10:08:38
TITLE "Sartael"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 18:34:67
TITLE "Tashriel"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 23:25:27
TITLE "Rahtiel"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 27:28:54
TITLE "Tagriel"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 35:24:62
TITLE "Serakel"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 01 48:54:55
TITLE "Rigal"
PERFORMER "Masada Quintet Featuring Joe Lovano"
INDEX 00 54:01:32
INDEX 01 54:03:34
Доп. информация
Recorded and mixed by James Farber on February 22, 2009 at Avatar Studio, NYC.
Об альбоме (сборнике)
John Zorn's Masada project has blossomed over the past decade and a half, demonstrating durability in the face of multiple interpretations. The composer's stated intention to create a classic songbook, a consistent body of written work to inspire artists beyond his own performances, has been fruitful. However, most of the variations on these Hassidic-inspired tunes have been made by peers and associates who record for Zorn's own Tzadik imprint. Stolas: Book of Angels, Volume 12 stands poised to break Zorn's Masada through to the traditional mainstream, courtesy of tenor saxophonist Joe Lovano.
A highly respected traditionalist, Lovano's inclusion in this Downtown super-group is something of a coup. Interpreting some of Zorn's most accessible and sublime compositions, Lovano is joined by a quartet of Masada veterans, including trumpeter Dave Douglas, pianist Uri Caine, bassist Greg Cohen and drummer Joey Baron. No stranger to these environs, Lovano has performed and recorded with Baron and Douglas before, most notably on Flights of Fantasy, Trio Fascination Volume Two (Blue Note, 2001).
Lovano's inside-outside sensibility is readily suited to handle Zorn's mercurial detours, yet this set eschews the composer's infamous extremism, focusing instead on lush themes and opulent melodies. Mature and restrained, the quintet's tasteful performances are splendid, their solos probing and lyrical, and the rhythm section tight and responsive.
Cohen's supple bass tone provides an unwavering foundation, while Baron contributes some of his most animated work, dominating every track he solos on his pneumatic salvos on "Sartael" and "Serakel" are telling highlights. Caine's interpretations of Zorn's Yiddish themes best his own work in a similar vein; his blazing keyboard assault on "Sartael" provides dynamic contrast to the introspective ruminations of "Rigal."
Sparring and feinting with simmering intensity tempered by courteous restraint, Lovano and Douglas wax lyrical throughout this nuanced session. The expansive "Tagriel" demonstrates Lovano's expressive sensitivity with a smoldering extrapolation of hushed motifs, while Douglas unveils his most impressive solo of the date, an architecturally robust series of impassioned variations, brimming with harmonic and tonal invention.
Zorn makes a guest appearance on the dramatic "Rahtiel," almost stealing the show with his caterwauling alto. Amplifying the proceedings with his vociferous attack and ardent tone, he further proves that the original Masada Quartet could be far more capricious than the polite discourse this album suggests. Other than "Rahtiel," only the bristling, Ornettish free bop of "Sartael" invokes the primal frenzy of the original Quartet.
Calm, cool and collected, this is swinging modern jazz bolstered by congenial interplay and an exotic, Yiddish patina. Devoid of the histrionic fervor of Zorn's original Quartet recordings, Stolas: Book of Angels, Volume 12 is the Masada Songbook's most mainstream offering to date.
~ troy collins, june 29, 2009, allaboutjazz.com
After the original Masada series, John Zorn started with the Masada Song Book Two, the Book Of Angels. A series which is possibly among his best projects. The Radical Jewish Music series becomes a little repetitive, the Anniversary series was not always of the same inspired quality, but the Book of Angels is among my favorites for the variations in approach and some of the superb surprises and high quality. This is the 12th album, with the real Masada band, but with some changes. Zorn himself plays on only one track, and is replaced by no one less than Joe Lovano on sax, with Uri Caine on piano, Dave Douglas on trumpet, Greg Cohen on bass and Joey Barron on drums. This slightly altered line-up also changes the music. The compositions themselves do not vary from the known music with the usual klezmer angle, but the style is now mainstream, and hence much more accessible than anything Zorn has ever done. Nice, sweet and of course with the expected high quality delivery. Douglas is stellar.
