A trumpet (by Flavio Zanuttini himself, the mastermind behind “Born Baby Born”), an alto sax (Piero Bittolo Bon) and a drumset (Marco D’Orlando). Nothing more: no bass to deepen the rhythm and no harmonic instrument, be it a piano or a guitar. Just “meat and potatoes”, as Eugene Chadbourne states on his liner notes, dismissing in this meal the possible contributions of a fried egg, some buttered peas or a salad. And yet, you can hear a bass doing rhythmic and harmonic work, and this because the trumpet, the sax and the drums incorporate the bass parts, in a phantom-like way. The drummer do it naturally with the tom-toms and the bass drum, but you wouldn’t expect that from the horns. Or do you, considering that they’re played by superlative instrumentalists? A few years back, Zanuttini dared to play the music of Don Cherry, and he managed to get very close to the original trumpeter, while keeping his own musical personality. The Italian musician has a long curriculum as an orchestra player, in that context knowing that he’s an individual contributor of something bigger, but that’s what explains his will to go beyond the conventional roles when he’s a soloist in a small group. Curiously enough, the «bassless, pianoless, tuttoless» (Zanuttini’s words) trio Opacipapa puts themselves in the middle of two traditions, the free improvised one and the carefully organized of the great historical big bands. The music either swings, like if we’re still living in the Fifties, or go to the post-free jazz stratosphere. Frequently, it swings when visiting the other side of the cosmos.
Flavio Zanuttini trumpet, compositions
Piero Bittolo Bon alto sax
Marco D’Orlando drums
All compositions by Flavio Zanuttini
Recorded by Fulvio Zafret in Trieste (Italy) at “Casa della Musica” during the concert organized by “Circolo del Jazz Thelonious” the 24th of January 2018 | Mixed and mastered by Alberto Armellini at ALARM Studio, Udine (Italy)
Produced by Flavio Zanuttini | Executive production by Pedro Costa for Trem Azul | Design by Travassos
Here is an example of a specially well succeeded co-operation between a notorious representative of the Norwegian scene (Klaus Ellerhusen Holm) and two of the Portuguese one (Hernâni Faustino and Nuno Morão), combining the recordings of live presentations in a couple of spaces dedicated to creative music in Portugal, Salão Brazil (Coimbra) and SMUP (Parede). If you’re a Clean Feed fan you already listened other titles documented in both venues, by the likes of Steve Lehman, Ken Vandermark’s and Adam Lane’s Four Corners, Fredrik Nordstrom Quintet, Daniel Levin Quartet, Zanussi 5, Angles, Harris Heisenstadt’s Canada Day and others. “Yesterday is Here” has the same relevance, and it equals what you know of Holm from the bands Honest John, Ballrogg and Abaft the Beam, of Faustino from Red Trio and of Morão from The Selva: music committed to «celebrate the moment», to paraphrase Derek Bailey, only answering to the appeal of spontaneity and intuition, in a very natural and even organic way. The framing is in jazz and experimentation, meaning that everything else that may happen disregard labels and any sort of categorization. A party for your ears, in short.
Klaus Ellerhusen Holm clarinet alto saxophone
Hernâni Faustino double bass
Nuno Morão drums percussion
1. Yellow Plum 14:54
2. Sjøorm 08:52
3. Sour apple 13:32
4. Yesterday is here 06:26
All music by Klaus Ellerhusen Holm, Hernâni Faustino and Nuno Morão
Recorded November 2016 at Salão Brazil, Coimbra by José Martins and at SMUP, Parede by John Klima | Mixed and mastered by Nuno Morão at ScratchBuilt
Produced by Hamar Trio | Executive production by Pedro Costa for Trem Azul | Design by Travassos | Cover photo by Magdalene Norman | Band photo by João Duarte
Welcome to the timbral world of violist Frantz Loriot and percussionist Christian Wolfarth. «An epiphany of sound», writes Jason Kahn in the inside cover, comparing the music pressed on the two sides of this LP with the myriads of noises he heard in a night of tempest when walking through it: «Cans and bottles skittering down the street; a street sign rattling violently; vague droning sounds appearing and vanishing suddenly as the wind seeped through cracks and crevices between buildings.» It’s his interpretation of what happens during the eight tracks – other pairs of ears can sense it differently, and that’s the best characteristic of the duo’s musical approach. Each individual perception changes it, as if it’s a living organism and you’re part of its existence. The harmonics and the blips and blops seem of electro-acoustic, even acousmatic, conception, but the only electronic devices used were the microphones and the recording machine. Everything is improvised and the configuration of these spontaneous pieces would seem derived from the reductionist school if there was less sounds in the flux of events and if those sounds were mere dots or brushstrokes emanating from silence. They aren’t, but you’re not going to listen to any thunder neither. This is a busy timbral world, indeed, but in a pleasant way. Afterall, Loriot is also a practitioner of soundmassages and for Wolfarth there’s no better measure than detail.
