The Fairy Tale Trio plays a kind of hybrid music combining elements of Bulgarian
folk music and jazz. Kaval player Theodosii Spassov has developed a style that
allows him more chromatic and timbral possibilities than previously associated
with that instrument, while soprano saxist Anatoly Vapirov can go from tricky
folk melodies to Coltrane-like wailing in the space of a few notes. The trio is
rounded out by percussionist Stoyan Yankoulov, who uses mostly the traditional
tupan (a double-headed drum, played with sticks) with a few modern additions.
The music, composed by the trio, makes full use of their resources. There are a
few odd-meter rave-ups, but there are also some quieter, textural pieces. The
kaval and soprano sax take turns soloing and supporting each other, while the
percussion supplies a sturdy rhythmic framework. There are also a few solos and
duets that, along with great attention paid to dynamics, help keep the sound
varied and interesting. In its more peaceful moments this reminds me a little of
Codona, the old Don Cherry-Collin Walcott project. Then the musicians turn up
the heat and could be mistaken for an Art Ensemble of Chicago offshoot. But the
approach taken here is a melding rather than a juxtaposition, with the jazz
elements logically flowing from the Bulgarian roots, and as such is one of the
more successful folk-jazz fusions I've heard in some time.- by Joe Grossman,
RootsWorld
Artist: Fairy Tale Trio
Album: Jazz Across the Border
Year: 1998
Label: Wirgo
Runtime: 52:21
Tracks:
1. Karandila (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 5:18
2. Lastuna (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:02
3. The House Behind the River (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 7:14
4. Cadence in Green (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:33
5. Samotek (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 7:45
6. Sun Sanuvah (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 5:43
7. Chorovod (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:24
8. Marvellous Pig Stories (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 4:08
9. Shepherd's Baroque (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 3:02
10. Gornjak (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 4:16
11. Shuma (Ljobomir Pipkow) 7:50
Personnel:
Theodosii Spassov (Kaval and Voice)
Anatoly Vapirov (Soprano Saxophone)
Stoyan Yankulov (Tupan and Percussion)
Wednesday, August 27, 2014
Wednesday, August 13, 2014
Bill Evans Trio - Since We Met
This album captures the best Bill Evans Trio (Eddie Gomez on bass and Marty
Morell on drums) at the peak of their creative powers in a jaw-dropping
performance. This is an absolutely flawless gem, musically. Bill plays like an
angel. I have listened to this album well over 1000 times since I first bought
it back in the mid-seventies. I wore out 2 vinyl records - fortunately I bought
a 3rd, which I still treasure! I also enjoy the CD. This is a live album,
recorded at the Village Vanguard. The recording quality is not the best;
however, the music itself immediately transcends the limitations of the
recording setup, grabs you by your soul and never lets go. Each exceedingly
lovely piece is an inexhaustible mine of pure gold. I am constantly delighted. I
had the great good fortune of meeting and chatting with Bill Evans at a couple
of his concerts. I consider that I met the greatest pianist who has ever lived.