I am not a specialist in angels, so I checked the internet to verify where all these angels keep coming from, wondering whether Zorn kept inventing names, what their characteristics are, and what their number is. From the list below, and the overview of all Book of Angels albums, you can see that
- some of the Masada song book angels do not figure in the list I found
- the Masada song book has not yet reached a third of the existing angels.
Stolas, the one that is the title for this album, is again a fallen angel, a commander of twenty-six legions of demons and he teaches astronomy (?!). The same angel may have several small changes in its names, depending on the tradition (jewish, christian, muslim). Stolas, is also Solas as listed below. Volac is the same as Valac in the list below, etc.
So, like it or not, there is potentially still a lot to come if Zorn wants to cover the whole list with songs. Also interesting to notice is that the songbook luckily covers as many, if not more, of the fallen angels, than of the good-natured ones. I have some natural sympathy for the fallen angels.
~ stef, july 10, 2009, freejazz.com
Stolas is the 12th volume in John Zorn's Book of Angels series of compositions. It's a welcome and compelling idea that he decided to re-form his stellar Masada quintet for the occasion - sort of. In addition to the rhythm section of Joey Baron and Greg Cohen, trumpeter Dave Douglas, and pianist Uri Caine, Zorn enlisted tenor sax giant Joe Lovano to replace him on all but one cut where he adds his alto, making the group a sextet. According to Aleister Crowley's The Book of the Goetia of Solomon the King, Stolas is the 36th prince of hell, commanding 26 legions of demons. He appears either as an owl or a man who teaches astronomy and the virtues of herbs and precious stones. His zodiac sign is Pisces, and his tarot card is the ten of cups. That may be so, but this music has more to do with angels than demons. Since the early Masada recordings on Avant, the group's individual members have become top-flight players, improvisers, bandleaders, and sidemen in their own right. Lovano was there long before all of them. But something happened to the free-flowing, wildly kinetic group inspired by Ornette Coleman's original quintet, and something has indeed "happened" to John Zorn. They all became outrageously great jazzmen. The rhythm section, both collectively and individually, now consists of some of the most in-demand sidemen on a wildly diverse array of projects; Douglas and Caine have been leading their own groups for decades; and Zorn has become a prolific composer of film scores and string quartets, and he writes for any number of other configurations as one of the most in-demand composers in the world. All of that is born out on Stolas, the single most beautiful album in the Book of Angels series so far and, one might argue, in the entirety of the Masada catalog.
Here Latin jazz, klezmer, Yiddish folk music, bossa nova, and other Latin jazz all come together in a seamless meld of tunes that accent the symmetry of ensemble play as much as they do an extremely advanced sense of ensemble harmonics, rhythmic invention, and, of course, tautly arranged spaces for individual improvisation check out the album's longest cut, "Tagriel," for evidence as Zorn's composition not only travels genres but centuries. The popping showcase for solos that is "Serakel" is nonetheless a grooving post-bop tune with a joyous klezmer lyric line. The sheer shimmering beauty of "Psisya," which moves from jazz ballad to bossa to Hebrew folk song and back again, is stunning. Lovano, being such a master of his instrument, is a wonderful addition to this group because of his ability to meld into any kind of ensemble whether it be a trio or an orchestra. This intimate setting provides a great showcase for his lyric sensibilities and his elegant tone with its big bottom end to shine. And that's just to name two of these nine amazing tracks. While Stolas is not completely "inside," it is far more so than most have a right to expect. For newcomers to Zorn's music, this may not sound typical of his dozens of other records, but it is a great place to start. For the veteran Zorn or Masada listener, or even those following closely the development of the Book of Angels series, you already knew this was possible, but hearing the physical evidence of it is nothing short of thrilling.
~ thom jurek, all music guide
When John Zorn conceived the second Masada songbook, one of the goals was to have the music be the star rather than the band, so he committed to recording different records with different groups, "Stolas" beyond the twelfth such volume, a record recorded by the Masada Quintet featuring Joe Lovano. Other than Lovano (featured here exclusively on tenor), the band is all Masada regulars trumpeter Dave Douglas, pianist Uri Caine, bassist Greg Cohen and drummer Joey Baron, all of whom except for Caine played with Zorn as their sax player in the great Masada quartet that documented the first book of Masada so thoroughly. This grants an interesting opportunity to hear Zorn's melodies in a familiar form, but without his distinctive voice in there. That the performance is so strong nicely validates the notion that the music can live (particularly in such a strong jazz form - many of the other successful Masada projects stray into other territories) without its composer.
