[TR24][OF] Derek Gripper - Billy Goes To Durban - 2021 (neoclassical, guitar solo, world fusion, contemporary jazz)

foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2021-09-28 01:23:47
--------------------------------------------------------------------------------
Analyzed: Derek Gripper / Billy Goes To Durban
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR8       -3.42 dB   -13.67 dB      5:07 01-Ayo (Recycled 1/4 Inch Tape)
DR10      -1.01 dB   -15.02 dB      5:00 02-Seeing Nobody (Studio Version)
DR10      -3.42 dB   -16.46 dB      6:27 03-Sissie My Kind (Recycled 1/4 Inch Tape)
DR10      -1.01 dB   -14.32 dB      4:08 04-Cederberg (Field Recording)
DR10      -1.01 dB   -13.31 dB      3:08 05-Bullfight (Studio)
DR10      -1.01 dB   -15.16 dB      4:48 06-Blue Light (Studio)
DR11      -1.01 dB   -16.10 dB      4:31 07-Photobook : Lindokuhle (Home Recording)
DR8       -3.42 dB   -13.93 dB      5:01 08-Risk (Recycled 1/4 Inch tape)
--------------------------------------------------------------------------------
Number of tracks:  8
Official DR value: DR10
Samplerate:        48000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           1199 kbps
Codec:             FLAC
================================================================================

Дерек Гриппер
(из материала «Объять необъятное» арт-дайджеста «Солонеба»)

Дерек Гриппер начал освоение азов музыки в возрасте шести лет по классу скрипки, позже увлекшись гитарой. После тринадцатилетнего изучения основ классической музыки Дерек в поисках музыкального вдохновения поехал в Индию, где он осваивал южно-индийский стиль Карнатик. Вернувшись домой, он продолжил эксперименты на гитаре, пытаясь найти новые направления и техники игры для своего инструмента. Через призму музыкальных поисков Стива Райха, увлекавшегося в определенный период африканским минимализмом, Дерек открыл для себя музыкальное наследие Южной Африки. Результатом увлечений стал выходы альбомов One Night on Earth: Music from the Strings of Mali (2012) и Libraries on Fire (2016) с музыкой выдающихся африканских исполнителей – Тумани Диабате, Баллаке Сиссоко, Али Фарка Туре. В 2017 году у Дерека Гриппера произошла знаковая во всех отношениях встреча с Тунде Джегеде, известным исполнителем на коре, мультиинструменталистом и композитором, совмещающим в своем творчестве современную классику, африканский фолк и популярную музыку. Встреча користа Тунде Джегеде и гитариста Дерека Гриппера вполне логично вылилась в совместный проект Mali in Oak (2017), который был записан в интимной обстановке при свечах в лондонском театре закрытого типа Sam Wanamaker Playhouse, который является частью культурного комплекса Shakespeare’s Globe. Релиз музыкальных кудесников включает в себя как дуэтные, так и сольные номера с современными интерпретациями африканской классики.
Сегодня на счету Дерека Гриппера шестнадцать студийных альбомов с музыкой разных жанров – от африканской этники и джаза до экспериментальной и классической музыки, в т.ч. с переложением для гитары произведений Арво Пярта.
https://www.last.fm/ru/music/Derek Gripper/ wiki

Derek Gripper
Derek Gripper began his formal musical training at the age of six on the violin. After studying classical music for the next thirteen years he began to look further afield for musical inspiration. This search took him to India where he studied South Indian Carnatic music. On his return home he began to focus on the guitar, trying to find a new direction for the instrument. He was attracted to the use of multiple layers in the music of Oliver Messiaen, the African-influenced structures of Steve Reich, as well as to guitar arrangements of the music of J.S.Bach, but it was when he met up with Cape Jazz trumpeter Alex van Heerden that he started to see that his previous studies could be used to find new directions for the music of South Africa.
After a host of groundbreaking albums which redefined the landscape of South African music, most notable being the visionary Sagtevlei with Alex van Heerden, Derek began to incorporate the music of other composers in his performances. His long-time fascination with the music of Brazilian Egberto Gismonti led to a project to transcribe this musician’s guitar music, a composer that Gripper describes as “the Heitor Villa Lobos of our time.” The result is a constantly growing collection of Gismonti’s scores and recordings, many of which have only been recorded by Gismonti himself. The Sound of Water, Derek Gripper’s recording of the music of Egberto Gismonti was nominated for a South African Music Award (SAMA) for the best Classical and Instrumental album of 2012.
In 2009 Derek began studying the playing techniques of this instrument by learning traditional Malian compositions on the kora, and two years later had a breakthrough: by using the simple textural language of the Spanish renaissance lute (called vihuela), it was possible to play the highly complex kora compositions of the great Malian virtuoso Toumani Diabate on the six string guitar, without omitting a note of the original performances. Derek Gripper’s project to create an African repertoire for the classical guitar, based on transcriptions of works by some of Africa’s greatest musicians, resulted in a growing collection of outstanding African Guitar arrangements, with works by Toumani Diabat é, Ballak é Sissoko, Ali Farka Tour é, Amadou Bansand Jobarteh, South African bow player Madosini and others, bringing the guitar and the music of African to life in new and exciting ways.
In 2014 Derek was commissioned by Botkyrka Konsthalle in Sweden to compose and record a sound installation for two exhibitions linking architecture and art: The Venice Architecture Biennale and Fittja Open, a new biannual in Stockholm. The installation has been released on CD as Cassette Locale After Masanobu Fukuoka.
***
It took Derek Gripper untold hours of painstaking work to transcribe note-for-note the complex compositions of Malian kora player Toumani Diabat é and find a way of playing them on six-string guitar. The results appeared on his ninth album, “One Night on Earth.” The album created an unprecedented meeting point between the written tradition of Western classical music and the oral tradition of the West African griots.
Critical acclaim was quick to follow. Classical guitar legend John Williams said he thought it was “absolutely impossible until I heard Derek Gripper do it.” Toumani Diabat é himself asked for confirmation that it was indeed just one person playing one guitar. Both invited Derek to collaborate with them: Derek performed with Williams in London’s Shakespeare’s Globe and King’s Place, and with Diabat é and his Symmetric Orchestra at the Acoustik Festival Bamako, Mali. He also played with Trio da Kali at Carnegie Hall and won a Songlines Award for the best album in Africa and the Middle East. Derek tours regularly in the USA, Canada, Britain, Europe, Zimbabwe, Swaziland, Namibia, Australia, Malaysia, India and Mali.
Aside from these transcriptions Derek has created original music from his diverse influences, from Africa: Mali, Senegal, The Gambia, South Africa, Zimbabwe, Arvo Part, and Egberto Gismonti. Derek has also spent many years performing and recording his own translations of Bach’s violin and cello music, infusing his interpretations with his lessons from the oral traditions of Africa.
His works for string quartet, larger ensembles or installations have been performed/exhibited at The Venice Architecture Biennale, Peasmarsh Chamber Music Festival in the UK and used in films such as “Five Fingers For Marseilles.”
https://www.derekgripper.com/about

