(Modern Creative, Piano Jazz) Giorgio Gaslini - Gaslini Plays Sun Ra - 2005, FLAC (tracks), lossless
Треклист:
Giorgio Gaslini - GASLINI plays SUN RA
Жанр: Modern Creative, Piano Jazz
Страна-производитель диска: Italy
Год издания диска: 2005
Издатель (лейбл): Soul Note
Номер по каталогу: 121490-2
Аудио кодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 68:35
Наличие сканов в содержимом раздачи: да
Источник (релизер): jbc, thanks Dannyboy
1. Out in space
2. Images
3. A quiet place in the universe
4. Medicine for a nightmare
5. Yucatan
6. Kingdom of not
7. Lanquidity
8. Satellites are scanning
9. Saturn
10. When angels speak of love
11. Fate in a pleasant mood
12. The perfect man
13. Tapestry from an asteroid
14. Discipline 27
15. The satellite are spinning
16. Interstellar low ways
Giorgio Gaslini - Piano
Лог и .cue отсутствуют.
Джорджио Газлини (Giorgio Gaslini) - итальянский пианист, композитор, дирижер. Самый авторитетный представитель нового джаза в Италии, один из первых европейских джазовых музыкантов, применивших в своем творчестве додекафонию, 10-кратный лауреат премии Critics Award. Родился 29 октября 1929 года в Милане, начал выступать с 13 лет, в 16 организовал свое первое трио и в 1947 принял с ним участие в международном джазовом фестивале во Флоренции. В 1951 году закончил миланскую консерваторию, получив шесть (!) дипломов, в том числе по классам фортепиано, композиции и дирижирования. Играл в биг-бэндах. Позже увлекся "третьим течением" и стал известен в 1957, представив на фестивале в Сан-Ремо октет Tempo Relazione, музыка которого восхитила Джона Льюиса. Льюис пригласил Газлини в Ленокс (США), где молодой итальянец начал сотрудничать с такими музыкантами, как Эрик Долфи, Дон Черри, Розуэлл Радд, Стив Лэйси. В 1958-60 Газлини возглавлял ряд симфонических оркестров. В следующее десятилетие стал известен как композитор, написал музыку для нескольких десятков фильмов, наибольшую известность принес саундтрек к ленте "Ночь" (1960) Микеланджело Антониони, также работал с Дарио Ардженто, Миклошем Янчо и др. Газлини сочинял симфонии и оперы, исполнявшиеся на главных сценах Италии, в театре "Ла Скала" поставил первый итальянский джазовый балет. На родине выступал в основном со своим квартетом, пропагандируя джаз буквально повсюду - на площадях во время гуляний, на заводах, в университетах и даже в психиатрических лечебницах (за карьеру он дал более 3000 концертов в 60 странах мира). В 1971 опубликовал книгу "Тотальная музыка" и стал преподавать джазовую композицию в консерваториях Рима и Милана (именно с него началось внедрение джазовых курсов в учебную программу академических заведений Италии), впоследствии основал Фонд Газлини для поддержки молодых музыкантов и студентов. В 1976 был первым итальянским музыкантом официально приглашенным на джазовый фестиваль в США (Новый Орлеан); в 80-е гг. выступал с квинтетом и сольно. В 1991 году посетил Россию (участие в "Осенних ритмах" в Санкт-Петербурге), организовал биг-бэнд Grande Orchestra Nazionale и написал для Italian Instabile Orchestra две сюиты, получившие широкое признание в Европе: “Pierrot Solaire” и “Skies of Europe”, выпускал джазовые альбомы на Soul Note и Leo Records. 19 апреля 2002 года Президент Республики наградил музыканта золотой медалью в знак признания заслуг Газлини в сфере культуры и искусства. В 2009-ом в Италии была издана биография "Джорджио Газлини, джазовый шаман". (jazzradio, AMG, оф. сайт)
Жанр: Modern Creative, Piano Jazz
Страна-производитель диска: Italy
Год издания диска: 2005
Издатель (лейбл): Soul Note
Номер по каталогу: 121490-2
Аудио кодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 68:35
Наличие сканов в содержимом раздачи: да
Источник (релизер): jbc, thanks Dannyboy
1. Out in space
2. Images
3. A quiet place in the universe
4. Medicine for a nightmare
5. Yucatan
6. Kingdom of not
7. Lanquidity
8. Satellites are scanning
9. Saturn
10. When angels speak of love
11. Fate in a pleasant mood
12. The perfect man
13. Tapestry from an asteroid
14. Discipline 27
15. The satellite are spinning
16. Interstellar low ways
Giorgio Gaslini - Piano
Лог и .cue отсутствуют.
