viernes, 25 de julio de 2014

Emanuele Parrini - Viaggio Al Centro Del Violino Vol. 1 (2013)

Thanks to Gianbruno

Italian Emanuele Parrini confirms the solo violin’s viability in his nine-part Viaggio al Centro del Violino (Rudi Records RRJ1015 rudirecords,com), although he cheats afterwards, adding four short melodic duets with violist Paolo Botti. Parrini’s suite is organically organized, flowing from exposition to conclusion and maintaining a continuum while showcasing a case full of extended techniques. After establishing the parameters of the romantically tinged theme with sweeping echoes and dynamic stops, Parrini deliberately sets out to sabotage them on Abstract No. 1, alternating mandolin-like picking with sympathetic four-string emphasis that takes on pastoral qualities by the following track. His improvising contains too many jagged bent notes to be truly folkloric however, and midway through with the bow pressuring four strings simultaneously, the pastoral melancholy of Requiem for L.J. gives way to the rapid dynamism of Black Violin with its spiccato skips, and climaxes with Blues P. No more a standard blues than Parrini is Stephane Grappelli, his dexterity suggests a blues feeling, but with a particularly Italian cast. Scratching his way from the fiddle’s scroll to its tip, the resulting multiphonics are emotional, rhythmic and satisfyingly conclusive.

Viaggio al Centro del Violino translates as Journey to the Center of the Violin in English. The phrase aptly describes how Parrini has exposed the singular musicality of his instrument. Each of these discs does the same in a similar fashion. Ken Waxman (The Whole Note)

We must admit it: the title is challenging, yet when you listen to the suite of the same name you understand that this is exactly what Emanuele Parrini does. And let us also admit that a disc of only violin music (although the second part offers us an irresistible duo between violin and viola) is something that even experienced professionals would not accept. Yet we can claim that the challenge is won. Emanuele Parrini does this: he goes to the heart of the violin, he goes to its very nature of wood, metal and horsehair and he explores it, he goes through it, he reveals it, he is seduced and enchanted by it, he takes up the challenge without getting entangled and trapped in self-congratulatory virtuosity. In this disc we hear Parrini’s passion for the masters of jazz who had to invent a vocabulary and almost a new grammar for this instrument, from Stuff Smith to Billy Bang and above all to Leroy Jenkins, to whom the Requiem della Suite is dedicated; and there is the dedication to Renato Geremia (his predecessor in the Italian Instabile Orchestra) who succeeded in inventing a new way to approach an instrument encumbered with such an onerous classical tradition. This same tradition surfaces frequently in certain passages with effects not so very different from those of some contemporary music; the difference is however in the intentions, the attitude and the aptitude according to what Cecil Taylor told A.B. Spellman fifty years ago: (“He would never get emotionally involved in it; and dig, that's the word, they don't want to get involved with music. It's a theory, it's a mental exercise in which the body is there as an attribute to complement that exercise. The body is in no way supposed to get involved in it”). There you have it: Parrini is totally involved, he is inside the violin, his music communicates an immediate feeling of presence, of immanence, of necessary physicality. He sounds as if he is playing to nourish himself and to offer the same joy to others. Also playful, entertaining and vibrant is the duet with Paolo Botti, comrade, friend, colleague; their unisono in the themes tell of a common sensibility, a shared passion, a similar approach and an infinite love of jazz.

