Mostrando postagens com marcador Ned Rothenberg. Mostrar todas as postagens
Mostrando postagens com marcador Ned Rothenberg. Mostrar todas as postagens

6.3.26

NED ROTHENBERG — Crossings Four (2023) FLAC (tracks), lossless

Crossings – points of convergence, loci for decision-making, determination and daring resolve. For more than four decades, New York multi-instrumentalist and composer Ned Rothenberg has operated at the stimulating nexus of no-return, working with challenging artists such as Evan Parker, Fred Frith, Marc Ribot, Elliott Sharp, Julian Sartorius and Sainkho Namtchylak in his bold pursuance of a unique and intimate musical voice liberated from all idiomatic fetters.

His latest quartet finds him accompanied by three other like-minded musicians – Mary Halvorson, Tomas Fujiwara and regular Rothenberg associate, Sylvie Courvoisier – close friends whose equally boundary-busting careers have seen them ferment vital connections between the hook-laden audacities of New York’s downtown jazz scene, the detailed intricacies of European chamber music and the chaotic ruckus of experimental rock alongside musicians including Anthony Braxton, John Zorn, Ikue Mori, Bill Frisell, Ingrid Laubrock and Tomeka Reid. Such pedigrees make them obvious allies for a set of audacious explorations where daring composition and fearlessly inventive improvisation tandem together as complementary conceptual agents.

With Crossings 4, Rothenberg plots and juggles his compelling coordinates, flagging up a succession of shifting signposts and pivots around which his accomplices extemporise, each of them committed to pushing the music into lesser explored terrains, intrepidly transitioning between contrasting sections in elaborate interplays of unconventional rhythm and timbre.

Whether its Halvorson’s signature pitch-shifted guitar paroxysms, Courvoisier’s playful ivory tumbles or Fujiwara’s singular stylistic beat synthesis, each component of Rothenberg’s crack quartet contributes to its ever-evolving hive mind. Here, the group is all. Even elaborate solo deviations are pledged to the benefit of collective ensemble expression, while also allowing each player ample opportunity to stretch out and articulate, individual sounds unfurling like probing tendrils over remote alien outposts, reaching out, seeking surprising footholds within the great unknown. bandcamp.com 
Tracklist :
1.        Seersucker 9:25
Music By – Ned Rothenberg, Sylvie Courvoisier
2.        Sheets To The Wind 4:55
Music By – Halvorson, Rothenberg, Courvoisier, Fujiwara
3.        Quarantina 9:46
Music By – Ned Rothenberg
4.        Tangled Tangos 9:25
Music By – Ned Rothenberg
5.        Breather 10:22
Music By – Halvorson, Rothenberg, Courvoisier, Fujiwara
6.        Bob And Weave 8:09
Music By – Ned Rothenberg
Credits : 
Bass Clarinet, Alto Saxophone, Clarinet – Ned Rothenberg
Drums – Tomas Fujiwara
Guitar – Mary Halvorson
Piano – Sylvie Courvoisier

29.1.26

NED ROTHENBERG — World of Odd Harmonics (2012) Composer Series | FLAC (tracks+.cue), lossless


Since the early 1980s Ned Rothenberg has been forging some of the most original solo saxophone music in the world. Drawing upon classical, jazz, improvisation and world music traditions his solo performances are passionate, virtuosic and hypnotic. His latest Tzadik release focuses on 
his clarinet playing and establishes him as one of the most consistently interesting and versatile reed players around. Circular breathing, multiphonics, an angular melodic sense and a surprisingly polyphonic style. Tzadik
Tracklist :

1.    Preamble    3:29
2.    Fingerlace    5:12


3.    Depth Perception    13:39
4.    Odd Not Odd?   
 6:37
5.    Swagger    6:14
6.    Line Drawing    8:50
7.    Kick Out Of It    3:22
8.    Giuff    4:02
9.    Elide In Time    4:12
Credits : 
Solo Bb Clarinet, A Clarinet, Bass Clarinet, Composed By – Ned Rothenberg

18.2.23

EVAN PARKER | NED ROTHENBERG - Monkey Puzzle (1997) FLAC (tracks), lossless

Tracklist :
1    For Ximenes    15:06
2    For Araucaria    5:04
3    For Bynthorne    7:06
4    For Afrit    2:52
5    For Dinmut    15:22
6    For Custos    3:34
7    For Rufus    4:08
8    For Chifonie    6:13
Credits :
Bass Clarinet, Alto Saxophone – Ned Rothenberg
Music By – Evan Parker, Ned Rothenberg
Soprano Saxophone, Tenor Saxophone – Evan Parker