Лог Audiochecker
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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Started at: четверг, 24. 03. 2011. - 21:53.29
16 files found
01 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\01 Out in Space.flac
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02 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\02 Images.flac
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03 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\03 A Quiet Place in the Universe.flac
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04 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\04 Medicine for a Nightmare.flac
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05 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\05 Yucatan.flac
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06 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\06 Kingdom of Not.flac
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07 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\07 Lanquidity.flac
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08 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\08 Satellites are Scanning.flac
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09 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\09 Saturn.flac
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10 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\10 When Angels Speak of Love.flac
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11 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\11 Fate in a Pleasant Mood.flac
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12 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\12 The Perfect Man.flac
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13 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\13 Tapestry from an Asteroid.flac
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14 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\14 Discipline 27.flac
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15 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\15 The Satellites are Spinning.flac
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16 -===- C:\Users\пользователь\Videos\Giorgio Gaslini - Gaslini Plays Sun Ra\16 Interstellar Low Ways.flac
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Finished at: четверг, 24. 03. 2011. - 22:00.24 (operation time: 0:06.55)
Review
In the course of his long creative career, Giorgio Gaslini has made only two solo piano recordings: the first, "Gaslini Plays Monk" for the Soul Note label in 1983, and "Ayler's Wings", for the same label in 1991, have both received wide international recognition.
Then, in 2003, Gaslini recorded another solo piano outing, entitled "Gaslini Plays Sun Ra". As with the Ayler record, Gaslini did a great deal of research and undertook a number of transcriptions from originai recordings, given that there are no available scores. Following his origina) transcriptions, Gaslini retranscribed them for piano, preserving the purity of the original themes and seeking to capture the harmonic and polyphonic physiognomy that were so often implicit in the composer's orchestrai versions. In these 16 pieces there is significant room for improvisation, as well as the reworking of thematic material, by means of a broad range of pianistic technique. A third dimension derives from the insertion, in each of the 16 pieces, of fragments of "The Well Tempered Clavier" by J.S. Bach.
So, in this most natural way, the earthly metaphysics of Sun Ra are set beside the serene metaphysics of Bach and reveal, in its tendency towards objectivity, a surprising sort of modem "classicism".
This is just Gaslini's third solo piano album. As he did with Ayler's music, Gaslini made transcriptions from Ra's band recordings (he has not chosen any pieces that Ra made solo piano recordings of), then arranged them for piano, as he puts it, "preserving the purity of the originai themes and seeking to capture the harmonic and polyphonic physiognomy that were so often implicit in the composer's orchestrai versions." Gaslini professes to find "a surprising sort of modem 'classicism"' when Ra's arrangements are thus clarified, a "tendency towards objectivity" that is emphasized even more when set alongside the Bach fragments. On about two-thirds of the tracks, the Bach quotes are easily heard; on the rest, they are harder to catch.
...Nor, for that matter, would a listener have to know any of the above to enjoy this album. Maestro Gaslini has constructed a varied program of Ra rarities and familiar items. "Out in Space" and "A Quiet Piace in the Universe" exist, as far as is known at this time (certainly plenty of concert tapes continue to pop up) in only one version each,
both recorded "live." Then there are pieces that perhaps existed only in the studio. "The Perfect Man" is an exceptional case, originally released only on a single. It's seemingly an unlikely candidate forthis sort of tribute, an oddball attempt at pop that's peripheral to Sun Ra's jazz legacy aside from its use of synthesizer, on which Ra was a jazz pioneer. Gaslini can't duplicate the textures on a piano, but he largely keeps to the use of more vernacular style, especially boogie-woogie, with another Bach interpolation (with similar motion and rhythm, however) and an eruption of free playing just before the end. "When Angels Speak of Love" (Gaslini wonderfully captures its quirky, off-kilter lope), "Kingdom of Noi," and "Lanquidity" are the other unique items chosen for this album.
"Yucatan" was released on only one album, Atlantis, but exists in two versions because when the album, first on Ra's own label, Saturn, was issued on the Impulse! label, a different tape was substituted. Gaslini ends his arrangement with a brief Bach quote that rhythmically matches the drums at the beginning of Sun Ra's versions, most closely the Saturn. "Satellites are Scanning" is the same piece as "The Satellites are Spinning," merely mistitled on the Enja album Destination Unknown that documents a March 1992 concert. But, of course, that's not to say that "Satellites are Scanning" sounds the same as "The Satellites are Spinning." The arrangements are really quite different, partly because the recording of "Scanning" dates from Ra's post-stroke period, when his left hand was greatly weakened. Gaslini's arrangements are also considerably different from each other. "Spinning" is noteworthy for several Bach insertions that move in and out in the tightest Bach/Ra integration of the album; they're themes that inherently suggest spinning. The first is soon dovetailed with Sun Ra's theme in a sensually and intellectually pleasing counterpoint that banishes sorrow just as June Tyson sings in the famous version from the soundtrack to Space Is the Place.