Lovano is stuck in sort of a difficult position here, taking on the role of Zorn in this band, and to his credit, he sits comfortably in the band, performing with significant fire and creativity, adhering a bit closer to the downtown sound than I would have suspected. On occasion, he seems a bit out of his element (someone once said to me that the downtown guys are all about shtick, e.g. Zorn's high pitched squeals, Lovano not so much), but by and large, it's not apparent and when there is conflict, it's not to the detriment of the music. Moreover, to expectation, the other four guys in the band turn out characteristically fantastic, if a bit subdued on occasion, performances we don't get much of the Masada fury that pushes pieces higher and higher as they go on and certainly a bit of the cartoony playfulness is missing (back to that shtick thing again). But you know, not all the Masada pieces were about that stuff, even when it was the quartet playing.
What we do get is great post-bop performance after great post-bop performance-- if the old Masada band is oversimplified to Ornette does Klezmer, this is more a '50s Miles does Klezmer. Opener "Hamiah" is a great example of this, three brief post-bop styled solos by Lovano, Douglas and Caine end in a Masada style collective improv, all sandwiched between a catchy theme statement. The album continues in this vein, with great performances throughout, particularly from Douglas, who just seems to be eating this quintet arrangement up with firey solos throughout ("Tagriel" is the best example, Douglas just explodes and keeps going, it's a performance to hear). The composer sits in on bass feature "Rahtiel", duetting as an intro with Lovano (the two sound fantastic together), then providing some Zorn shtick to assist in thematic drama before turning over to a bass feature for Cohen. After my first couple listens, I decided the real gem of the record is piano feature and closer "Rigal" (which also received a violin and piano duet rendition on Malphas: Book of Angels, Vol. 3). Caine, whose own Masada Book II workout, Moloch: The Book of Angels, Vol. 6, I found a bit lacking, plays with such sensitivity and loveliness during the introduction that you're almost left disappointed that the rest of the band joins him (Douglas does take a nice turn at a solo here, but this one is Caine's feature).
All in all, "Stolas" is a highly satisfying listen and well worth the investment. It's not quite among the best of the Masada pieces (The Masada String Trio record Azazel: Book of Angels, Vol. 2 and the Secret Chiefs 3 on Xaphan: The Book of Angels, Vol. 9 come immediately to mind in that regard), but it is awfully good. Highly recommended.
~ michael stack, june 24, 2009, amazon.com
Stolas: The Book of Angels, Vol. 12 is the newest installment in John Zorn's ongoing Book of Angels series, and possibly the best yet. For most Zorn fans, I would imagine that this part of the series would be particularly exciting, as it features the studio return of the Masada Quartet (Zorn on alto sax, Dave Douglas on trumpet, Greg Cohen on bass, and the great Joey Baron on drums), with some augmentations; Joe Lovano on tenor sax replaces Zorn and pianist Uri Caine is added. Despite the relative change in the lineup, the Masada Quintet plays with all the tightness, taste and musical intuition of a band together for years. Lovano adds a more round, even tone, and isn't as aggressive or abrasive in his playing as Zorn (although he is capable of some fire). This makes for a more relaxed, evenly-tempered Masada. Uri Caine's piano adds a lot of harmonic flavor without limiting the players, and adds some interesting solos like the Cecil Taylor-like one on "Sartael". The pieces, all by Zorn, feature memorable themes, fun grooves, and plenty of space for both the individual and the ensemble to shine, as well as some entertaining, interactive out playing, although nothing really on the level of the fiery, intimidating previous Masada quartet releases. (The only things that come close are "Sartael", a speedy, energetic blowing session driven by Baron's forceful drumming, and "Rahtiel", the only piece that features Zorn on alto.) Cohen and Baron are a world-class rhythm section as always, adding plenty of propulsive force, groove, and melodic color. This is a worthy addition to the Masada catalog and a rewarding listen.
