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11 years ago
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LA NOTTE by Ketil Bjørnstad (ECM 2300)
http://www.amazon.com/dp/B00BUT5HTO....._new_dp_review
http://www.amazon.co.uk/dp/B00BUT5H....._new_dp_review
reviewed by Roochak
It's been at least twenty years since I last dozed through the Antonioni film that allegedly inspired this suite, so I'm just going to go ahead and say that this music strikes me as a more rhythmically adventurous version of one of pop composer Fox Amoore's imaginary movie soundtracks, by way of a Yo-Yo Ma crossover project (cellist Anja Lechner plays the lion's share of the solos in this all-star sextet).
The suite's eight sections, imaginatively titled with Roman numerals, begin with a stately prelude for piano, cello, and (eventually) bass; "II" is a swinging piece that overlays fiery solos for guitar, sax, and drums over a melody that wouldn't sound out of place under the closing credits of an anime action movie. The Nino Rota-like "III" is melancholy-tinged circus music for cello and soprano sax, while "IV" is a piano ballad that cries out for a set of wistful Japanese vocals, but gets a lovely trio with tenor sax and cello instead.
"V" is a slower, more melancholic ballad, at least until the drums kick in for the power outro. "VI" is a nocturne for cello and piano that ends, memorably, in a virtuoso cello/bass duet that segues into the most explicitly jazzy part of the suite, the uptempo "VII." Arild Andersen's driving bass, Eivind Aarset's freak-out guitar, and Andy Sheppard's soprano sax take their turns in the spotlight.
"VIII" is the postlude for piano, cello, and percussion that leads us into the dawn and out of LA NOTTE. Recorded live at Norway's Molde International Jazz Festival, there's not so much as a peep from the audience, which was either enraptured or absent.
Ketil Bjørnstad, piano/composer
Anja Lechner, cello
Andy Sheppard, tenor & soprano saxophone
Eivind Aarset, guitars, electronics
Arild Andersen, bass
Marilyn Mazur, drums & percussion
foxamoore
http://www.amazon.com/dp/B00BUT5HTO....._new_dp_review
http://www.amazon.co.uk/dp/B00BUT5H....._new_dp_review
reviewed by Roochak
It's been at least twenty years since I last dozed through the Antonioni film that allegedly inspired this suite, so I'm just going to go ahead and say that this music strikes me as a more rhythmically adventurous version of one of pop composer Fox Amoore's imaginary movie soundtracks, by way of a Yo-Yo Ma crossover project (cellist Anja Lechner plays the lion's share of the solos in this all-star sextet).
The suite's eight sections, imaginatively titled with Roman numerals, begin with a stately prelude for piano, cello, and (eventually) bass; "II" is a swinging piece that overlays fiery solos for guitar, sax, and drums over a melody that wouldn't sound out of place under the closing credits of an anime action movie. The Nino Rota-like "III" is melancholy-tinged circus music for cello and soprano sax, while "IV" is a piano ballad that cries out for a set of wistful Japanese vocals, but gets a lovely trio with tenor sax and cello instead.
"V" is a slower, more melancholic ballad, at least until the drums kick in for the power outro. "VI" is a nocturne for cello and piano that ends, memorably, in a virtuoso cello/bass duet that segues into the most explicitly jazzy part of the suite, the uptempo "VII." Arild Andersen's driving bass, Eivind Aarset's freak-out guitar, and Andy Sheppard's soprano sax take their turns in the spotlight.
"VIII" is the postlude for piano, cello, and percussion that leads us into the dawn and out of LA NOTTE. Recorded live at Norway's Molde International Jazz Festival, there's not so much as a peep from the audience, which was either enraptured or absent.
Ketil Bjørnstad, piano/composer
Anja Lechner, cello
Andy Sheppard, tenor & soprano saxophone
Eivind Aarset, guitars, electronics
Arild Andersen, bass
Marilyn Mazur, drums & percussion
foxamoore
I don't know if anyone on FA actually listens to or cares about jazz, but nothing ventured, y'know?
Just off-hand, it has a lot to do with the way the two styles syncopate a 4/4 beat, or don't. Country stretches music over a faster beat at just about twice the rate disco crowds music into a slower beat, plus they both super-stress the two and four beats. I guess it matters that both genres are meant for dancing; country secondarily and disco primarily, but it's an important factor in both cases. That's why both have a strong, two-and-four heavy beat. anyway, it makes it fairly easy for me to imagine, for instance, Garth Brooks singing "Stayin' Alive" and the BGs performing "Achey Breaky Heart."
...all too easily, in fact. Now I have to go watch Magical Trevor to get it out of my head! I'll try to come up with a better explanation later.