Friends With Kids

My favorite scene in the movie.
I like the way how Jason spoke of Julie.
Nice script!

Nils Petter Molvaer & Moritz von Oswald - 1/1 (EmArcy 2013)

Personnel:
Nils Petter Molvær: trumpet
Moritz von Oswald: programming, recording, synthesizing
Laurens von Oswald: programming, recording, synthesizing


Tracklist:
01. Noise 1
02. Step By Step
03. Transition
04. Development
05. Further
06. Future
07. Development (Ricardo's Dig Mix)
08. Noise 2

Label: EmArcy
Style: Modern Jazz


With the breakup of his trio responsible for the superb Baboon Moon (Sula, 2011), it's been a fair question to wonder: what's next for Nils Petter Molvær? One possible answer is certainly 1/1, the Norwegian trumpeter's debut with German multi- instrumentalist and influential techno producer Moritz von Oswald and his nephew, Laurens. The trio's debut performance at Kristiansand, Norway's 2013 Punkt Festival, while strong, was largely misleading; the show certainly occupied some of 1/1's more ethereal territory, but Molvær and his partners also traveled to far more beat-driven, danceable terrain.

Better, perhaps, for live performance, but being a studio concoction, 1/1 is considerably darker, and all the better for it. Molvær has been playing a lot more unprocessed horn lately, though here it's often drenched in reverb to expand its place in the soundscape.

On the opening "Noise 1," a dark synth undercurrent provides the spare context over which Molvær improvises, leading to a final repetitive motif imbued of both the trumpeter's intrinsic lyricism and beautifully pure tone.

"Step By Step," on the other hand, is more pulse-driven, initially predicated on a simple synth bass line and some spare electronic percussion. More hypnotic than dance-inducing, as the von Moritzs gradually build the track with nearly imperceptible additional layers, Molvær patiently builds a thematic overlay, providing a clear focus all the more compelling for the long spaces he leaves, creating a terrific sense of tension released only when he reenters.

The set's longest track, "Transition," returns to more brooding terrain. There's a pulse, yes, but soft and subtle, buried within the synth wash that provides the shape and, for Molvær the context. It assumes even more form as a deep bass line emerges, though the composition's harmonic center still retains a somber mood. It's hard to know how much of 1/1 was preplanned and how much was in-the- moment, but there are moments, especially during "Transition," where everyone seems in perfect synch: it's not always the trumpeter following the von Moritzs' synth colors and harmonies; there are times when the keyboardist(s)'s appear to respond to Molvær as well. While the trumpeter's tone is largely clean and pure, there are effects, the only question: is it Molvær In real-time or post-production?

That Molvær is comfortable enough in his own skin to avoid virtuosity for its own sake—instead, focusing heavily on tone, melody and the responsive demands of participating in a trio—is part of what has made him so successful. He possesses chops-a-plenty, and the sophistication of his melodic ideas suggests a deeper harmonic language. But the music comes first, and Molvær's attention to space and tonality has resulted in a distinct voice recognizable from the first note. 1/1 may be a sidestep for Molvær or it may be the first of an ongoing collaboration. One more question to be answered, but in the meantime, 1/1 is a compelling debut from a still-nascent relationship that commands attention, but not through obvious means. Instead, 1/1's marriage of Oswald and Laurens von Moritz's brooding electronica with Molvær's intricate melodism makes for a surprising, late-in- the-year sleeper hit.


Review by JOHN KELMAN,
http://www.allaboutjazz.com/php/article.php?id=45782#.UpyVkcSopyU





Trumpet, the only voice that can through this world.

This Yesterday Will Never End

This Yesterday Will Never End
This is what I'm thinking right now~

Lars Danielsson - Bird Through The Wall

この曲がきっかけで、Nils Petter Molvaerのトランペットにはまった。。。

Anthony Bourdain - The Layover Dublin Ireland

下一站，都柏林。
比起任何旅遊指南，我選擇Anthony Bourdain。

Los Amantes Pasajeros

Soy Malagueña.
A mi me gusta Pedro Almodóvar.
Es un genio!!!

The Sound Of Snow

From album "Home" (Sunny Side Records，2010）

Sophisticated Lady

"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington and Irving Mills, to which words were added by Mitchell Parish. The words met with approval from Ellington, who described them as "wonderful — but not entirely fitted to my original conception." That original conception was inspired by three of Ellington's grade school teachers. "They taught all winter and toured Europe in the summer. To me that spelled sophistication."

After Hours is a 1961 studio album by American jazz singer Sarah Vaughan. This was Vaughan's first album with just guitar and double bass accompaniment, it was followed by 1963's Sarah + 2 in a similar vein.

