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 | | Артист: | Marilyn Crispell Trio | | Альбом: | "Storyteller", (2004) | | Жанр: | Jazz | | Формат файла: | eac.ape.cue.covers | | Ссылка: | CD | | Нахождение: | eDonkey |
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| QUOTE | Marilyn Crispell Trio
Storyteller | ECM
Marilyn Crispell’s 2001 ECM release "Amaryllis" was described, by Gary Giddins in the Village Voice, as "uncommonly thoughtful", and "dramatic [in its] expression of lyricism". This is equally, if not more, true of "Storyteller". Since Crispell arrived at ECM with her landmark recording, "Nothing ever was, anyway", reinterpreting the compositions of Annette Peacock, she has been re-evaluating the meaning of ‘intensity’ in her work and rechanneling it, allowing other aspects of her musical personality to come to the fore.
If the parameters of her early work were defined by energy, speed and attack – she counts amongst the most articulate of pianists to have been profoundly influenced by Cecil Taylor – the lyrical qualities of her music have consistently distinguished it from the output of many contemporaries – as indeed Taylor was the first to recognize. In the recent music there is a more rigorous sense of form, as well as an awareness that power can often reside in the unstated. Nothing is abandoned in the new music but when characteristic torrents of sound are unleashed in "Cosmology 2", ten songs into the set, the impact is the stronger for the tension established along the way.
In other words, the lyricism and the energy balance each other, and the music as a whole is the stronger for it. "It’s all evolving process," Crispell told the San Francisco Bay Guardian. "And the process is not something you can pin down. Categories don’t account for process... I’m feeling more open about expressing everything I feel and not playing what I think I should play to satisfy anyone’s preconceptions, including my own." And, to the Boston Globe, "Energy will always be part of me – even when I play Bach, which is still my favourite music – but now my lyrical side feels more centred. Intensity remains the thread that ties all of my music together, although now some of the intensity is inner-directed."
The band shows great poise and control throughout. The continual interaction between Crispell and master drummer Paul Motian is of immense subtlety (easy to argue that this is also one of Motian’s best recordings). Mediating between them is new band member Mark Helias. A very different player from Gary Peacock (the trio’s previous bassist), he completes and anchors the band. Helias shows a firm, rhythmic grasp, like a heartbeat – one reason why he was Ed Blackwell’s preferred bassist for many years – and also contributes a couple of tunes to the repertoire including the irresistibly catchy "Harmonic Line".
There are strong pieces from Crispell here – "Wild Rose", "Alone", "So Far, So Near" - that reflect her current focus on both the poetic compression in the playing and the yearning for wider space in the form. And there is also a showcasing of Paul Motian’s gifts as a unique songwriter, which first flowered with the encouragement of ECM in the early 1970s. Crispell has gone back through three decades of Motian compositions to select six pieces for this recording – they range from "The Sunflower", written for Paul’s wonderful group with Charles Brackeen and J.F. Jenny-Clark (see 1979’s "Le Voyage"), to "Light of the Bluejay" premiered by his Electric Bebop Band. All of the material is transformed by Crispell’s sensitive touch.
There is something essential in Motian’s writing that links it with Thelonious Monk’s (as a young drummer Paul played with Monk) and Crispell has isolated this quality. Motian’s tunes can seem both naïve and sagacious, both in the jazz tradition and from somewhere else entirely. In Paul’s case his melodic sense is likely influenced by the Armenian and Turkish music he heard in his childhood. The principles that drive the tunes are much like those that drive Motian’s drumming, well described by Bill Shoemaker in Jazz Times:
"Motian’s signatures are to be found in counterintuitive responses to the unfolding music: He chooses silence where many drummers knee jerk their way through a flurry of chops, and slips a cubist sketch of tune’s rhythmic implications into the niches most drummers simply ride through."
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Marilyn Crispell, piano
Mark Helias, double-bass
Paul Motian, drums
Wild Rose
Flight of the Bluejay
The Storyteller
Alone
Harmonic Line
Cosmology 2
Limbo
Play
The Sunflower
Cosmology 1
So Far, So Near
Recorded February 2003
ECM 1847
*EAC (secure mode / offset correction)
*Monkey's Audio 3.99 / extra high compression
*389 MB
*high quality covers
*another chapter of my exceptional life
| CODE |
EAC extraction logfile from 10. October 2005, 14:45 for CD
Marilyn Crispell Trio / Storyteller
Used drive : HL-DT-STCD-RW GCE-8320B Adapter: 0 ID: 2
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 12
Overread into Lead-In and Lead-Out : Yes
Used output format : C:\Program Files\Exact Audio Copy\Plugins\wapet.exe (User Defined Encoder)
320 kBit/s
Additional command line options : %d -t "Artist=%a" -t "Title=%t" -t "Album=%g" -t "Year=%y" -t "Track=%n" -t "Genre=%m" -t "Comment=EAC / Monkey's Audio 3.99" mac.exe %s %d -c4000
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000
Range status and errors
Selected range
Filename D:\Audio\lossy\Marylin Crispell - Storyteller (2004).wav
Peak level 99.2 %
Range quality 100.0 %
CRC 7E5FE8B7
Copy OK
No errors occured
End of status report
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enjoy!
Damn, I'm so sweet.
Please release and share Ralph Towner. Details in archive.
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Marilyn Crispell Trio - Storyteller, ECM 1847 | 2004
