Jazz The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://theblues-thatjazz.com/pl/jazz/2937.html Mon, 27 Jun 2022 05:32:38 +0000 Joomla! 1.5 - Open Source Content Management pl-pl Geri Allen - Flying Toward The Sound (2010) http://theblues-thatjazz.com/pl/jazz/2937-geri-allen/25197-geri-allen-flying-toward-the-sound-2010.html http://theblues-thatjazz.com/pl/jazz/2937-geri-allen/25197-geri-allen-flying-toward-the-sound-2010.html Geri Allen - Flying Toward The Sound (2010)

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Refractions: Flying Toward The Sound (A Solo Piano Suite In Eight Pictures) 	
1 	Refraction I - Flying Toward The Sound 	6:02
2 	Refraction II - Red Velvet In Winter 	5:56
3 	Refraction III - Dancing Mystic Poets At Midnight 	4:20
4 	Refraction IV - God's Ancient Sky 	16:03
5 	Refraction V - Dancing Mystic Poets At Twylight 	3:22
6 	Refraction VI - Faith Carriers Of Life 	6:58
7 	Refraction VII - Dancing Mystic Poets At Dawn 	5:43
8 	Refraction VIII - Flying Toward The Sound (Reprise) 	6:53

9 	Your Pure Self (Mother To Son) 	5:07

Geri Allen - piano

 

Pianist and composer Geri Allen is an artist who has never been complacent or self-deceiving. She has always listened deeply, and in the process has pushed her own envelope of expression and creativity, looking toward a horizon as eternally on the move as she is. Flying Toward the Sound, subtitled “A Solo Piano Excursion Inspired by Cecil Taylor, McCoy Tyner and Herbie Hancock,” features an eight-part suite called “Refractions: Flying Toward the Sound.” Allen doesn’t play the music of her muses. Rather, she invokes their very spirits in her own utterly unique compositional method. On the opening title track it's Tyner, with his open-ended lyricism, extended chord voicings, and use of space. But Allen builds on his use of modes by adding her masterful large chord rumblings with the left hand in the deep registers of the piano while using the middle ones for a series of elegantly voiced melodic statements. On “Red Velvet in Winter,” for Hancock, she employs her inspiration’s method of composition as orchestration. Themes are inviting; she blends left-handed constructions, soulful lyric notions, and right-hand technique to evoke the timbral voices of many other instruments. But it is on “Dancing Mystic Poets at Midnight,” for Taylor, where the work really begins to sing. She reads through not only Taylor's use of rhythm and harmonics but his declared debt to Duke Ellington as a cornerstone. Playing two-handed melodies in high and middle registers that create a pulsing palette, she begins to improvise by alternating melodies and creating a third that, while percussive, is fluid and evocative of the space and distance a dancer must travel in a leap. The 16-minute centerpiece of the album is “God’s Ancient Sky.” It denotes the spiritual nature of this recording. Allen arrives in new territory after her muses, in order to create a set of sonic wings with which to fly from them toward the unknown. Its use of density and space, elegance and force, and its conscious engagement with the elliptical, both harmonically and rhythmically, is literally breathtaking. It walks a labyrinthine path between jazz and classical music in the musical world, and between earth, sky, and underworld in the spiritual realm. “Dancing Midnight Poets at Twylight” (sic) employs Taylor’s interpretation of Ellingtonian swing dramatically. The pulse here dances between rhythm and harmony with her signature lyricism ever at the forefront. The work reprises its opening theme in summary, but with noted harmonic extensions from a new musical terrain. She closes with “Your Pure Self (Mother to Son),” a gorgeous personal ballad outside this suite. Flying Toward the Sound is a major work for solo piano: courageous, vulnerable, poetically articulated, and technically awe-inspiring in form and execution. ---Thom Jurek, AllMusic Review

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administration@theblues-thatjazz.com (bluesever) Geri Allen Tue, 30 Apr 2019 15:00:33 +0000
Geri Allen,Charlie Haden,Paul Motian – In The Year Of The Dragon (1989) http://theblues-thatjazz.com/pl/jazz/2937-geri-allen/10813-geri-allencharlie-hadenpaul-motian-in-the-year-of-the-dragon-1989.html http://theblues-thatjazz.com/pl/jazz/2937-geri-allen/10813-geri-allencharlie-hadenpaul-motian-in-the-year-of-the-dragon-1989.html Geri Allen,Charlie Haden,Paul Motian – In The Year Of The Dragon (1989)

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1. Oblivion						play
2. For John Malachi				play
3. Rollano
4. See You at Per Tutti’s
5. Last Call 5:11
6. No More Mr. Nice Guy
7. Invisible
8. First Song
9. In the Year of the Dragon

Personnel:
Geri Allen – Piano
Charlie Haden – Bass
Paul Motian – Drums
Juan Lazaro Mendolas  - Wooden flute, Quena

 

This is about memory, and what is obvious in customs and traditions. From the outset, as if his cymbals were traditions. But this has nothing to do with re-reading of them, nor with nostalgia: it's more of an initial inventory, an exploration of the foundations before raising a structured discourse that becomes ever more complex and contrasted, a dissertation that's fragile because it's a temporary affair, but an edifice that builds quickly and is constantly threatened-nourished?-by accidents. Collisions and tempos zigzag through, with melodic breaks and rushes dotted with the percussion of the piano and the simmering of taut drums... The result, when listening to this trio, is that you wonder if both an osmosis and an alternating of the roles didn't occur, rather than an exchange or inversion of the "traditional" functions of the instruments. ---Philippe Carles, vervemusicgroup.com

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administration@theblues-thatjazz.com (bluesever) Geri Allen Sun, 13 Nov 2011 09:40:42 +0000