The Allmusic review by Scott Yanow awarded After Hours three stars and said that "the emphasis throughout is exclusively on Sassy's magnificent voice. The program mostly sticks to ballads, with a couple of exceptions...and is a quiet and intimate affair, with Vaughan more subtle than she sometimes was. Despite a lightweight version of "My Favorite Things" that will not remind listeners of John Coltrane, this is an excellent if brief set (34-and-a-half minutes) with some fine jazz singing".

Sarah's accompanied by Mundell Lowe (guitar) and
George Duvivier (double bass). Pictured along with Sarah in video is Richard Davis. Recorded in RKO-Path Studio, New York City, July 18, 1961. (Roulette Records)

Sophisticated Lady

Smoking, drinking, never thinking of tomorrow, nonchalant
Diamonds shining, dancing, dining with some man in a restaurant
Is that all you really want?

No, no, no, no sophisticated lady
I know, you miss the love you lost long ago
And when nobody is nigh you cry

They say into your early life romance came
And in this heart of yours burned a flame
A flame that flickered one day and died away

Then with disillusion deep in your eyes
You learned that fools in love soon grow wise
The years have changed you, somehow, I see you now

Smoking, drinking, never thinking of tomorrow, nonchalant
Diamonds shining, dancing, dining with some man in a restaurant
Is that all you really want?

No, no, no, no sophisticated lady
I know, you miss the love you lost long ago
And when nobody is nigh you cry
You cry
You cry

[ECM 1058] Steve Kuhn - Ecstasy (1974)

All Artworks by Midori　 (from my  out of print ECM LP) 

Steve Kuhn - ECSTASY

Steve Kuhn piano

"Silver" - 8:49
"Prelude in G" - 4:26
"Ulla" - 7:23
"Thoughts of a Gentleman - The Saga of Harrison Crabfeathers" - 12:16
"Life's Backward Glance" - 4:45


All compositions by Steve Kuhn
Recorded at Arne Bendiksen Studio in Oslo, Norway on November 1, 1974

ECM 1058


Steve Kuhn、1974年のピアノ・ソロ。極めて耽美的で官能的な演奏だが、それだけでは無い。狂気や激情が迸る、圧倒的な名盤。もう何十年も聴いているけれど、何回聴いてもやられる。


Review by Ken Dryden

Steve Kuhn performs five unaccompanied originals on this 1974 studio session recorded in Norway.

"Silver," his fascinating opener, is a haunting ballad with many faces, occasionally mysterious, but generally shimmering.

"Prelude in G" features Kuhn's wide-ranging right hand (bordering on avant-garde at times) over a fairly steady vamp.

"Ulla" is yet another lovely ballad, though the mood changes with a series of single repeated notes and chords in the second half of the piece, possibly symbolizing the passing of time and the fading of a love affair.

"Thoughts of a Gentleman/The Saga of Harrison Crabfeathers" seems like a title more suitable to a Dave Frishberg composition, but this extended work is anything but tongue in cheek.

"Life's Backward Glance" mixes avant-garde and post-bop, with a somewhat classical flavor.

Beautifully recorded by engineer Jan Erik Kongshaug, this out of print ECM LP is well worth seeking.



   今日はジャズ・ピアニスト、スティーヴ・キューンの登場です。現在ではオーソドックスなモダン・ジャズ・ピアニストとして有名になったキューンですが、70年代のデビュー間もない頃はマンフレート・アイヒャーが主催するＥＣＭレーベルに所属する知る人ぞ知る耽美派のピアニストでした。エクスタシーというタイトルのこのアルバムは私の大好きなピアノ・ソロ・アルバムです。1974年録音。オスロ。

　70年代のＥＣＭといえばひたすらこの種の耽美的音世界を追求しておりある種貴重なレーベルという印象です。現在も活動を続けているようですね。

　このエクスタシーというアルバムの1曲目のシルバーという曲を聴いてみてください。まさに究極のピアノ美です。学生時代に4畳半の狭い下宿で何度この曲を聴いたことでしょう。刹那的ではありますが無限大の音空間に浮遊することができます。そして今ここに自分は確かに存在しているのだという至福感に満たされるのでした。当時のキューンのピアノはジャズという範疇ではくれないもっと自由な音楽です。

1.シルヴァー
2.プレリュード・イン G
3.ウラ
4.ある男の物語~ハリソン・クラブフェザー氏の武勇談
5.ライフズ・バックワード・グランス

http://dellton.com/culture/jazz_piano_1/post_111.html






很榮幸，將紐約Jazz Record Center架子上僅餘的Steve Kuhn絕版黑膠全部掃清
（當然，掃清的豈止Steve Kuhn ：D )

一如Ken Dryden所講，
由音響之神 Jan Erik Kongshaug 錄製的這張黑膠，音色通透靚絶
直如唱片名：Ecstasy，令人狂喜 ～

Perrocaliente Tempo Drop

Hey, you aren't buying a bottle,
You're gonna get the seasons in your hand!
Cool ~

Notting Hill

a lonely man walks through the seasons...
the best scene in this movie.