There is only one released studio recording of "Fate in a Pleasant Mood," but Ra revived it several decades later as a concert staple. "Images," "Medicine for a Nightmare," "Saturn," "Tapestry from an Asteroid," "Discipline 27," and "Interstellar Low Ways" were all revisited multiple times. The Bach in the middle of "Discipline 27" offers one of the starkest contrasts in this program as the spare first four measures of the Fugue in C minor from WTC 11 enter shortly after hectic, extreme dissonance; it proves to be a bridge to a pretty little vamp. "Interstellar Low Ways" closing the album, finds Gaslini, through the use of overdubs, also playing inside the piano, brushing and plucking the strings to add special colors to the stately presentation of this wistful number. As the tune gently dissolves into swirling, tinkling dissonance and then silence, we seem to have drifted into the quiet weightlessness of space, an apt place to conclude this interstellar journey.
Then, in 2003, Gaslini recorded another solo piano outing, entitled "Gaslini Plays Sun Ra". As with the Ayler record, Gaslini did a great deal of research and undertook a number of transcriptions from originai recordings, given that there are no available scores. Following his origina) transcriptions, Gaslini retranscribed them for piano, preserving the purity of the original themes and seeking to capture the harmonic and polyphonic physiognomy that were so often implicit in the composer's orchestrai versions. In these 16 pieces there is significant room for improvisation, as well as the reworking of thematic material, by means of a broad range of pianistic technique. A third dimension derives from the insertion, in each of the 16 pieces, of fragments of "The Well Tempered Clavier" by J.S. Bach.
So, in this most natural way, the earthly metaphysics of Sun Ra are set beside the serene metaphysics of Bach and reveal, in its tendency towards objectivity, a surprising sort of modem "classicism".
This is just Gaslini's third solo piano album. As he did with Ayler's music, Gaslini made transcriptions from Ra's band recordings (he has not chosen any pieces that Ra made solo piano recordings of), then arranged them for piano, as he puts it, "preserving the purity of the originai themes and seeking to capture the harmonic and polyphonic physiognomy that were so often implicit in the composer's orchestrai versions." Gaslini professes to find "a surprising sort of modem 'classicism"' when Ra's arrangements are thus clarified, a "tendency towards objectivity" that is emphasized even more when set alongside the Bach fragments. On about two-thirds of the tracks, the Bach quotes are easily heard; on the rest, they are harder to catch.
...Nor, for that matter, would a listener have to know any of the above to enjoy this album. Maestro Gaslini has constructed a varied program of Ra rarities and familiar items. "Out in Space" and "A Quiet Piace in the Universe" exist, as far as is known at this time (certainly plenty of concert tapes continue to pop up) in only one version each,
both recorded "live." Then there are pieces that perhaps existed only in the studio. "The Perfect Man" is an exceptional case, originally released only on a single. It's seemingly an unlikely candidate forthis sort of tribute, an oddball attempt at pop that's peripheral to Sun Ra's jazz legacy aside from its use of synthesizer, on which Ra was a jazz pioneer. Gaslini can't duplicate the textures on a piano, but he largely keeps to the use of more vernacular style, especially boogie-woogie, with another Bach interpolation (with similar motion and rhythm, however) and an eruption of free playing just before the end. "When Angels Speak of Love" (Gaslini wonderfully captures its quirky, off-kilter lope), "Kingdom of Noi," and "Lanquidity" are the other unique items chosen for this album.
"Yucatan" was released on only one album, Atlantis, but exists in two versions because when the album, first on Ra's own label, Saturn, was issued on the Impulse! label, a different tape was substituted. Gaslini ends his arrangement with a brief Bach quote that rhythmically matches the drums at the beginning of Sun Ra's versions, most closely the Saturn. "Satellites are Scanning" is the same piece as "The Satellites are Spinning," merely mistitled on the Enja album Destination Unknown that documents a March 1992 concert. But, of course, that's not to say that "Satellites are Scanning" sounds the same as "The Satellites are Spinning." The arrangements are really quite different, partly because the recording of "Scanning" dates from Ra's post-stroke period, when his left hand was greatly weakened. Gaslini's arrangements are also considerably different from each other. "Spinning" is noteworthy for several Bach insertions that move in and out in the tightest Bach/Ra integration of the album; they're themes that inherently suggest spinning. The first is soon dovetailed with Sun Ra's theme in a sensually and intellectually pleasing counterpoint that banishes sorrow just as June Tyson sings in the famous version from the soundtrack to Space Is the Place.
There is only one released studio recording of "Fate in a Pleasant Mood," but Ra revived it several decades later as a concert staple. "Images," "Medicine for a Nightmare," "Saturn," "Tapestry from an Asteroid," "Discipline 27," and "Interstellar Low Ways" were all revisited multiple times. The Bach in the middle of "Discipline 27" offers one of the starkest contrasts in this program as the spare first four measures of the Fugue in C minor from WTC 11 enter shortly after hectic, extreme dissonance; it proves to be a bridge to a pretty little vamp. "Interstellar Low Ways" closing the album, finds Gaslini, through the use of overdubs, also playing inside the piano, brushing and plucking the strings to add special colors to the stately presentation of this wistful number. As the tune gently dissolves into swirling, tinkling dissonance and then silence, we seem to have drifted into the quiet weightlessness of space, an apt place to conclude this interstellar journey.