Personnel:
Bugge Wesseltoft (Piano, Fender Rhodes, Synthesizers, Samples, Programming and Voice)
Anders Engen (Drums)
Jonas Lönna (Drum Programming)
Paolo Vinaccia (Percussion)
Ingebrigt Flaten (Double Bass) - 2,6
Marius Reksjo (Double Bass) - 1
Hakon Kornstad (Tenor Saxophone) - 3
Tracks:
1. Change (Bugge Wesseltoft) 10:25
2. Gare du Nord (Bugge Wesseltoft/Anders Engen/Ingebrigt Flaten/Jonas Lönna/Paolo Vinaccia) 12:40
3. Yellow Is The Colour (Bugge Wesseltoft) 10:40
4. Lone (Bugge Wesseltoft) 10:05
5. Moving (Bugge Wesseltoft/Anders Engen/Ingebrigt Flaten/Jonas Lönna/Paolo Vinaccia) 12:58
6. South (Bugge Wesseltoft) 8:06
Jazzland, 2001
Moving narrows focus from the uneven eclecticism of previous Wesseltoft records, concentrating on live in the studio performances from a seasoned touring outfit. The results are engaging if not quite 'the new conception of jazz' that's been promised by Bugge (pronounced 'Boogie', if you were wondering) and his mates.
Whatever, this music avoids the usual chilly atmospherics associated with Nordic jazz; the band set up infectious, often house derived grooves which, coupled with Wesseltoft's plangent electric piano on the opening "Change", superficially echo the likes of St Germain, except that the improvisational skills on show here are miles ahead of the usual jazz housers.
Wesseltoft is the featured soloist throughout but he's more interested in episodic bursts and textures than thematic development; his synth stylings on the almost-techno title track recall ambient pioneers Cluster.
"Yellow is the Colour" features Hakon Kornstad's Pharoah Sanders-esque tenor stylings and is simply beautiful - a sampladelic recasting of classic Impulse jazz which sounds completely unforced. Ingebrigt Flaten's springy, warm double bass playing is a joy throughout. Beautiful.
BBC Review By Peter Marsh
http://www.bbc.co.uk/music/reviews/6x25
Personnel:
Double Bass - Giuseppe Bassi
Piano - Domenico Sanna
Tracklist:
01. Humboldt Street #63 (6:17)
02. Ciro Chi (7:29)
03. Lush Life (7:13)
04. Zhong Kui Blues (5:55)
05. Isfahan (5:49)
06. NYC Subway Love Song (5:31)
07. Too Close For Comfort (5:28)
08. Reginella (3:00)
09. Just You, Just Me (5:53)
10. Cattiva's Lullaby (5:33)
11. Day Dream (4:45)
Albore Jazz， 2015
Giuseppe Bassi said:
For 10 years, I’ve never had an urge to make CD as leader. I needed an encounter. Then, I met Domenico Sanna. I talked about my favorite music and shared all with him. To remember such our encounter, we decided to enter into studio, in duo, in which the swing, melodies, interplays can be more intimate and crystallized. I hope people don’t care absence of drums, instruments developed for, and with jazz. We played some standards and our compositions, where swing combines with our sentiments totally set free. We hope that attentive and disengaged listeners could enjoy every moment of this CD, played by heart.
All about Giuseppe Bassi (Bari 1971):
He studied at the Conservatory of Music N. Piccinni in Bari, graduating in music theory, he studied privately with bassists in jazz world renowned as Ray Brown, Dave Holland, Christian McBride.
Bassi lived in New York city for about four years.
His concert career began in 1988, but starting from 1990 it became assiduous and constant.
He performed in fact in 1991 in the prestigious and historic jazz club “Strange Fruit” in his town Bari. With Roberto Ottaviano, he began to frequent the most important stages of festivals and jazz clubs most representative of all Italy.
