Thursday, February 4, 2021
In 2002 Misha Mengelberg was invited for the second time to the AngelicA Festival in Bologna. That edition, the twelfth, took part entirely in a squatted social centre of the city, and, in collaboration with Tristan Honsinger, was conceived as one large opera lasting six days an opera within which the performances of many national and international artists fitted in like individual mobile “modules”.
Especially for this occasion and on the festival director’s suggestion, who had attended a performance by the ICP Orchestra in Amsterdam during which Mengelberg had unexpectedly stood up from the piano and started singing, on the evening of 17th may 2002 the musician entered the venue pushed on a mobile platform, from which he performed a very short programme of “Solo Songs” at the end he acted as if he was falling asleep and was pushed back behind the scenes.
This burning set of approximately 15 minutes of “songs” –in the broadest sense of the term, as the highly original Dutch composer-improviser could conceive them - is the starting point of this CD, complemented by other previously unreleased live recordings of concerts held between 2002 and 2010 in the Netherlands, Ukraine and France, provided by the Mengelberg Foundation.
1. Amsterdam 04:28
2. Kiev I 19:23
3. Kiev II 08:58
4. Kiev III 01:40
5. Pantin 07:57
6. Bologna 13:44
Misha Mengelberg : piano, voice
Music by Misha Mengelberg
1 - Recorded by Marc Schots at the BIMHUIS, February 24th, 2010, during Gallery of Tones - Pianolab, Amsterdam, Holland
2 and 3 and 4 - Recorded by Radio ERA at the National Philharmonic, November 7th, 2005, Kiev, Ukraine
5 - Recorded by Hamid Kolli at La Dynamo de Banlieues Bleues, February 2nd, 2007, Pantin, France
6 - Recorded by BH Audio at the TPO Teatro Polivalente Occupato, May 17th, 2002; Misha Mengelberg presented Solo Songs, a concert that was inside of Galleria San Francesco - Opera Mobile by Tristan Honsinger, during AngelicA, Festival Internazionale di Musica, 12th edition, May 13>18, 2002, Bologna, Italy
In the year 2000, when Bologna was European Capital of Culture, AngelicA Festival, then in its tenth edition, invited Cecil Taylor to hold a concert at the Teatro Comunale - Opera House of Bologna: solo, with his piano (and his dance and his poetry readings) he opened an evening that ended with a rendition of the luminous piece Coptic Light by Morton Feldman performed by the Orchestra del Teatro Comunale di Bologna, conducted by Jurjen Hempel.
This unusual juxtaposition (not in the history of the festival!) should not surprise: initially ascribed only to free jazz, throughout the decades Taylor’s music has been re-evaluated in all its formal complexity, and is nowadays recognised as one of the most singular productions in the musical landscape of the Nineteenth century.
The additional uniqueness of this release is that it adds a second CD, titled Rap, to the recording of that memorable concert, which documents the public meeting-interview that Taylor agreed to give in Bologna on the following day.
Moderated by the musicologist (and founding member of the band Stormy Six) Franco Fabbri, and transcribed and notated in its entirety in the forty pages booklet (in English/Italian) by the jazz critic and historian Francesco Martinelli, Taylor opened the meeting by reading a complex statement of his on the definition of music, inclusive of an explanatory glossary at the end. What came after was no less bewildering, with Taylor using the moderator’s questions as a springboard for an explosive tour de force of quotes and references: from the classical ballet stars Katherine Dunham and Maya Plissetskaya and the tap dancers Bojangles and Nicholas Brothers to the petroglyphs of the Hopi Native Americans and the Coptic manuscripts, the structures of Xenakis and the architect Calatrava, the Orisha deities and the dynamics of cell growth in bark, Derek Bailey and Stravinsky…
1. Dance of All Seasons - part 1 26:34
2. Dance of All Seasons - part 2 26:51
3. Dance of All Seasons - part 3 12:35
4. Audience / Applause 01:31
5. Dance of All Seasons / Possessing a Door 10:03
6. The Arc of Suspension 07:33
7. No One has the Ownership of Pure Genius 05:02
8. Through the Devotion to Sound to Make Words 03:20
9. I Have Many People That I Bow To 08:24
10. The Ingredient of Life 11:48
11. And Then Usually You Have a Good Time 03:44
12. No Matter What 03:17
Track 1, 2, 3, 4: Dance Of All Seasons
Cecil Taylor: piano, voice
music and poetry by Cecil Taylor
Recorded by BH Audio at the Teatro Comunale di Bologna, May 10, 2000, during AngelicA, Festival Internazionale di Musica, 10th edition, may 5>13 + july 5>6, 2000, Bologna, Italy
Track 5, 6, 7, 8, 9, 10, 11: Rap
Cecil Taylor: voice
Franco Fabbri: interviewer
words and poetry by Cecil Taylor
Recorded at the Palazzo dei Notai, Bologna, May 11, 2000, during AngelicA, Festival Internazionale di Musica, 10th edition, may 5>13 + july 5>6, 2000, Bologna, Italy
Track 12: Montage of Meanings - No Matter What
Cecil Taylor: piano, voice
Massimo Simonini: montage (of meanings)
music, poetry and words by Cecil Taylor
Montage produced by Massimo Simonini at Home Studio, Vignola, May, 2020
40 pages booklet with photos, transcription and translation by Francesco Martinelli of the words and poetry by Cecil Taylor.
Note - June 2020
track titles have been given by the production and have a merely indicative value in order to follow and identify the subjects and statements discussed by Cecil Taylor in the talk of CD 2. Correspondingly to CD 1 and to CD 2 has been assigned a title, inspired by the talk itself.
Producer - Executive Producer: Massimo Simonini
Mastered in May 2020 by Bob Drake at Studio Midi-Pyrénées, La Borde Basse, Caudeval, France
Design: Massimo Golfieri, Concetta Nasone
Peter Brötzmann & Maâlem Moukhtar Gania & Hamid Drake - The Catch of a Ghost (i dischi di angelica 2020)
“3 names, 3 cultures, 3 continents, 3 different concepts of time and timing – this is the essence of this trio. This is what we have to bring together. I am rather optimistic.” Peter Brötzmann, Wuppertal, 1st April 2019
Internationally renowned musician and composer Roscoe Mitchell, since his debut with Sound in 1966, has defined his style through an innovative approach towards composition in what is traditionally an improvised music genre, pre-empting the development of jazz and its relationship with contemporary music in the following decades.
Splatter, drawn from two concerts held at the AngelicA festival in Bologna in 2017, presents the most recent developments of this research, with two examples from his cycle Conversations for large orchestra. Started in 2016, it is based on the transcription and subsequent orchestration of what originated as his improvisations with the trio including Craig Taborn and Kikanju Baku, for the album Conversations I and II which was released in 2014.