Frantz Loriot viola
Christian Wolfarth percussion
The Call
Side A
#1 - Into the Primitive - 11'22"
#2 - The Dominant Primordial Beast - 09'02"
Side B
#3 - Refinement of the Thought - 06'35"
#4 - The Sounding of the Call - 02'44"
#5 - Closely Related - 07'19"
#6 - Slight Dizziness - 03'45"
All music by Frantz Loriot & Christian Wolfarth
Recorded, mixed & mastered in Zurich (Switzerland) in August 2016 by Philipp Schaufelberger
Produced by Loriot & Wolfarth | Executive production Travassos for Trem Azul | Graphic design by Travassos
A chuckle or a grimace of memento, a shiver of rage or the same, but due to a steamy game and, most of all, a urge. Let the whole world in, and turn it out into an exploration, a clash of fire with this crooked, wooden, coppery, galvanized sort of dragon.You cannot help but tailoring a path, especially if necessary to ultimately represent yourself, so you can either choose a so called neutral recording studio, in order to dry up and focus every shift, or seize live connections with people, a not-so-aware public capable of supporting the crystallization of that once-in-a-lifetime show.To build Asylum up I’ve gone for the 3rd option: me (and my instrument) and Renato Fiorito along with his 10 mics, aiming to portray 1000 m of mere space.In the very core of Naples, the whole Filangeri Asylum former dining hall played with us, in a harmony of wood and tuff, an everlasting patient background for the shifting valzer of thousands, a living, breathing, sizzling organism, bouncing notes and fragments of past and future lives, but also ticking together with leaving, stopping or passing by folks’ steps.Looking forward to welcome and share freedom with a world in need of it, now more than ever.
CD Release Concerts November 23 & 24 at Birdland, NYC
Impromptu jam sessions are a crucial proving ground for young jazz musicians during their formative years - and for artists who thrive on spontaneity, they're also a heck of a lot of fun. While his increasingly busy calendar proves that saxophonist Chad Lefkowitz-Brown learned all the right lessons from those informal early gatherings, it also means that opportunities to enjoy such creative camaraderie have become fewer and farther between. So for his new digital-only release, Standard Sessions - now available via Sound Frame Records, available at www.chadlefkowitz-brown.com/music - Lefkowitz-Brown decided to make those opportunities happen. He invited some of his favorite musicians to gather together, blow on some familiar standards, and see what happens - just like in the old days. Of course, for Lefkowitz-Brown the "old days" aren't really that old. The saxophonist arrived in NYC just eight years ago, and was fortunate to settle on the bottom floor of a house in Harlem where the basement lent itself to musical gatherings. "There was a drum set and an upright piano, so every day I would bring people over to have sessions," he recalls. "I look back fondly on those days as some of my favorite musical experiences, and they came out of just playing tunes in the basement." Over the ensuing years, however, Lefkowitz-Brown found himself increasingly in demand: touring the world with pop superstar Taylor Swift, playing with jazz greats from Dave Brubeck to Clarence Penn, and performing as a member of Arturo O'Farrill's Grammy winning Afro-Latin Jazz Orchestra. The friends he'd been jamming with were on their own career trajectories as well, meaning that none of them could spare much time for basement jam sessions. "I started to miss it," Lefkowitz-Brown says, so he came up with the idea for the series of spur-of-the-moment recordings that became Standard Sessions. One thing that had changed since those no-pressure early days was Lefkowitz-Brown's diehard social media