His playing, especially as evidenced on this album, places him virtually alone
at the summit of jazz-piano artistry. He reaches inside you and touches the
deepest recesses of your heart. The opening solo piano work on 'Since We Met'
floors me; the depth of feeling on 'Time Remembered' brings tears to my eyes;
'Sareen Jurer' flows like a river of... well, you get the idea. This must be
what it sounds like in heaven. - by Scorpio69, Amazon.com
Thirteen years after his legendary Village Vanguard recordings, Bill Evans recorded Since We Met at the famous New York establishment again. Using his trio of the era (which includes bassist Eddie Gómez and drummer Marty Morell), Evans explores both familiar ("Time Remembered," "Turn Out the Stars" and "But Beautiful") and new (Joe Zawinul's "Midnight Mood," "See-Saw" and "Sareen Jurer") material. This CD reissue gives listeners a good example of Bill Evans' early-'70s trio as it typically sounded in clubs. - by Scott Yanow, AMG
Artist: Bill Evans Trio
Album: Since We Met (Live at Village Vanguard)
Year: 1974
Label: OJC (1991)
Runtime: 46:16
Tracks:
1. Since We Met (Bill Evans) 8:52
2. Midnight Mood (Ben Raleigh/Joe Zawinul) 6:52
3. See-Saw (Cy Coleman) 6:53
4. Sareen Jurer (Earl Zindars) 6:40
5. Time Remembered (Bill Evans) 5:27
6. Turn Out the Stars (Bill Evans) 5:08
7. But Beautiful (Johnny Burke/James Van Heusen) 6:21
Personnel:
Bill Evans (Piano)
Eddie Gomez (Double Bass)
Marty Morell (Drums)
Thirteen years after his legendary Village Vanguard recordings, Bill Evans recorded Since We Met at the famous New York establishment again. Using his trio of the era (which includes bassist Eddie Gómez and drummer Marty Morell), Evans explores both familiar ("Time Remembered," "Turn Out the Stars" and "But Beautiful") and new (Joe Zawinul's "Midnight Mood," "See-Saw" and "Sareen Jurer") material. This CD reissue gives listeners a good example of Bill Evans' early-'70s trio as it typically sounded in clubs. - by Scott Yanow, AMG
Artist: Bill Evans Trio
Album: Since We Met (Live at Village Vanguard)
Year: 1974
Label: OJC (1991)
Runtime: 46:16
Tracks:
1. Since We Met (Bill Evans) 8:52
2. Midnight Mood (Ben Raleigh/Joe Zawinul) 6:52
3. See-Saw (Cy Coleman) 6:53
4. Sareen Jurer (Earl Zindars) 6:40
5. Time Remembered (Bill Evans) 5:27
6. Turn Out the Stars (Bill Evans) 5:08
7. But Beautiful (Johnny Burke/James Van Heusen) 6:21
Personnel:
Bill Evans (Piano)
Eddie Gomez (Double Bass)
Marty Morell (Drums)
Tuesday, August 5, 2014
Kudsi Erguner - Ottomania - Sufi Jazz Project
Kudsi Erguner’s Ottomania is the first World Music project that integrates the
classical music of the Ottoman Empire with Western jazz improvisations and
rhythms. It documents the story of a remarkable musical encounter, and is a
logical continuation of Erguner’s eventful life.
Artist: Kudsi Erguner
Album: Ottomania - Sufi Jazz Project
Year: 1999
Label: ACT
Runtime: 49:31
Tracks:
1. Semai (Mesut Cemil Bey) 5:48
2. Sufimaj (Kudsi Erguner) 4:37
3. Dua (Kudsi Erguner) 12:55
4. Free space (Kudsi Erguner) 7:46
5. Nefes (Kudsi Erguner) 9:06
6. Hi-Jaz (Kudsi Erguner) 9:17
Personnel:
Kudsi Erguner (Ney)
Christof Lauer (Saxophone)
Derya Turkan (Kemence)
Michel Godard (Tuba)
Mehmet Emin Bitmez (Ud)
Yves Rousseau (Double Bass)
Hakan Gungor (Kanun)
Bruno Caillat (Percussion)
Necib Gulses (Tanbur)
Mark Nauseef (Drums)
Artist: Kudsi Erguner
Album: Ottomania - Sufi Jazz Project
Year: 1999
Label: ACT
Runtime: 49:31
Tracks:
1. Semai (Mesut Cemil Bey) 5:48
2. Sufimaj (Kudsi Erguner) 4:37
3. Dua (Kudsi Erguner) 12:55
4. Free space (Kudsi Erguner) 7:46
5. Nefes (Kudsi Erguner) 9:06
6. Hi-Jaz (Kudsi Erguner) 9:17
Personnel:
Kudsi Erguner (Ney)
Christof Lauer (Saxophone)
Derya Turkan (Kemence)
Michel Godard (Tuba)
Mehmet Emin Bitmez (Ud)
Yves Rousseau (Double Bass)
Hakan Gungor (Kanun)
Bruno Caillat (Percussion)
Necib Gulses (Tanbur)
Mark Nauseef (Drums)
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