8.3.26

MEDIÆVAL BÆBES — Illumination (2009) FLAC (tracks+.cue), lossless

The Mediæval Bæbes, with their original melodies, harmony singing, and set of often electronic instruments, clearly use medieval music as a point of departure for new, creative activity rather than as a thing to be reconstructed and understood on its own terms. Illumination, the seventh studio album from England's Mediæval Bæbes, is perhaps the richest one the group has done sonically, with the strongest influence of pop production. Various Bæbes take lead vocals here, but the production makes them sound similar. This said and understood, they continue to get quite deeply into their source material and make varied new products from it, which is why they've transcended their initial novelty status and are well into their second decade of music-making, with a solid fan base especially in the British Isles. On Illumination, consider The Blacksmiths (track 3), an alliterative dialect poem of the early 15th century that is either celebrating or complaining about the noises of a blacksmith's shop. Probably it's little known outside scholarly circles, or has been little known until now. The Bæbes' setting runs through three separate sections, the first lightly accompanied with handclaps, the second turning the word "blacksmiths" into an anthemic line backed by full pop instrumentation, and a third building up to the conclusion from a single solo voice. This is original stuff, owing little to cinematic conventions of medieval representation or to the jolly medieval tunes with which cell phones come preprogrammed. The title Illumination might suggest a religious theme, but in fact the mix of texts is similar to those on other Bæbes albums, running from medieval Latin sacred poetry through various periods (notable here is the concluding setting of John Keats' La Belle Dame sans Merci) and up to original compositions like the opening Desert Rose, with mostly secular themes. This is one of several tracks on the album that have Middle Eastern flavorings that borrow from the world music moves of recent pop dance music; these are perhaps less convincing than those that use the standard Bæbes technique of taking medieval material and applying wild pop imagination to it. This album may be a bit of a stretch even for confirmed Mediæval Bæbes fans, but it is, as usual, worth hearing. James Manheim
Tracklist :
1.    Desert Rose    3:48
2.    Suscipe Flos Florem    3:38
3.    The Blacksmiths 3:23
Guest – Faun
4.    To The One    3:08
5.    Miracle    4:19
6.    I Sing Of A Maiden    2:34
7.    The Undivided    2:34
8.    Ecce Chorus Virginum
9.    Mad Song    4:08
10.    My Lady Sleeps    2:59
11.    Yonder Lea 3:07
Guest – Faun
12.    Till 'A The Seas Gang Dry    3:51
13.    Sunrise 3:22
Guest – Faun
14.    La Belle Dame Sans Merci    3:50

STEVE REICH : Different Trains · Electric Counterpoint (Kronos Quartet · Pat Metheny) (1989) FLAC (tracks+.cue), lossless

This late-'80s work finds the minimalist composer mixing acoustic and taped material to great effect. The disc's centerpiece is "Different Trains," a work that frames Reich's impressions of his boyhood train trips between his mother in Los Angeles and his father in New York; Reich also intersperses references to the much more harrowing train rides Jews were forced to take to Nazi concentration camps. Using the fine playing of the Kronos Quartet as a base, Reich layers the work with the taped train musings of his governess, a retired Pullman porter, and various Holocaust survivors -- vintage train sounds from the '30s and '40s add to the riveting arrangement. And for some nice contrast, Reich recruits guitarist Pat Metheny to create a similarly momentous piece in "Electric Counterpoint" (Metheny plays live over a multi-tracked tape of ten guitars and two electric basses). Two fine works by Reich in his prime. Stephen Cook
STEVE REICH (1900-1959)
Different Trains    
1.    Kronos Quartet–    America – Before The War    8:59
2.    Kronos Quartet–    Europe – During The War    7:31
3.    Kronos Quartet–    After The War    10:20
Electric Counterpoint    
4.    Pat Metheny–    Fast    6:51
5.    Pat Metheny–    Slow    3:21
6.    Pat Metheny–    Fast    4:29
Credits : 
Cello [Kronos Quartet] – Joan Jeanrenaud (tracks: 1 to 3)
Viola [Kronos Quartet] – Hank Dutt (tracks: 1 to 3)
Violin [Kronos Quartet] – David Harrington (tracks: 1 to 3), John Sherba (tracks: 1 to 3)
Guitar – Pat Metheny (tracks: 4 to 6)
Cover [Cover Photography], Photography By [Cover Photography] – Karl Steinbrenner
Notas
"Different trains" recorded August 31 - September 9, 1988 at Russian Hill Recording, San Francisco.
"Electric counterpoint" recorded September 26 - October 1, 1987 at Power Station, New York City.

6.3.26

GEORGE ANTHEIL : Symphony №. 3 'American' · Symphony №. 6 'After Delacroix' · Spectre Of The Rose Waltz · Archipelago · Hot-Time Dance (BBC Philharmonic · John Storgårds) (2019) Tree Version | WAV + FLAC (image+.tracks+.cue), lossless