Giuseppe Bassi, has performed and recorded with some of the greatest jazz musicians in the world including: Lew Tabackin, Bill Mays, Don Friedman, Bobby Durham, John Hicks, Jed Levy, Joe Magnarelli, Helen Sung, Mark Soskin, Bill Goodwin, Billy Drummond, Greg Osby, John Hicks, Mal Waldron, David Liebman, George Garzone, Tony Scott, Harold Danko etc…
He has played and recorded with all the most important and representative jazz musicians in Italy: Enrico Pieranunzi, Dado Moroni, Francesco Cafiso, Roberto Gatto, Fabrizio Bosso, Stefano Bollani, Gianni Basso, Dino Piana, Franco Cerri, Maurizio Giammarco, Gegè Telesforo, Rosario Giuliani, Roberto Ottaviano etc.
義大利低音大提琴遇上義大利鋼琴。
他說：10年來我從未有過衝動想以leader身份出一張CD。
I needed an encounter.
我需要一個不期而遇。
Tracks
1. Andantino - Children Song No.1 1:50
2. Variation No.1 - Sun 2:17
3. Variation no.2 - Moon 2:26
4. Variation no.3 - Stars 1:31
5. Variation no.4 - Windows 1:33
6. Variation no.5 - Beach 1:34
7. Variation no.6 - Lake 2:07
8. Variation no.7 - Evening 3:05
9. Variation no.8 - Good Night 1:55
10. I Got Rhythm 3:23
11. Invention - Children Song 9:32
12. Autumn Leaves 3:15
13. Crossing Over 5:20
14. What Is This Thing Called Love 2:17
15. Among The Living 6:37
16. Reflections In D. 5:10
17. Vadanna 5:01
1. Shelter ( Brunborg, Tore) 05:08
2. Tune In ( Brunborg, Tore) 05:48
3. History ( Brunborg, Tore) 06:18
4. Tree Strong, Tall Swaying, Swinging, Sighing ( Brunborg, Tore) 05:45
5. Now’s The Time ( Brunborg, Tore) 02:10
6. Wherever You Go ( Brunborg, Tore) 04:06
7. Lost And Found ( Brunborg, Tore) 03:19
8. Liquefied ( Brunborg, Tore) 06:47
9. Slow Snow ( Brunborg, Tore) 03:50
10. Light A Fire Fight A Liar ( Brunborg, Tore) 04:34
ACT Music, 2015.
Tore Brunborg - Slow Snow
(ACT 9586-2. CD review by Jon Turney)
Tore Brunborg hasn’t had the international acclaim of other Norwegian saxophonists such as Jan Garbarek, from an earlier generation, or Marius Neset, from a later one. But a career stretching over more than three decades has seen him perform with stars including Manu Katché and Pat Metheny. British audiences have heard him with John Taylor in the Anglo-Scandinavian trio Meadow or, more likely, in pianist Tord Gustavsen’s quartet. His typical contribution to a Gustavsen gig is to supply whisper quiet accompaniment to the leader’s devoutly devotional piano, then bring things to a long-awaited climax with some relatively unrestrained tenor sax preaching when Gustavsen eventually finds his gospel groove.
The first track here replays that arc rather precisely, with Brunborg himself furnishing the soft piano chords that establish the atmosphere, fully two minutes before the saxophone joins in. It sets the style for much of the set. Pleasant if not especially striking themes and simple motifs. A disinclination to use three chords where two will do. Harmonic or even melodic movement emerging slowly. Unhurried, understated, and a thousand miles from the clattery rhythms and bustling lines of contemporary New York post bop.
It is a familiar musical neighbourhood – most jazz listeners would take this for an ECM recording in a blindfold test – perhaps even a little too familiar. Steinar Raknes on bass has some fine grooves. Per Oddvar Johansen on drums is not given a lot to do much of the time, but does it unobtrusively well.
