on life, music etc beyond mainstream



Lawrence English WILDERNESS OF MIRRORS / To Rococo Rot INSTRUMENT / Graham Lewis ALL OVER / Emanuele de Raymondi ULTIMO DOMICILIO / Hildur Gudnadottir SAMAN / King Creosote FROM SCOTLAND WITH LOVE / Arve Henriksen THE NATURE OF CONNECTIONS / Spaxe Monkey THE KARMAN LINE / The Flaming Lips 7 SKIES H 3 / Louis Sclavis SILK AND SALT MELODIES / Larry Heard ALIEN / Craig Leon NOMMOS VISITING / Salab Ragab A TRIBUTE TO SUN RA / Kronos Quartet FLOODPLAIN / Gary Burton SEVEN SONGS … / Ingram Marshall FOG TROPES / Dieter Moebius ANOTHER OTHER PLACES / Pjusk SOLSTOV / Illuha AKARI / Taylor Deupree FAINT / Seaworthy & Taylor Deupree WOOD, WINTER, HOLLOW / Ryuichi Sakamoto & Taylor Deupree DISAPPEARANCE (added: some background sounds from Brian Eno’s THURSDAY AFTERNOON) 


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This entry was posted on Freitag, 15. August 2014 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Uwe Meilchen:

    Auf meinem DAT_Recorder klebt schon ein Post_It, damit ich die Sendungen nicht verpasse !

  2. Henning Bolte:

    to quote myself:

    „Despite its classic appearance, In The Country—a trio existing for almost 10 years now – transcended the format by far, especially with its gradually infusion of advanced electronics. Indeed, Qvenild is the declared hyper piano man, studying and working out musically fruitful expansions of the classic 88-keyed string/percussion instrument. But not for nothing this trio bears the name In The Country, alluding to its music’s pastoral characteristics. The trio unfolded music of a ritualistic, cinematic quality, enriched by carefully engraved traces echoing sounds from various musical pasts and cultures: lots of classic Afro-American soul music, Keith Jarrett and, maybe most surprising and not intentionally, musical shapes reminiscent of Jim Pepper’s „Witchi Tai To.“ Considering that the main point of the classic piano trio is to join together a diversity of song material in exciting ways, the trio ultimately succeeded, and at a pretty high level.“ …

  3. Jan Reetze:

    Hier ist das dann Freitag, 19.00 – vorsichtshalber schon im Kalender notiert. Im übrigen lasst uns hoffen, dass Sakamoto seine Krebserkrankung heil übersteht.

  4. Michael Engelbrecht:

    Und das sind die Namen der Sendung (in der Reihenfolge ihres Erscheinens)….

  5. Michael Engelbrecht:

    Grego Applegate Edwards comments Gary Burton’s Seven Songs…:

    ECM has reissued some of its back-catalog gems in deluxe new editions for CD or connoisseur quality vinyl LPs. One in the series I actually never heard when it came out, so I thought it would be good for me to cover it and I hope bring some excellent music to the blog from an era that now seems distant, yet is filled with some seminal jazz, projects that may be somewhat ignored by certain folks yet well deserve a hearing.

    The album at hand is Gary Burton’s 1973 Seven Songs for Quartet and Chamber Orchestra, Music by Michael Gibbs (ECM 1040). If I am not mistaken Gibbs and Burton attended Berklee School of Music at the same time in the early sixties. They came to know one another and appreciate each other’s considerable talents. Gary had performed Michael’s music on records before 1973, but the Seven Songs project was their most ambitious collaboration to date.

    The Gary Burton Quartet with Mick Goodrick on electric guitar, Steve Swallow on electric bass and Ted Seibs on drums formed the core group around which was arrayed a chamber orchestra composed of members of the NDR Symphony Orchestra Hamburg, conducted by Gibbs.

    The music contains one short piece by Steve Swallow („Arise, Her Eyes“), the rest Gibb works. „Throb“ was well known from an earlier album, the rest I believe were recorded here for the first time.

    Gibbs‘ arrangements for the orchestra are quite stunning and set off the quartet’s playing in ways that give greater sonance to both. Burton’s excellent vibe tone melds with strings particularly well. Yet it is equally true that the entire quartet plus orchestra create a sonorous whole that in the hands of Manfred Eicher’s production vision outshines what either of them might do on their own.

    The songs, the treatment-arrangements and the performances all come together for a remarkably absorbing listen. By the end of 1973 the idea of a „Third Stream“ may have been cast aside, yet perhaps ironically some of the most successful ventures in combining classical and jazz were either in the works or yet to come.

    Most certainly this album constitutes one of them. It is extraordinarily beautiful music that loses nothing with the years that have intervened. It sounds as fresh and central as if it were done yesterday. Hear Seven Songs!

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