~ art johnson, november 30, 2009, amazon.com
John Zorn has recorded seemingly countless Masada songs in even more versions with different bands by 2009. This CD is perhaps 'accessible mainstream jazz' Masada, with a lineup of Joe Lovano on tenor, Dave Douglas on trumpet, Uri Caine on piano, Greg Cohen on bass, and Joey Baron on drums. It's a versatile group, but the members are very strong in mainstream jazz. The songs chosen for this disc are fairly accessible, too. John Zorn produced the disc, and also plays alto sax on one song. The end result is accessible, excellent, mainstream jazz. The group simply knocks the songs out of the park like they're at batting practice. Because Zorn had so many songs to choose from, he chose some of the best. Still, maybe a little more adventure (done well) would have helped the disc, and brought it up to a 5-star ranking. The only song one I'm not crazy about, "Rahtiel", is ironically also the one Zorn plays on. I recommend this disc to just about any jazz fan.
~ anthony cooper, september 4, 2009, amazon.com
Perdida en el desierto de Judea durante casi dos mil años, Masada fue la fortaleza donde se refugió la secta judía de los zelotes luego de su fallida rebelión contra los romanos en el siglo I. Después de su malogrado intento de emancipación del imperio, la secta, conformada por mas de mil hombres mujeres y niños, eligieron matarse unos a otros antes de caer en manos de sus enemigos. Así, con un nombre que significa resistencia, decidió llamar John Zorn en 1993 a uno de sus proyectos musicales más ambiciosos aparte, por supuesto, de sus trabajos para improvisadores, sus bandas sonoras, sus composiciones académicas y sus reciclajes inverosímiles como Naked City y Moonchild. Con Masada, John Zorn ha podido tejer un estilo casi universal basado en algunas de sus obsesiones musicales como lo son el free y el klezmer, forma de música popular judía donde se amalgamaron sonidos provenientes de los Balcanes, las tradiciones gitanas y el universo árabe.
Lo que en 1994 fue un cuarteto integrado por Dave Douglas en la trompeta, Greg Cohen en el contrabajo y Joey Baron en la batería, es hoy un complejo conglomerado de composiciones agrupadas en dos grandes libros: Masada Book I y Masada Book II: The Book of Angels, este último una serie de 300 piezas que Zorn escribió en 2004 para que fueran interpretadas por algunos de los músicos que han hecho parte activa de esa gran aventura musical denominada Masada.
Luego de 11 volúmenes en los que hemos podido apreciar a varios formatos y solistas como Masada String Trio, Bar Kokhba, Medeski Martin & Wood, Uri Caine, el dúo de Mark Feldman y Sylvie Courvoisier, el trío de Jamie Saft, Erik Friedlander, Koby Israelite, Secret Chiefs 3, Marc Ribot y The Cracow Klezmer Band, el saxofonista editó el año pasado Stolas, un registro donde se reúnen de nuevo tres de los integrantes originales del cuarteto más dos acompañantes de lujo como lo son Uri Caine en el piano y Joe Lovano en el saxo tenor. Para los que todavía piensan que John Zorn es un maniático que no soporta el sonido clásico, la invitación de Lovano desmiente cualquier mito de esta naturaleza.
Inspiradas simbólicamente en la demonología judía, los cortes de esta nueva entrega del Masada Book Two: The Book of Angels condensan toda la angustia y el éxtasis del klezmer invitándonos a un viaje reposado en algunos pasajes, melancólico en otros, e intenso en las improvisaciones.
Stolas (nombre que hace referencia al Gran Príncipe de los Infiernos que enseña la astronomía, el conocimiento de las plantas tóxicas las hierbas y las piedras preciosas) es, sin lugar a dudas, uno de los discos más “jazzeros” de toda la carrera de Zorn y, quizás, una de esas experiencias musicales inolvidables dada su belleza sobrecogedora.
~ f.l.d., febrero 22 de 2010, discoparlante2010.blogspot.com
Joe Lovano — tenor saxophone
Dave Douglas — trumpet
Uri Caine — piano
Greg Cohen — bass
Joey Baron — drums
John Zorn — alto sax on track 6
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