Info for 'BILLY GOES TO DURBAN'
A collection of solo guitar compositions and improvisations recorded in multiple environments.
*
It was just after internal travel restrictions were lifted in South Africa. My children and I made the fifteen hour drive from Cape Town to a small farm next to a forest where my good friend Guy Buttery was living. The plan was to record a follow up to our live album in Guy’s new home studio. I brought along a Nagra reel-to-reel recorder with a box of old five inch tape reels that had recently been given to me. When I arrived the first thing Guy and I did was pull out the tapes and wind one onto the recorder. We pressed play. The tape welcomed us to Durban stadium in 1974, to a sermon by the American preacher Billy Graham, given to over seventy thousand (white) people in Apartheid South Africa.H etalked a lot about universa love. We thought that was pretty wild. I’d just brought this tape all the way to Durban, and here it was welcoming me to a Durban of fifty years ago (not to mention the weirdness of the occasion itself). We had a good laugh and put the tape aside for when our sessions started. Billy was going to be recycled.
Three days later, after some beautiful writing sessions surrounded by trees and greenery for days, Guy was called away to see to his father who was very ill. I soon heard from him that he wasn’t going to be able to return and I realised that Billy and I were going to have to continue our journey alone. I set up two mics, got the tape rolling, and started playing. Three tracks, two based on a 2009 recording I made with the late great Alex Van Heerden (Ayo and Sissie my Kind), and a third that I had used as the basis for an arts publication called “Risk” commissioned by the A4 gallery.
Back in Cape Town I was visiting Milestone Studios in the centre of the city every few weeks to lay down tracks in a more pristine environment. The track Seeing Nobody was one of the first to go down, a track I had written while alone in an apartment in New York City, some years ago now, after missing a flight back home. This song arrived after some days of late night playing, and mornings walking around the city.
There are also two spontaneous improvisations on the record. The first was made for a photobook exhibition by South African photographer Lindokuhle Sobekwa. Sobekwa’s beautiful series of photos about his lost sister was playing on repeat on my laptop, at my kitchen table, and the record button was flashing red. The piece, Lindokuhle: Photobook, is what happened, largely unchanged from that one take, all the material arriving in response to his images.
The second improvisation on the record was made in the Cederberg while I was staying in the mountaintop hermitage of my friends Marc and Katherine. They have a gravity fed fountain next to a pond filled with tadpoles (you can hear them both in the background of the recording), and I sat with the endless mountains surrounding me on all sides, not another house in sight, just mountains for miles. The idea was simple and was inspired by a phonecall I had just finished with an Alexander Technique teacher called Barry: play a phrase and wait. In silence. For the next phrase. Then play again. Eventually I had a thirty minute recording, with a lot of silence. When I took out the silences, the recording now called Cederberg was what was left.
Blue Light is the studio version of the composition I made for the New York Guitar Festival’s tribute to the late great classical guitarist Julian Bream. This was a piece written on paper, a little bit each day over a period of two weeks. I started with a tuning developed by Japanese composer Toru Takemitsu, and slowly, mark by mark, built up the piece, working on it only a few moments each day.
Then there was another studio session at Milestone, this time recording a short sketch made, as part of a larger series, inspired by ink works by Pablo Picasso, of bullfights. Simple, expressive, dramatic and energetic, these works encapsulate the directness that I wish for in guitar music, this instrument of so many colours and shades, but which is really just a very simple device designed to amplify the sound of stretched strings.
This is my first completely original recording since I released Kai Kai in 2009. Three tape recordings erasing Billy Graham, two studio recordings, a home recording, and a mountain top field recording. Billy Goes to Durban, my sixteen studio album, released by Platoon on the 24th of September 2021.
https://www. СПАМ

Derek Gripper - guitar
*
Cover design is by Toby Attwell of TwoShoes
Mastering is by Murray Anderson of Milestone Studios
Dolby Surround mix by Simon Ratcliff of Sound and Motion Studios
Tape recordings by Derek Gripper
Mixing and editing by Derek Gripper
Produced by Derek Gripper
All compositions by Derek Gripper
All compositions published by Platoon
Release date 24 September 2021