8.2.23

PAOLO ANGELI | EVAN PARKER | NET ROTHENBERG - Free Zone Appleby 2007 (2009) FLAC (tracks), lossless

Tracklist :
1    Shield (Blue) Duo 1    13:02
2    Shield (Blue) Duo 2    10:55
3    Shield (Blue) Trio 1    2:50
4    Shield (Blue) Trio 2    4:52
5    Shield (Blue) Trio 3    7:34
6    Shield (Blue) Trio 4    7:07
7    Shield (Blue) Trio 5    3:34
8    Shield (Blue) Trio 6    7:33
Credits :
Alto Saxophone, Clarinet, Bass Clarinet – Ned Rothenberg
Guitar [Sardinian], Electronics – Paolo Angeli (pistas: 1, 3 to 8)
Painting – Phil Morsman
Soprano Saxophone, Tenor Saxophone – Evan Parker (pistas: 2 to 8)

9.1.23

ANTHONY BRAXTON - Trillium R : Composition 162 - An Opera in Four Acts / Shala Fears for the Poor (1999) 4CD | FLAC (tracks), lossless

So why is this so important? How can a guy like Braxton, who writes constantly, get a high mark on his first outing? Simple -- with the exception of Anthony Davis, who wrote Malcolm X, no one from the jazz side of the fence has attempted such a complete attempt to embrace the world of Western classical music so thoroughly. (Yes, forget Blood on the Fields, it's a jazz oratorio according to its composer.) And it deems that Braxton is the only one who can be counted -- if this opera, the first of 36 by the year 2020 if the composer lives that long and lives up to his word (is there any doubt?), is any example -- to have his work be worthy of comparison to the works of Webern, Berg, and Schoenberg, not to mention Morton Feldman and John Cage. Compared to his jazz work, Composition No. 162 -- An Opera in Four Acts/Shala Fears for the Poor (dedicated to Nelson Mandela) is far from dense compared to his jazz quartet, quintet, and orchestra work. The opera is performed by nine singers and a full symphony orchestra who has among its membership instrumental soloists like clarinetist Chris Speed, flutists Ned Rothenberg and Rob Brown, and violinist Sara Parkins. All of the operas in the Trillium series will have three primary levels spread throughout their acts and scenes: an "apparent story," which is a narrative that can be appreciated more or less for what it seems to say; a set of "philosophical associations" that make the work refer outside itself into the world of ideas; and finally, "the mystical or spiritual fundamental that underlines each setting," in other words, an allegory -- noh or kabuki theater anyone? The narrative in Shala is a long, drawn-out, rhetorical narrative involving the marketing of products and productions to the masses, specifically to the lower classes. These products are everything from food to loans, all of them created to extract a maximum of profit regardless of damage. Certainly there is a preaching to the converted here, with a plot as concerned with the obvious as the face of our culture. But Braxton -- through his use of color, shape, texture, and above all intersecting musical and dramatic dynamics -- cuts through and makes his dialogue enter into the imagination, where the listener extrapolates her or his own experience and places it firmly in the operatic sequence of events. The smarminess of the Board of Directors and the under-sung plaintive wail of Shala are downright moving. The interplay of the strings with the solo voices and horns and percussion creating mysterious shapes underneath, filling out scenarios and sub-plots, is masterful. Yes, it does seem as if there is a bit of the overly dramatic "snidely whiplash" in all of this, but isn't it that cynical anyway? That Braxton can overcome his temptation to preach at all is compelling (remember Schöenberg's similar taste of pulpit-climbing sin in Moses and Aaron?), as is his ability to lay everything at the altar of image (as his musicians paint them in the air next to the singers) in elongated modes of introverted harmonics and striated tonal linguistics. And after all, like all of Braxton's music, this opera, Shala Fears for the Poor, is about language and how it mediates and transcends images. Braxton is trying to transcend the language of the opera while using it for his own purposes. If this is where the future of opera is headed, if this is where it's language will ultimately be decided, then someone please give me a grammar book -- I'm in.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Trillium R: Shala Fears For The Poor - Composition No. 162 (Opera In Four Acts)   
1-1    Act 1    1:03:05
2-1    Act 2    31:32
3-1    Act 3    39:20
4-1    Act 4    42:06
All Credits

EMERSON, LAKE & PALMER — Works Volume 2 (1977-2010) RM | SHM-CD | Two Version | FLAC (image+.tracks+.cue), lossless

After the rather dull Works, Vol. 1, the highly underrated Works, Vol. 2 is a godsend. Works, Vol. 1 took their pompous, bombastic, keyboard...