The fortunes of American composer George Antheil declined after his daring Ballet Mécanique, an accompaniment to a Dada film by Fernand Léger. He wrote film music, which shows up as an influence in the music on this release by the BBC Philharmonic and Finnish conductor John Storgårds. And he flirted with jazz and with major classical styles of the day, never quite finding a fully original voice again but always maintaining an appealing level of ambition. Storgårds is the latest of a diverse group of conductors (including Eugene Goossens) to champion Antheil's orchestral music, and he's not as unlikely a champion as he might seem. Finns have always been enthusiastic programmers of Russian music, and Antheil's models here are Russian: Shostakovich, principally, and to a lesser extent Prokofiev. This is true even in the case of the Symphony No. 3, subtitled "American," whose sound collages suggest that Antheil was familiar with the music of Ives by this time, but whose finale is pure Prokofiev. The Symphony No. 6 ("Delacroix," referring to programmatic inspiration by that painter's Liberty Leading the People) brings several Shostakovich symphonies to mind, which is hardly surprising: Shostakovich appeared on the cover of Time during the war and was an extraordinarily popular figure in the U.S. Probably the strongest pieces are the short ones. The opening Archipelago is in the vein of Milhaud's Brazilian pieces but is lush, with harp glissandos and a bit of everything else, where Milhaud is concise and brisk. The little Hot-Time Dance (the reference is not to Hot Time in the Old Town Tonight but to an old election-night custom) offers a Shostakovich-like clarinet theme, but here Antheil is economical and treats the little tune in a bewitching way. The BBC Philharmonic keeps up with detailed, difficult parts and what was likely unfamiliar music. This album can be recommended to anyone with an interest in American symphonic music. James Manheim
GEORGE ANTHEIL (1900-1959)
1.    Archipelago    (6:01)
2-5.    Symphony No. 3 'American'    (24:47)
6.    Hot-Time Dance (American Dance Suite No. 1; Election Dance)    (4:33)
7-9.    Symphony No. 6 'After Delacroix'    (26:12)
10.    Spectre Of The Rose Waltz    (4:53)
Credits : 
Conductor – John Storgårds
Orchestra – BBC Philharmonic

THE CLARINET TRIO — 4 (2012) FLAC (tracks+.cue), lossless

This is the 4th CD of the Clarinet Trio. All new compositions of one of the leading Clarinet groups in the world since 1998.
This one was recorded by the legendary sound engineer Walter Quintus in his then home in Landin near Berlin. bandcamp.com 

" '4' being arguably their best testimony to date, ullmann, kupke and thieke have reached a level of communication hard to surpass, which allows them to perform masterful acrobatics and instanteneous role-swaps.' (Downbeat Magazine) 
Tracklist :
1.        May 5    6:36
2.        Blaues Viertel    4:57
3.        Collectives #13 #14 5:06
Composed By – The Clarinet Trio
4.        Homogenous Emotions 2:05
Composed By – Ornette Coleman
5.        Catwalk Münzstrasse    6:41
6.        Waters    4:32
7.        Kleine Figuren #1    3:48
8.        News ? No News !    5:36
9.        Geringe Abweichungen Von Der Norm    6:12
10.        Kleine Figuren #1 (Variation)    2:06
11.        Kleine Figuren # 2    3:31
Credits : 
Alto Clarinet, Clarinet – Michael Thieke
Bass Clarinet – Gebhard Ullmann
Clarinet – Jürgen Kupke
Composed By – Gebhard Ullmann (tracks: 1, 2, 5 to 11)
Cover – Rivka Rinn
Producer – Gebhard Ullmann, Leo Feigin
Recorded By, Mixed By, Mastered By – Walter Quintus
 

SUN RA ARCHESTRA — Swirling (2020) FLAC (tracks+.cue), lossless

The planets align as the mighty Sun Ra Arkestra, under the direction of the maestro Marshall Allen, are releasing their first studio album in over twenty years, ‘Swirling’.

“We truly hope that this recording brings much joy to a planet which is so deeply in need of a spirit sound and vibration,” states saxophonist Knoel Scott. “We hope it contributes to a change in the ominous direction of man’s journey through the cosmos.”

“This new release is the Arkestra’s love offering to the world,” concludes Marshall Allen. “Beta music for a better world.”

Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen’s guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra’s legacy. bandcamp.com 
Tracklist :
1.           Satellites Are Spinning / Lights On A Satellite 8:00
Written-By – Sun Ra
2.        Seductive Fantasy 11:49
Written-By – Sun Ra
3.        Swirling 7:42
Written-By – Marshall Allen
4.        Angels And Demons At Play 7:05
Written-By – Sun Ra
5.        Sea Of Darkness / Darkness 5:06
Written-By – Sun Ra
6.        Rocket No. 9 5:00
Written-By – Sun Ra
7.        Astro Black 4:51
Written-By – Sun Ra
8.        Infinity / I'll Wait For You 9:18
Written-By – Sun Ra
9.        Sunology 4:25
Written-By – Sun Ra
10.        Door Of The Cosmos / Say 7:29
Written-By – Sun Ra
Credits : 
Alto Saxophone – Knoel Scott
Alto Saxophone, Electronic Valve Instrument [EVI] – Marshall Allen
Baritone Saxophone, Flute – Danny Ray Thompson
Bass – Tyler Mitchell
Congas – Stanley "Atakatune" Morgan
Cover [Original Cover Artwork By] – Lewis Heriz
Directed By [Under The Direction Of] – Marshall Allen
Drums – Wayne Anthony Smith, Jr.
French Horn – Vincent Chancey
Guitar – Dave Hotep
Performer – Sun Ra Arkestra
Piano – Farid Barron
Surdo [Surdo Drums], Percussion – Elson Nascimento
Tenor Saxophone, Flute – James Stewart 
Text By [Poem "Calling Planet Earth", August 1990] – Sun Ra
Trombone, Vocals – Dave Davis 
Trumpet – Cecil Brooks, Michael Ray
Vocals, Violin – Tara Middleton
 

MEDIÆVAL BÆBES — Illumination (2009) FLAC (tracks+.cue), lossless

The Mediæval Bæbes, with their original melodies, harmony singing, and set of often electronic instruments, clearly use medieval music as a ...