(Jazz) [LP] [16/44.1] Ramon Tavernier feat. Catalin Tircolea, panflute - Panpipe in Jazz - 1978, FLAC (tracks)

Ramon Tavernier feat. Catalin Tircolea, panflute - Panpipe in Jazz Жанр: Jazz Носитель: LP Год выпуска: 1978 Лейбл: Electrecord Страна-производитель: Romania Аудио кодек: FLAC Тип рипа: tracks Формат записи: 16/44.1 Формат раздачи: 16/44.1 Продолжительность: 00:39:29 Треклист: A1. Nu-ncerca Să Te Minți (Don't try to deceive yourself) - 5:08 A2. Fără Vorbe (Without words) - 4:40 A3. Non Stop - 3:15 A4. Mai Frumos Ca Orice Vis (Fairer than any dream) - 3:22 A5. De-or Trece Anii (Would the years pass) - 3:32B1. Cîntec De Leagăn (Lullaby) - 3:22 B2. Popas (Halt) - 3:07 B3. Idealuri (Ideals) - 2:58 B4. Doină Și Joc (Doina and Dance) - 3:18 B5. Lacul (The Lake) - 2:53 B6. Zig-Zag - 3:54Composed By, Orchestrated By, Conductor – Ramon Tavernier Panpipes – Cătălin Tircolea Voice – Elena Abagiu (tracks: A2, A4, B8, B10) Vocal Group – „5T“ (tracks: A2, A4, A5, B8, B10, B11)Источник оцифровки: автором раздачи Код класса состояния винила: VG Устройство воспроизведения: Audio-Technica AT-LP60-USB Головка звукоснимателя: Audio-Technica ATN3600L Предварительный усилитель: нет АЦП: Оцифровщик встроен в проигрыватель Программа-оцифровщик: Audacity 2.0.3 Обработка: Ручное нивелирование сотен щелчков  Спектр  АЧХ  Уровень записи  Доп. информацияOwing to his merits in scoring, harmonizing, becoming fully acquainted with various styles and mastering them, from the classical to the contemporary light music and to his ability in creating musical "ideas", Ramon Tavernier is fully entitled to the complex definition implied by the designation of Jazz Composer, unlike a lot of other musicians all over the world, who do not truly tally with it, if one is thinking about the true meaning conveyed by that notion. Nearly ail the Romanian Jazz LPs issued of late are most remarkable as concerns the density of their musical substance — or, in other words, as concerns the lack in them of the "redundancy" phenomenon, as the so-called "backdoor pieces" are fully missing from them. In this connexion, one can easily become aware that the present collection of recorded pieces is marked by extreme diversity, conspicuousness and richness in its sonorous-imagistic sphere. Although the record comprises various sequences whose rhythmical vitality stands apart, It is wholly pervaded by an intensely lyrical climate, closely related to the Romanian ethos of the Doinas, of the folk Ballads — and all this specific character of the record is pointed out again, owing to the presence of the Panpipe, which is afforded the chief part. Moreover, Ramon Tavernier has got the merit of being the first composer to use the timbre of the Panpipe in the Jazz pieces; Un trifoi cu patru foi (A Four-Leaves Shamrock) and Samba bossanova pentru nai (Samba Bossanova for Panpipe) and other ones, written by the composer more than 10 years ago, i.e. in 1966 for Gheorghe Zamfir to play them (the composer was using then the pen name of Constantin Alexandru) stand as witnesses to that effect. The composer is resuming now, at another level of the musical thought, those experiments, this time the soloist being the young Panpipe player Catalin Tircolea. The Panpipe is accompanied, in Ramon Tavernier's conception, by a rather small band, made up of a "rhythmical section" — i.e. the electric piano or organ, the guitar, the bass-guitar, the drums, the percussion — and of a trumpet, a trombone, a tenor-saxophone (sometimes "doubled" through the "playback" device); in several instances this band is accompanied by the Vocal group* "5 T" (whose members sing without words, according to the so-called "scat" technique) and incidentally a group of strings is added to the band in order to increase the specific ."colour" of a piece, as, e.g. Cintec de leagan (Lullaby). Although the timbre "power" of the band seems rather modest at first sight, its sonorous "resultant" proves itself to be most remarkable as concerns its amplitude, for the few instruments and human voices, assembled according to several ingenious formulas of timbre mixture, are thus able to fill up a rather vast sonorous space. An attempt at grouping according to a certain criterion or to another the pieces on this record is rather difficult, owing to their before-mentioned diversity, both in "language" and in "character". However, we shall try to classify them according to the criterion (rather formal, of course) of the tempo equivalences — i.e. in "slower" and "faster" pieces. Thus we shall begin by pointing out to the sonorous graphicalness, expressed by means of subtle irisations within various polychromies made up of sundry hues and shades, of several Ballads such as Fara vorbe (Without words), Mai frumos ca orice vis (Fairer than any dream), Cintec de leagan (Lullaby), Idealuri (Ideals), Lacul (The Lake); they rise above the usual stylistic expressive effective sphere of the Jazz, and make the record highly interesting also for other, wider categories of lovers of music. A fully different group, as concerns the musical expression, would comprise the "virtuosity" pieces. Indeed there is virtuosity of the best kind, both in their composition and in their interpretation, both in the ensemble and in the solo moments; here one might quote: Non-stop, De-or trece anii (Would the years pass), Popas (Halt), Zig-zag. Again fully different, bordering on the interference zone between Jazz and chamber music, and displayed on an expressive background of genuine Romanian vibration, the piece Doina si joc (Doina and Dance) is thus one of the most accomplished from the whole record. Nu-ncerca sa te minti (Don't try to deceive yourself), is a "remaking" under the Jazz-Rock frame, of a more ancient successful hit of the composer's. Although the space afforded for these comments do not allow us a more detailed analysis of the interpretation, we ought to point out to the highly important contribution in this respect due to the Panpipe player Catalin Tircolea, who has now become indeed a fully recognized soloist-instrumentist; to the Feminine Vocal Group "5 T", that have indeed suceeded in getting a highly deserving place in our musical landscape; to the other instrumentists, whose solo moments are most valuable in their extempore aspects — Marius Popp, Mihai Chirilov, Nicolae Farcas, Radu Goldis, Dan Mindrila, Sorin Movi-leanu, Adrian Tudorache; they all, directed and conducted by Ramon Tavernier himself, are making up a musical and artistic "team" of the highest cohesion. Instead of a "conclusion" we shall now come back to the creative essence of the music recorded here, in order to point out to the fact that it has indeed succeeded in outlining a composition "profile" whose conception is full mature and whose inspiration is highly vigorous. At the same time — and this is indeed a most gratifying conclusion — those acquainted with Ramon Tavernier's works are fully aware that he has got still a lot more "to say" in the going on development and display of the Romanian Jazz, in the efforts to compel recognition in general for the real and true valuable music, as this Romanian composer has opened indeed a new "gate" in this respect by using only his own forces as such! FLORIAN LUNGU English version by Constantin Stihi-Boos