following. Using a few tricks that he'd learned from the media-savvy T-Swift and other observations of the pop music world, he has cultivated a worldwide fanbase numbering more than 70,000 followers across platforms like Instagram, Facebook and YouTube. For these jam sessions, those fans would become the virtual audience; each session was recorded and aired via YouTube, with 12 highlights now collected for this album, available via iTunes, Spotify, and other digital outlets (all 18 can be found at Lefkowitz-Brown's website). Every session represented a unique first-time gathering, joining Lefkowitz-Brown with a rhythm section that had never played together before. The invitees represent a wide swath of the thriving Manhattan scene, cutting across generations, styles, and experience levels: pianists Manuel Valera, Carmen Staaf, Victor Gould, David Meder, Steven Feifke, Takeshi Ohbayashi, Adam Birnbaum, and Josh Richman; bassists Yasushi Nakamura, Jonathan Michel, Eric Wheeler, Tamir Shmerling, Ben Tiberio, Raviv Markovitz, and Ricky Rodriguez; and drummers Kush Abadey, Allan Mednard, Charles Goold, Michael Piolet, Bryan Carter, Chris Smith, Jeremy Dutton, and Darrian Douglas.
"There were people at the sessions that I'd known for 10 to 15 years," Lefkowitz-Brown says, "and then there were people that I'd known for 10 to 15 months. It was cool to see someone that I had known practically since childhood and someone I had only met recently playing together on the same session." Two tunes, "On Green Dolphin Street" and "When Will the Blues Leave," feature Feifke, a pianist that Lefkowitz started collaborating with when both were teenagers, together with Piolet, a drummer he had met recently but never shared the bandstand with before that day. Then there were meetings between veterans like Cuban-born Valera, who has been in the city for nearly two decades, and newcomers like Tiberio, who had been on the scene for less than a year when they recorded their fiery take on "Alone Together." To ensure the in-the-moment invention that he was seeking to replicate, Lefkowitz-Brown left the choice of tunes up to the assembled bands, decided on the day, just before they were recorded for posterity. Each piece was allowed a maximum of two takes, with most accomplished in one - or with the first one chosen for its raw vitality. "Those first takes usually felt the best," Lefkowitz-Brown explains. "It's definitely harder to make things spontaneous when you have in your mind that this is actually going to be permanent, but I told everyone, 'If we don't like it, I'll trash it.' I think because of that everybody was able to go in there pretty relaxed and just feel like it was a jam back at my place in Harlem, which was my goal. I wanted to recreate what happened when people got together to just play tunes in a basement and have lunch together."
A program of duets for trumpet and piano building from the historic duo of Louis Armstrong and Earl Hines of the song "Weatherbird". Conceived in 2014 and 15 as the fulfillment of a commission from the International Contemporary Ensemble, this album was recorded at the home of Randy Ezratty and Jo Ann Corkran in September of 2015. It documents a live concert with some of the music recorded the day before in preparation.
Cory Smythe - piano, compositions
Peter Evans - trumpet, piccolo trumpet, compositions
1. Weatherbird 03:25
2. Weatherbird Wave 05:53
3. Bsntbls 05:35
4. Weatherbirdhouse 03:04
5. Bls 07:21
6. Weatherbird 04:17
Weatherbird composed by Louis Armstrong
Weatherbird Wave and Weatherbirdhouse composed by Cory Smythe
“The Art Ensemble of Chicago is alone in jazz history for reaching back conceptually to long before there ever was anything called jazz and moving toward a future beyond category.”