The secret sauce here is Eivind Aarset’s guitar, whose sound has so many dimensions it must arise from some kind of fractal process. The easiest contributions to peg are the ocasional Frisell-ish twangs and brief fuzz-filled outbursts. But there are a host of other subtle colourings and commentaries. His constantly changing additions to the soundscape are an excellent, electronically enhanced complement to the solidly rooted lyricism of the saxophone. Like Brunborg, he is more likely to hint at deep feeling below the surface than indulge in anything more demonstrative – sometimes Scandinavian jazz can seem very English that way. But the combination is transformative, producing a carefully wrought session that is more than the sum of its parts.
On Monday, April 13, 2015
http://www.londonjazznews.com/2015/04/cd-review-tore-brunborg-slow-snow.html
We saw him alone in the hallway,
alone in his office,
alone at the bus stop,
and then alone in his building’s hallway.
Don Draper is so lonely.
But we all should’ve known that already,
since he’s standing alone in the opening credits.
當他獨自站在即將不屬於他的家門前
響起了Roberta Flack這首The First Time Ever I Saw Your Face
那一刻心中千瘡百孔
Cause I'm alone too...
============================== 蘿貝塔佛萊克《The First Time Ever I Saw Your Face》意外捲入《迷霧追魂》
蘿貝塔佛萊克（Roberta Flack）《初次相遇》（The First Time Ever I Saw Your Face）／《迷霧追魂》（Play Misty For Me）
一九八六年《致命的吸引力》（Fatal Attraction）大紅特紅之際，所有影迷最大的疑問──這部片靈感分明來自克林伊斯威特（Clint Eastwood）一九七一年首部執導演筒的作品《迷霧追魂》（Play Misty For Me）。《迷》片最神奇之處還在於，捧紅了原本沒沒無名的蘿貝塔佛萊克（Roberta Flack）及「老」歌《初次相遇》（The First Time Ever I Saw Your Face）。
《迷》片英文片名為《Play Misty For Me》，描述克林伊斯威特飾演的電台DJ，每晚都會接到一名女性聽眾點歌要求播放《迷霧》（Misty）的曲子，一晚他在酒吧裡邂逅了一名女子潔西卡華特（Jessica Walter），當時他適逢感情空窗，也向該名女子表明這只是單純的一夜情，對方也欣然同意，沒想到事後，潔西卡不斷糾纏，正巧他前女友也回心轉意，於是就開啟一連串恐怖威脅，潔西卡在他家割腕、侵入他家殺傷女傭，最後還綁架了他女友、刺死警探，殺傷力比多年後的葛倫克蘿絲（Glenn Close）有過之而無不及。
該片是克林伊斯威特首部晉身導演的作品，他只花了二十一天便完成全部拍攝工作，而且完全未超出預算，大受電影公司讚賞，影片推出後，當時的轟動程度絲毫不遜於《致命的吸引力》，潔西卡華特逐步喪心病狂的傑出演技，令她獲金球獎最佳女主角提名，可惜因題材及角色的爭議性功敗垂成，甚至被影藝學院刻意忽略，無法入圍奧斯卡。記得我國中時《華視電影院》播出了這部片，還真把我看得毛骨悚然，當然印象最深的，除了潔西卡的演技，還有蘿貝塔那彷如潔西卡在劇終殞命時的哀怨心聲唱著《The First Time Ever I Saw Your Face》。
最近英國大嬸蘇珊鮑伊（Susan Boyle）因完美歌聲廣獲注目，遠在四十年前，美國村姑蘿貝塔佛萊克原本也沒啥名氣，多虧克林伊斯威特的慧「耳」賞識，終於在歌壇闖出名號。那時伊斯威特正籌備《迷》片，某日他開車時，聽到電台放出《The First Time Ever I Saw Your Face》，驚為天人，當下就決定找出此歌手，並將此曲收錄在電影裡。可是他卻怎麼樣都找不到這張單曲，後來才查明，原來這是一首早推出過的「老」歌，當時未發行單曲，只收錄在一張名不見經傳的專輯《第一章》（First Take）中。
