beaver's review: 2011

Friday, December 30, 2011

Supremus live in Kiev

Free improv by Supremus project:

Supremus @ ZixZixOne Fest (5.12.2011)
lineup:
Dmitriy Radzetckiy - 10-str MIDI Radz-guitar
Sergey SUR Radzetckiy - bass guitar
Andrew Prischenko - drums, percussion
Anton Boldenko - viola
Stanislaw Bobritsky - keyboards
Sergey Vilka - flute

SUPREMUS - Live In Kiev (26.10.11):
lineup:
Dmitriy Radzetckiy - 10-str MIDI Radz-guitar, gong
Sergey SUR Radzetckiy - bass guitar
Alexander Kirichenko - drums, percussion
Anton Boldenko - percussion, gong
Stanislaw Bobritsky - keyboards

Live Improv.
tracklist:
а) Roadside Picnic: Golden Sphere (00:00 - 09:00)
b) Roadside Picnic: Mosquito Mange (09:00 - 18:06)
c) Five Suns I (Guapo Cover) (18:06 - 25:52)

SUPREMUS - FIVE SUNS I (Guapo):

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Thursday, December 29, 2011

Peter Evans,Ricardo Gallo,Tom Blancarte,Kevin Shea - Festival Kaleidophon 2009-05-01

mp3_320@mediafire

FLAC@rutracker
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Herbert Henck - Conlon Nancarrow / George Antheil: Piano Music

Это напоминает мне фортепианные этюды Лигети.

Conlon Nancarrow - Three 2-part studies - I. Presto

Conlon Nancarrow - Prelude (Allegro molto):

А это - развеселившегося Дебюсси.
George Antheil - Sonatina fur Radio (allegro moderato)

George Antheil (1900-1959) became notorious and found it hard to be taken seriously in USA after the failure of his Ballet Mechanique in New York. He was a man of many parts and a very considerable writer, with an excellent and entertaining autobiography, 'The Bad Boy of Music'. His piano music, with which he toured, brought him to public notice and caused a major riot in Paris. He was rated the loudest pianist ever to play at Wigmore Hall in London. This is a good selection of it, and shows his instinct for rhythm and interest in jazz. Several of the titles allude to machines. Sonata Sauvage which ends 'xylophonic prestissimo'. There is a Sonatina for radio, and one called The Aeroplane, begins 'as fast as possible' Antheil's Jazz Sonata is marked at one point 'like a player piano'.

Conlon Nancarrow (1912-1997) is best known for his dazzling studies for the player piano, which extend rhythmic complexity to the ultimate. There are a few early pieces for piano composed in the 1930s and included here - it was the finding that their enormous rhythmic demands proved insuperable to pianists of the day which led to his exploration of a medium to express his ideas, and to a life of isolation and exile in which he laboriously punched out his music on paper rolls. Only in his last years did he enjoy international fame and his Studies for Player Piano latterly attained cult status.

Herbert Henck supplies his own readable essay on the piano music of both composers and the ECM production is characteristic of their care and individuality. The cover picture is unwittingly prophetic of our sad rural times, with a sad looking solitary cow! Recommended, despite short measure at under 40 mins.

By taking the human performer out of the equation, Nancarrow was able to write music of nearly unlimited density and rhythmic complexity. I didn't know, however, that George Antheil composed music for the player piano as well. The original version of his Ballet mecanique included no fewer than 16 of those instruments, an inspiration soon whittled down by the knife of practicality and economy. It is ironic that this connection between the two composers is made in the context of a CD that contains no music for player piano. (Antheil's "Jazz Sonata" does include the instruction "like a player-piano.")

In the past year or two there has been a rebirth of interest in Antheil's music. His colorful life certainly hasn't inhibited this; his achievements included the refinement, with actress Hedy Lamarr, of radio-controlled torpedoes! (Check my other Antheil reviews on Classical Net for additional biographical information.) Henck's selection of music by Antheil appears to be the most generous currently available on CD. The music reflects his impudent intelligence (he was, after all, the "Bad Boy of Music"), his piano virtuosity, and his interest in machinery and other modern innovations, namely jazz rhythms. These works come from his European years (1922-33), when he was reviled, embraced, and then reviled again as the Nazis rose to power. (When he returned to the United States, he was unable to repeat his European successes.) Tempo indications such as "to be played as fast as possible" (in the "Airplane" sonata) and "as rapidly as it is possible to execute cleanly and with even touch and dynamics" (the "Jazz Sonata") show that Henck has his work cut out for him. He triumphs over the difficulties, however, and he convincingly animates Antheil's cocky excursions into syncopation.

Nancarrow's works for player piano have overshadowed the rest of his output, so it is good that Henck has included three brief works on this CD. The rhythmic intricacies of works such as these so frustrated flesh-and-blood pianists that Nancarrow was driven to discover the "eureka" of the player piano. Having said that, nine minutes of Nancarrow makes a lopsided CD, and the stylistic differences between Nancarrow's and Antheil's music, while not exactly jarring, exacerbate the lopsidedness. Henck, an established master in modern music of the most demanding sort, deals with Nancarrow's cruel challenges with confidence.

[85M on depositfiles]
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FLY - Sky & Country (ECM, 2008)

zshare 148M
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The Respect Sextet performing the music of Sun Ra and Karlheinz Stockhausen

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Vienna Art Orchestra - The Minimalism of Erik Satie (1989)

Мало кто любит Сати за музыку как таковую.
Оказывается, существует довольно большая аудитория, для которой Сати, Найман, клезмобалканизмы, и Red Spammer с сочувствующими - атрибуты какого-то единого, для меня непостижимого, но тем не менее оголтелого контекста.
Сати массово слушает хипстота, которая ценит скроее за эстетику и прочие внешние эффекты, махровый винтаж потому что.
Но что-то в нем есть помимо эффектов, именно с точки зрения "послушать песни".

Однажды мне попался альбом, где музыку Баха играли на саксофоне, а Колтрейна - на органе. В аннотации подмигивали: ну вы понимаете, почему - Трейн как Бах соответствующей эпохи, если масштабировать. Существуют такие трансформации на концептуальной плоскости, что при повороте вокруг оси православия головного мозжечка с последующим наложением эти авторы совмещаются, а сурьезный немец даже начинает юзать тяжелые вещества.
Звучало страшно нудно. В комментах пишут, что сугубо академическая whatif-работа. Ну да, конечно.

А тут какие-то джазмены играют Сати, чего тоже кто только не делал. Эрик Сати пользовался фигурами, построенными на широких интервалах, что как бы повышает количество инвариантов таких преобразований как обращения, функциональные замены и просто модуляция в родственные тональности. У него вообще есть фрагменты, которые выглядят как templates для последующих импровизаций, что-то вроде бланков, которые надо заполнить более-менее свободным образом. То есть как бы сам бог велел.

Приличного джазового минимализма существует очень мало. Строго говоря, пренебрежимо мало, его почти нет.
Но тут получилось неожиданно хорошо. Потому что играют песни, а не упражнения.

DL: zshare

Флак можно брать здесь (хотя половина из тех, кто кто мп3 идеологически не признает, все равно хуй отличит любой битрейт от какого-либо другого, дорогие радиослушатели): rutracker.org/forum/viewtopic.php?t=1657211

также по теме
http://exystence.net/jazzystence/2011/11/20/afrodisian-orchestra-%E2%80%93-satierismos-2011/
Afrodisian Orchestra – Satierismos (2011)

Friday, December 30, 2011

Thursday, December 29, 2011

Tuesday, October 4, 2011

Friday, August 12, 2011