The conclusion of the disc with its new rendering of a piece by William Parker, rather than being an arrival, is more the perfect point of departure for a journey that has only just begun. Pino Saulo

Emanuele Parrini
Viaggio al Centro del Violino
RRJ1015 Rudi Records 2013

Suite for Solo Violin
Emanuele Parrini

Suite In Due
Emanuele Parrini, violin
Paolo Botti, viola

Mixed By, Mastered By – Emanuele Parrini, Stefano Spina (2)
Recorded By – Eleonora Tassinari (tracks: 1 to 9), Luca Di Volo (tracks: 1 to 9), Stefano Spina (2) (tracks: 10 to 13)
Viola – Paolo Botti (tracks: 10 to 13)
Violin – Emanuele Parrini

Suite for Solo Violin (Emanuele Parrini):
01. Viaggio al Centro del Violino - Intro 2.38
02. Viaggio al Centro del Violino - Viaggio 3.13
03. Abstract n. 1 1.49
04. The Undecided 4.44
05. Abstract n. 2 2.37
06. Are You Ready? 2.43
07. Requiem For L.J. 3.05
08. Black Violin  3.01
09. Blues P. 5.53

In Due

(Emanuele Parrini, Paolo Botti):
10. Mixolidian Dance 3.05
11. In Due 2.56
12. I Gemelli del Goal 1.47
13. Beauty don't Leave 4.40

"Hearing is Everything" Peter Watkins


Adrian Mears - Birdseye View (2008)

01 Riding East 8:58
02 Today’s The Day 6:59
03 Children At Play 8:49
04 The Poor Man 7:10
05 Joe’s Fantasy 13:06
06 Momentum 7:01
07 Human Dignity 7:14
08 Extensions 8:28
09 Riding East Annoucment 1:04

Adrian Mears (AUS) trombone
Domenic Landolf (CH) tenor sax/bass clarinet
Peter Madsen (USA) piano
Stephan Kurmann (CH) bass
Mario Gonzi (Austria) drums

Label: TCB Music [7 250952 8602-2] CD US 2008

Thanks to Oldhippierick :-)


Anat Cohen - Place & Time (2005)

1.Place & Time
2.The 7th Of March
3.Veinte Anos
4.87 North
5.Say It
7.As Catch Can
8.Pour Toi

Anat Cohen – Tenor & Soprano Sax, Clarinet, 
Jason Lindner – Piano, 
Ben Street – Bass, 
Jeff Ballard – Drums, 
Avishai Cohen – Trumpet (tracks 4,6,7 & 9)

Anat’s debut album is a stunning effort, combining her supple facility on saxophone (tenor and soprano) and clarinet, her expressive compositions and emotionally charged musicality. Nat Hentoff wrote in his liner notes: “Anat Cohen has the quality of all lasting jazz musicians. She has presence…she tells you who she is and tells you where she’s been in her life and travels.”

released 03 May 2005 


Bob Brookmeyer New Quartet - Paris Suite (1995)

The last thing I wanted was to have a band – I am busy guest conducting in Europe, composing and in 1996 become Chief Conductor of the Danish Radio Big Band. However, while living in Holland and teaching at the Rotterdam Conservatory, I heard (and taught) an exceptional young pianist, Kris Goessens. 

He and I began playing duo, for fun, in late 1992, and I found in him a partner with almost the magical ability to relate to another player, something I hadn’t experienced since my year with Him Hall in 1979. We wound up in Paris the next year and succeeded in making it work, for us and the audience. We then played with Dre and Riccardo and said ‘OK, we’ll make a band’ this recording was the first time we actually performed together, and since then we have grown with every concert. Kris and I contributed most of the music, with Chaconne by Henning Berg the lone exception. He is a member of the West German Radio Band and this piece came from a ‘2 Man Show’ we did in 1988. It is also an indication of our future. More electronics, more theater and more experimentation will follow. As I said, I really hadn’t planned on having a band, but I am very glad that I now have one and we look forward to seeing you often in the coming years.

Bob Brookmeyer - valve trombone
Kriss Goessens - piano
Riccardo Del Fra - bass
Dre Pallemaerts - drums

Recorded at Studio 44, Monster, The Netherlands on October 15, 16 and 17, 1993 and January 5, 1994.

1. Amanda
2. Elle-Que
3. Chanson
4. Arp
5. Erik Satie
6. Airport Song
7. Gospel Song
8. Choconne

"Hearing is Everything" Peter Watkins