来年の５月にロンドンに行く予定になったので、
もう一度この映画を見ました。
これ何回目？もう数えられない。。。
とにかくノッティング・ヒルへ行きます！

On the road

[ecm 2287] Carla Bley - Trios (2013)

Carla Bley - piano
Andy Sheppard - tenor and soprano saxophones
Steve Swallow  - bass

Utviklingssang
Vashkar
Les Trois Lagons (d’apres Henri Matisse)
- Plate XVII
- Plate XVIII
- Plate XIX
Wildlife
- Horns
- Paws Without Claws
- Sex with Birds
The Girl Who Cried Champagne
- Parts 1, 2 & 3


Recorded April 2012

ECM 2287


Carla Bley returns to her long running drum-less threesome featuring electric bassist Steve Swallow and tenor saxman Andy Sheppard with an album by this ensemble next week. Trios is the name, though there’s only this one trio performing the songs, all five numbers which Bley had written and recorded on prior albums. This small combo was last represented on record with 1995′s live album Songs With Legs.

For the first time on a Carla Bley-led record, she’s recording under direction of a producer other than herself for this album, and that person is ECM head Manfred Eicher. Along with that, she is recording for the ECM label proper for the first time (her records from the WATT imprint are only distributed by ECM). Since this trio has been an ongoing entity for some twenty years, it’s doubtful that there was much left for Eicher to add in terms of arrangements, but he did choose which Bley songs to record and the running order of those songs, which did much to shape the character of Trios.

Eicher’s influence is felt right from the start in choosing the program to begin with a slower, quieter tune, “Utviklongssang,” a protest song that means “Development Song” in Norwegian. There’s no anger to be found here, however, it unfolds like a flower beginning with Swallow’s patented lyrical bass lines. For those looking for extended soloing from Bley herself will have to look elsewhere, she is locked in on melody and harmony and leaves the choicest improvising moments to her two cohorts. In fact, the performance follows the very simple strategy put forth by Bley: “We just play the music and take some solos. We play it very close to the way it was written.” Since “Utviklongssang” is a well-written folk strain with a Nordic flavor, it’s a strategy that works rather well.

“Vashkar” here bears very little resemblance to the best-known fusion explosion by Tony Williams’ Lifetime (and the Lifetime semi-tribute band Spectrum Road). Here in the composer’s hands, the cracks and crevices of this Middle Eastern tinged melody are revealed, thanks to a perfect alliance between Bley and Swallow.

The remaining three selections are each three-part suites, great examples of Bley’s ability to weave a theme throughout several episodes and make it sound come off uncomplicated with an appealing flow. “Les Trois Lagons” is one, multi-sectioned composition that already started life in trio clothes, a fifteen minute sweep of styles beginning with Sheppard’s bop chops, moving to one of Swallow’s gorgeous moody expressions and finally, Bley’s spiraling descending figure.

It’s apparent that “Wildlife” was conceived for a larger ensemble than this one, but Bley manages to script the parts for each performer that gets the many harmonic ideas of the song across with just three musicians. The program ends with “The Girl Who Cried Champagne,” previously interpreted in a variety of settings like 1986′s Sextet and the big band record Fleur Carnivore (1989). It’s intimate and inviting in this latest rendition, Sheppard plays in a jovial, almost playful manner that illuminates Bley’s bouncy, circular figure. That figure gets slowed down and reharmonized in the middle section while Swallow does his thing making the bass sing before returning to the original arrangement for the final part.

Carla Bley has over the course of fifty-plus years left us with a voluminous body of work of both diverse and consistent quality. Over time, these songs will certainly be dissected and resurrected in greater frequency by many progressive-minded jazz musicians after her. But there’s nothing wrong with the re-evaluation starting now, and by Bley herself. Trios points the way for how others might want to approach her vast, rich catalog.

------ by S. Victor Aaron



伝説の女。。。

Autumn in New York 。。。

in this street,

inside this old building,

in this room,

behind this door,

there is an amazing jazz world,
this is the place to find rare and out-of-print jazz......

Best place to score original jazz vinyl!

owner, Fred Cohen, is extremely knowledgeable, funny and friendly.

For your reference:

http://www.jazzrecordcenter.com/

http://www.grandlifehotels.com/culture/under-the-radar-the-jazz-record-center/

http://www.wretch.cc/blog/bassistwei/14384322

The Coop (Harvard)

Harvard University

The Sea

from my iPhone.

忙到騰雲駕霧

累到七葷八素