Manafonistas

on life, music etc beyond mainstream

2020 29 Nov

Listing and Letter from Mr. Tibbetts

von: Manafonistas Filed under: Blog | TB | 2 Comments

I like this cut, Michael: „Remembering“ Kaitlyn Smith. I don’t know why. Not the sort of thing I should like, oh well.

Other albums, old and new, but listened to this year, a lot:

Marling „Once I Was an Eagle“–well-produced, sequenced. Good sound. Subsequent releases somewhat disappointing.

Penderecki, Utrenja, –Ormandy, Philadelphia Orchestra– (listen to how the voice merges with the orchestra, then is driven upwards into falsetto by P’s score: (cut 2, 3:00 in–this version only)

Promontoire, Moussay

Hoop: Stonechild, (some of it…over-produced, but creative)

Kreek, Suspended Harp, especially cuts 1, 3, 13, 19.

Beethoven, Late Sonatas, DGG, Pollini (version from 1976 only)

Now listening to Anja Lechner’s new one, Lontano; incredible piano sound. Wide, deep, dark. Serves as a sound template for 12-string recordings to do this year and on into 2021.

Also gradually getting through the large box of CDs Josh sent me. I brought „Work Hard, Play Hard, Pray Hard“ home to Madison, played it for my father, and he knew 80% of the songs from his days as a union organizer.

That’s what’s on my so-called desk this weekend.

 

 

 

 

Time for you to re-consider leaving radio, I think. Stay for a year and I’ll make sure you have a good album to play.

Best,
Steve

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2 Comments

  1. Michael Engelbrecht:

    Don‘t worry, will do another year of radio. That‘s the plan. So your next album will have quite a good chance for heavy rotation! And, yes – what a wonderful sound on the Lechner / Couturier album!

  2. Michael Engelbrecht:

    Promontoire, yes … i presented it along with a feature by Karl Lippegaus in the Jazzfacts of the Deutschlandfunk …

    My, words, in Deepl L translation:

    The Facilitator“ from Jon Balke’s album „Discourses“. While the Norwegian perceives his ghostly sounds around the piano as idiosyncratic reflections and infiltrates of the outside world, Benjamin Moussay, known for example through his collaboration with Louis Sclavis, remains exclusively within the world of the 88 keys on his first solo piano album „Promontoire“: nevertheless, the connecting lines between life and art are no less far-reaching – numerous inspirations from childhood, from cinema and reading experiences.

    It speaks for the success of this undertaking, which was again produced by Manfred Eicher, this time in Provence, that such a melodic work with a consistently restrained rhythm constantly maintains an inner and outer tension.

    When I sit alone at the piano, Moussay says, I know the starting point and the destination, the mystery lies in the surprises of the journey“. And this „journey“ must have had some surprises, even for someone who has taught at the „Conservatoire de Paris“ for many years. Moussay had a strange feeling after recording the album, and it took him a month to listen to the tapes.

    An anecdote that proves that „Promontoire“ was created far from false self-assurance.

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