- Nat Hentoff
THE ART ENSEMBLE OF CHICAGO AND ASSOCIATED ENSEMBLES is a 21-CD limited and numbered edition issued as the standard-bearers of Great Black Music prepare to celebrate their 50th anniversary. Both the Art Ensemble of Chicago and ECM Records were founded in 1969, and there have been many shared experiences. As Roscoe Mitchell says, “It has been amazing to have taken this journey together.” With their first ECM album, the widely-acclaimed Nice Guys, the Art Ensemble’s revolutionary and polystylistic “ancient to the future” mix of musics - from the deeply spiritual to the fiercely experimental - was illuminated in new detail in Manfred Eicher’s panoramic production, and the stage set for many adventures to follow. These included the albums Full Force, Urban Bushmen, and The Third Decade with the classic AEC quintet line up of Roscoe Mitchell, Joseph Jarman, Lester Bowie, Malachi Favors Maghostut and Famoudou Don Moye. All of Bowie’s and Mitchell’s subsequent ECM recordings are also gathered together here. Charismatic trumpeter Lester Bowie is heard here with his Brass Fantasy group, with Wadada Leo Smith and with Jack DeJohnette. Multi-reed master and primary AEC conceptualist Roscoe Mitchell appears with his Note Factory band, with the Transatlantic Art Ensemble co-founded with Evan Parker, and with an historic trios project recorded at Chicago’s Museum of Contemporary Art. Along the way, numerous distinguished creative musicians make appearances – the long list includes Muhal Richard Abrams, Henry Threadgill, Craig Taborn, Vijay Iyer, Matthew Shipp, Tyshawn Sorey, Fontella Bass, Charlie Haden, Kenny Wheeler, Corey Wilkes, Gerald Cleaver, Phillip Wilson, George Lewis, William Parker, John Abercrombie, Eddie Gomez, and many others, in ECM recordings made between 1978 and 2015. This beautifully-designed box set incorporates a 300-page book reprising all original album covers, liner notes and poetry (by Joseph Jarman), as well as quotes from Art Ensemble members and the press, new texts by Craig Taborn, Vijay Iyer and George Lewis, a preface by Manfred Eicher, and an introduction by Steve Lake. Plus: many photographs (some previously unpublished), archival documents, and more.
CD 1
ART ENSEMBLE OF CHICAGO : NICE GUYS
1 Ja 08:39
2 Nice Guys 01:41
3 Folkus 10:59
4 5 9 7 - 5 9 06:43
5 Cyp 04:49
6 Dreaming Of The Master 11:40
CD 2
ART ENSEMBLE OF CHICAGO : FULL FORCE
1 Magg Zelma 19:50
2 Care Free 00:46
3 Charlie M 09:17
4 Old Time Southside Street Dance 05:11
5 Full Force
CD 3
ART ENSEMBLE OF CHICAGO : URBAN BUSHMEN
1 Promenade: Cote Bamako I 04:11
2 Bush Magic 05:05
3 Urban Magic: March / Warm Night Blues Stroll / Down the Walkway / RM Express 15:39
4 Sun Precondition Two / Theme For Sco: Soweto Messenger / Bushman Triumphant / Entering the City / Announcement of Victory 21:53
CD 4
1 New York Is Full Of Lonely People 07:37
2 Ancestral Meditation 06:56
3 Uncle 17:29
4 Peter And Judith 02:39
5 Promenade: Cote Bamako II 05:57
6 Odwalla/Theme 05:14
CD 5
ART ENSEMBLE OF CHICAGO :THE THIRD DECADE
1 Prayer For Jimbo Kwesi 09:47
2 Funky AECO 07:39
3 Walking In The Moonlight 04:07
4 The Bell Piece 06:02
5 Zero 05:55
6 Third Decade 08:19
CD 6
LEO SMITH : DIVINE LOVE
1 Divine Love 21:47
2 Tastalun (dedicated to Lester Bowie) 06:39
3 Spirituals: The Language Of Love 15:28
CD 7
LESTER BOWIE : THE GREAT PRETENDER
1 The Great Pretender 16:50
2 It's Howdy Doody Time 02:07
3 When The Doom (Moon) Comes Over The Mountain: a) Doom? b) When The Moon Comes Over The Mountain 03:38
4 Rios Negros 07:15
5 Rose Drop 07:25
6 Oh, How The Ghost Sings 05:50
CD 8
LESTER BOWIE : ALL THE MAGIC!
