Mostrando postagens com marcador Konnex Records. Mostrar todas as postagens
Mostrando postagens com marcador Konnex Records. Mostrar todas as postagens

23.9.24

ALBERT MANGELSDORFF | JOHN SURMAN — ROOM 1220 (1970-1993) FLAC (tracks+.cue), lossless

Three stunning tunes featuring some of the best improvisers in the world today, all of them written -- yes, written -- by trombonist Albert Mangelsdorf. Interestingly, with a band this diverse and dimensionally articulate, the composer has come up with a program addressing each of the band's particular strengths. The title track, clocking in at over 21 minutes, is a study in the spatial relationship of tonalities. Even so, with its slow unwinding passages -- and interesting interplay between Surman on baritone and Mangelsdorf -- there are intervals, which allow for the creation of alternate harmonies and timbral interjections in chromatic architecture. Pianist Eddy Louis, along with Pedersen, are largely responsible for keeping the slowly revolving beast moving, but they add true depth in microtones and chord voicings. "Triple Circle" is quintet jazz, pure and simple, with everybody playing the hard bop line. Pedersen's solo is of particular interest here, in that his pizzicato playing moves through all three registers and offers scalar blues attacks in each. Finally, "My Kind of Beauty" caps it all off with a pastoral, late-night into courtesy of the horns and Louis on organ. It's a shimmering ballad until almost five minutes in, when Surman begins playing the baritone in the upper register and makes it cry with loneliness and an outpouring of what can only be called amorous emotion. Just as he finishes his sojourn, Pedersen and Louis begin to pace off a blues and transform the number into a groove tune with room enough for every body in the slowly evolving mix of textures in the intervallic transition. Louis' own solo is light and airy, whispering itself along the changes until it shifts into a noirish piece of film music with Mangelsdorf's solo. It all ends on a groove in the backbeat somewhere, but not without making the listener smile. Room 1220 is a hell of a Mangelsdorf date to be sure, but this is once in a lifetime ensemble, and the recording proves it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Room 1220    22:05
2    Triplet Circle    8:32
3    My Kind Of Beauty    12:51
Credits :
Baritone Saxophone – John Surman
Bass – Nils-Henning Ørsted Pedersen
Drums – Daniel Humair
Piano, Organ [Hammond] – Eddy Louis
Trombone, Composed By – Albert Mangelsdorff

31.1.23

EVAN PARKER | PAUL RUTHERFORD | BARRY GUY | JOHN STEVENS - 4, 4, 4, (1993) FLAC (tracks+.cue), lossless

This was one of the stranger recordings issued by Konnex at the time, in that the band listed as playing 4,4,4 (in five parts) isn't the only band on the record. After the quartet's five selections are played through, a new band consisting of Stevens with violinist Nigel Coombes and guitarist Roger Smith improvises "Surfaces" for over 23 minutes! There is no information on the front cover to denote such a thing. Oh well, those Brits. As for the seasoned quartet on "4,4,4," strange, haunting, and beautiful are the words that describe the result of their latest collaboration. Rutherford and Parker have by now developed a language and syntax to speak to one another in every time they play together. Parker isn't forced into his conical ribbons of sound improvisational technique once here, as there is so much dialogue going on with Rutherford, who plays almost always at the same time or in alternating lines with Parker. They tonally challenge each other not to go further out, but further inside a particular timbral dimension, or tonal variant created by angular reed and bell mechanics. As for Guy and Stevens, they are more than support as a rhythm section -- they are the guys making stuff happen, with shifting accents staccato firebrands in the high registers, shimmering rim shots and electronic treatments that keep the horn players closed to one another. As for the S.M.E. piece, "Surfaces," that's what it is: a textural study of the interaction between two differing string tensions with percussion. Coming as it does after the wild, dynamic roar of "4,4,4," it accomplishes little in the way of excitement or even keeping a listener's interest.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     1, 4, 4, 4:33
Barry Guy / Evan Parker
2     2,4,4, 11:05
Barry Guy / Evan Parker
3     3,4,4, 7:45
Barry Guy / Evan Parker
4     4, 4, 4, 18:25
Barry Guy / Evan Parker
5     5,4,4, 1:42
Barry Guy / Evan Parker
6     Surfaces 23:10
Acoustic Guitar – Roger Smith
Drums, Composed By – John Stevens
Recorded By – Richie Stevens
Violin – Nigel Coombes

Credits :
Bass, Electronics – Barry Guy (pistas: 1 to 5)
Percussion, Voice – John Stevens (pistas: 1 to 5)
Soprano Saxophone – Evan Parker (pistas: 1 to 5)
Trombone, Euphonium – Paul Rutherford (pistas: 1 to 5)

e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless

"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...