1 For Louie 12:14
2 Spacehead 06:47
3 Ghosts 03:09
4 All The Magic!/Everything Must Change/T. Jam Blues 15:51
5 Let The Good Times Roll 06:47
CD 9
1 Organic Echo 03:18
2 Dunce Dance 02:05
3 Charlie M. (Part II) 02:51
4 Thirsty? 03:31
5 Almost Christmas 04:52
6 Down Home 02:40
7 Okra Influence 04:39
8 Miles Davis Meets Donald Duck 01:38
9 Deb Deb's Face 02:05
10 Monkey Waltz 01:35
11 Fradulent Fanfare 01:01
12 Organic Echo (Part II) 05:31
CD 10
LESTER BOWIE'S BRASS FANTASY : I ONLY HAVE EYES FOR YOU
1 I Only Have Eyes For You 10:26
2 Think 01:35
3 Lament 13:47
4 Coming Back, Jamaica 05:14
5 Nonet 14:25
6 When The Spirit Returns 07:44
CD 11
LESTER BOWIE'S BRASS FANTASY : AVANT POP
1 The Emperor 10:09
2 Saving All My Love For You 05:06
3 B Funk 03:48
4 Blueberry Hill 05:24
5 Crazy 05:23
6 Macho (Dedicated To Machito) 06:16
7 No Shit 05:11
8 Oh, What A Night 05:33
CD 12
ART ENSEMBLE OF CHICAGO : TRIBUTE TO LESTER
1 Sangaredi 07:42
2 Suite for Lester 05:22
3 Zero / Alternate Line 09:16
4 Tutankhamun 08:10
5 As Clear as the Sun 12:41
6 He Speaks to Me Often in Dreams 13:52
CD 13
ROSCOE MITCHELL : NINE TO GET READY
1 Leola 09:35
2 Dream And Response 05:35
3 For Lester B 06:07
4 Jamaican Farewell 05:45
5 Hop Hip Bip Bir Rip 05:59
6 Nine To Get Ready 03:52
7 Bessie Harris 06:47
8 Fallen Heroes 06:33
9 Move Toward The Light 03:24
10 Big Red Peaches 02:03
CD 14
ROSCOE MITCHELL, THE TRANSATLANTIC ART ENSEMBLE : COMPOSITION / IMPROVISATION NOS. 1, 2 & 3
1 I 13:36
2 II 04:07
3 III 18:34
4 IV 05:42
5 V 03:54
6 VI 03:17
7 VII 09:12
8 VIII 14:48
9 IX 05:58
CD 15
EVAN PARKER, THE TRANSATLANTIC ART ENSEMBLE : BOUSTROPHEDON
1 Overture 01:21
2 Furrow 1 08:09
3 Furrow 2 05:46
4 Furrow 3 11:07
5 Furrow 4 05:21
6 Furrow 5 08:20
7 Furrow 6 12:52
8 Finale 06:19
CD 16
ROSCOE MITCHELL, THE NOTE FACTORY : FAR SIDE
1 Far Side / Cards / Far Side 30:56
2 Quintet 2007 A For Eight 09:56
3 Trio Four For Eight 12:37
4 Ex Flover Five 12:24
CD 17
ROSCOE MITCHELL : BELLS FOR THE SOUTH SIDE
1 Spatial Aspects of the Sound 12:14
2 Panoply 07:36
3 Prelude to a Rose 12:44
4 Dancing in the Canyon 10:23
5 EP 7849 08:13
6 Bells for the South Side 12:35
CD 18
1 Prelude to the Card Game, Cards for Drums, and The Final Hand 16:03
2 The Last Chord 12:26
3 Six Gongs and Two Woodblocks 07:50
4 R509A Twenty B 01:34
5 Red Moon In The Sky / Odwalla 25:49
CD 19
JACK DEJOHNETTE, NEW DIRECTIONS : NEW DIRECTIONS
1 Bayou Fever 08:40
2 Where Or Wayne 12:25
3 Dream Stalker 05:55
4 One Handed Woman 10:49
5 Silver Hollow 08:24
CD 20
JACK DEJOHNETTE, NEW DIRECTIONS : IN EUROPE
1 Salsa For Eddie G. 16:05
2 Where Or Wayne 12:29
3 Bayou Fever 18:24
4 Multo Spiliagio 09:33
CD 21
JACK DEJOHNETTE, MUHAL RICHARD ABRAMS, LARRY GRAY, ROSCOE MITCHELL, HENRY THREADGILL : MADE IN CHICAGO
In his second ECM appearance (following a critically-acclaimed duo recording with Markus Stockhausen) pianist Florian Weber leads a strong cast through a programme of his compositions and sketches. Whether paying tribute to mentor Lee Konitz on “Honestlee”, impressionistically conveying the glittering “Melody of a Waterfall” or generating impactful drama out of fragments of sound on “Butterfly Effect”, Weber continually draws fresh responses from his players. “I wanted this project to be as open as possible”, he says. “It’s the idea of exploration that is important here, and the differences between the players.” The strong, grounded bass of Linda May Han Oh contrasts strikingly with Nasheet Waits’s fleet, fluid drumming, setting up new contexts for Ralph Alessi’s elegantly inventive trumpet and the leader’s highly creative piano playing. Lucent Waters was recorded at Studios La Buissonne in the South of France in September 2017, and produced by Manfred Eicher.
Florian Weber Piano
Ralph Alessi Trumpet
Linda May Han Oh Double Bass
Nasheet Waits Drums
1 BRILLIANT WATERS (Florian Weber) 02:07
2 MELODY OF A WATERFALL (Florian Weber) 03:02
3 FROM COUSTEAU'S POINT OF VIEW (Florian Weber) 05:37
Speaking to the New York Times in 2007, Alfred Brendel said of fellow pianist Till Fellner: “It has impressed me how ambitiously he has developed his repertory, being equally at home in solo and concerto repertoire, chamber music and lieder… I heard him do the best live performance of Liszt’s Années de pèlerinage”. Fellner’s insightful playing of the Premiere année from that collection of suites, underlines the contention, vividly conveying Franz Liszt’s literal and imaginative journeys. “Having recently travelled to many new countries,” wrote the composer in 1855, “through different settings and places consecrated by history and poetry, and having felt that the phenomena of nature and their attendant sights stirred deep emotions in my soul, I have tried to portray in music a few of my strongest sensations and most lively impressions”. Fellner’s account of Liszt was recorded at the Musikvereien in Vienna in 2002. It is paired here with a concert recording of Beethoven’s Sonata No 32, recorded at the Mahaney Center for the Arts in Middlebury, Vermont in 2010, the year in which ECM released Fellner’s interpretation of Beethoven’s Piano Concertos Nos 4 and 5 to a chorus of critical acclaim.
Till Fellner Piano
FRANZ LISZT - ANNÉES DE PÈLERINAGE, PREMIÈRE ANNÉE - SUISSE
1 Chapelle de Guillaume Tell 05:43
2 Au lac de Wallenstadt 03:20
3 Pastorale 01:32
4 Au bord d'une source 03:51
5 Orage 04:17
6 Vallée d'Obermann 13:08
7 Églogue 03:17
8 Le mal du pays 05:33
9 Les cloches de Genève 06:21
LUDWIG VAN BEETHOVEN - SONATA NO. 32 IN C MINOR OP. 111
10 Maestoso - Allegro con brio ed appassionato 09:09
11 Arietta. Adagio molto semplice e cantabile 19:17
Andrew Cyrille’s title Lebroba is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of an album bringing together three of creative music’s independent thinkers. Each of them made his first ECM appearance long ago: drummer Andrew Cyrille on Marion Brown’s Afternoon of a Georgia Faun (1970), trumpeter Wadada Leo Smith on his own classic Divine Love (1978), and guitarist Bill Frisell on Eberhard Weber’s Fluid Rustle (1979); these are, of course, players of enduring influence. Frisell contributed to Cyrille’s previous ECM disc The Declaration of Musical Independence, but Lebroba marks a first-time meeting for the guitarist and Wadada Leo Smith. A generous leader, Cyrille gives plenty of room to his cohorts, and all three musicians bring in compositions, with “Turiya”, Wadada’s elegant dedication to Alice Coltrane, unfurling slowly over its 17-minute duration. In his own pieces, including the title track and the closing “Pretty Beauty”, Cyrille rarely puts the focus on the drums, preferring to play melodically and interactively, sensitive to pitch and to space. There are references to West African music and the blues as well as the history of jazz drumming, but Cyrille’s priority today is an elliptical style in which meter is implied rather than stated.
Andrew Cyrille Drums
Wadada Leo Smith Trumpet
Bill Frisell Guitar
1 WORRIED WOMAN (Bill Frisell) 07:35
2 TURIYA: ALICE COLTRANE MEDITATIONS AND DREAMS LOVE (Wadada Leo Smith) 17:24
3 LEBROBA (Andrew Cyrille) 05:44
4 TGD (Andrew Cyrille, Bill Frisell, Wadada Leo Smith) 05:17
German cellist Anja Lechner and Argentinean guitarist Pablo Márquez met in 2003 and have since explored the most diverse repertoire and modes of expression in their concerts. For their first duo album, a conceptual context is provided by the strong tradition of songs with guitar accompaniment prevalent in 19th century Vienna, as Lechner and Márquez play some of Schubert’s most beloved songs (including Die Nacht, Nacht und Träume and Der Leiermann), elegantly framing the album’s centrepiece: Schubert’s expansive ‘Arpeggione’ sonata. Many of Schubert’s songs were published in alternative versions with guitar during the composer’s lifetime; in some cases, the guitar version appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s spirit and language, are the graceful Trois Nocturnes originally written for cello and guitar by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.
1 NOCTURNE NR. 1 IN A-MOLL. ANDANTINO 03:37
(Friedrich Burgmüller)
2 NACHT UND TRÄUME, D 827 02:46
(Franz Schubert)
3 NOCTURNE NR. 3 IN C-DUR. ALLEGRO MODERATO 02:20
(Friedrich Burgmüller)
4 DIE NACHT
(Franz Schubert) 02:23
FRANZ SCHUBERT - DIE WINTERREISE, D 911
5 Der Leiermann 03:58
FRANZ SCHUBERT - ARPEGGIONE SONATE IN A-MOLL, D 821
6 Allegro moderato 12:45
7 Adagio 04:05
8 Allegretto 09:39
9 FISCHERWEISE, D 881 02:23
(Franz Schubert)
10 MEERES STILLE, D 216 00:07 - 02:01
(Franz Schubert)
11 NOCTURNE NR. 2 IN F-DUR. ADAGIO CANTABILE 03:44
(Friedrich Burgmüller)
FRANZ SCHUBERT - ROSAMUNDE, D 797
12 Romanze 02:31
13 NOCTURNE NR. 1 IN A-MOLL. ANDANTINO (VAR.) 03:34
All compositions created collectively by Mark Dresser (Del Dresser Music/ASCAP), Larry Ochs (Trobar/ASCAP/BMG) and Vladimir Tarasov (LATGAA)
Tracks Twelve Angry Jones and Three Jones Outside Ebbing, Missouri recorded live by Art Granoff in Berkeley, California, at the home of Harry Bernstein and Caren Meghreblian on May 28th, 2016
Other tracks recorded live by Tim Pinch in San Diego, California, at The Loft on May 24th, 2016
All compositions by Martin Küchen (STIM/NCB) and Rafał Mazur
Tracks on this release are in chronological order of the recording session
Recorded live on March 6th, 2017 at BAZA Club, Krakow, Poland by Rafał Driewniany
Mixed by Rafał Driewniany / DTSSTUDIO.PL
Mastered by Arūnas Zujus at MAMAstudios
Rafał Mazur plays acoustic bass guitar built by Jerzy Wysocki
Cover - Karol Suchanek, Workers’ Bath-House at Wiegerska Gorka, Ironworks, Poland, 1930s, glass plate photography / Courtesy of the Ethnographic Museum in Krakow
