paneugene · 21-Янв-13 01:03(11 лет 9 месяцев назад, ред. 08-Мар-16 01:52)
iiro rantala my history of jazz lars danielsson
morten lund
adam baldych Жанр:Contemporary Jazz, Piano, ACT Music Год издания:2012 Издатель (лейбл):ACT Music Номер по каталогу:ACT 9531-2 Аудиокодек:FLAC (*.flac) Тип рипа:tracks+.cue Битрейт аудио:lossless Продолжительность:60:38 Источник (релизер):сеть, спасибо repfy Наличие сканов в содержимом раздачи:нет Треклист:
01. Aria / Goldberg Variation No. I (Johann Sebastian Bach)
02. Liza (George Gershwin)
03. Goldberg Improvisation I (Iiro Rantala)
04. Caravan (Juan Tizol)
05. Eronel (Thelonious Monk)
06. Goldberg Improvisation II (Iiro Rantala)
07. Americans in Paris (Iiro Rantala)
08. Bob Hardy (Iiro Rantala)
09. Goldberg Improvisation III (Iiro Rantala)
10. September Song (Kurt Weill)
11. Danny´s Dream (Lars Gullin)
12. Goldberg Improvisation IV (Iiro Rantala)
13. Smoothie (Iiro Rantala)
14. Goldberg Improvisation V (Iiro Rantala)
15. What Comes Up, Must Come Down (Iiro Rantala)
16. Uplift (Iiro Rantala)
17. Aria (Johann Sebastian Bach)
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 27. 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Содержание индексной карты (.CUE)
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Об альбоме
AllAboutJazz
It is perhaps an odd history of jazz that opens and closes with a composition by Johann Sebastian Bach, but My History Of Jazz is a very personal history, the history of Finnish pianist Iiro Rantala. His previous album, Lost Heroes (ACT Music, 2011), was a solo piano recording; full of mesmerizingly beautiful music, it was one of the year's finest releases. My History Of Jazz doesn't quite match the consistency of Lost Heroes, but its best moments are on par with those of its predecessor. The Bach aria which bookends My History Of Jazz is brief and beautiful. Rantala, with sympathetic support from bassist Lars Danielsson and, on the closing track, drummer Morten Lund, captures the aria's lyricism and grace. The pianist's short "Goldberg Improvisations"-five in all, based on Bach's Goldberg Variation No. 1-each have a distinct character. On "Goldberg Improvisation I" Rantala and Danielsson chase each other through an inventive, rapid-fire 53 seconds. Improvisations II and V-the loveliest-stay closer to the original Variation, III has a skittish, jagged rhythm and IV rolls cheerfully along thanks to Lund's brushed drums. Rantala's versions of a few jazz classics sparkle with invention. George Gershwin's "Liza" has a ragtime feel coupled with unexpected pace. "Caravan" gets a real makeover-violinist Adam Baldych takes Juan Tizol's classic by the scruff of its neck, his raw and expressive playing adding drama to the desert journey even if it loses a little of the tune's subtler moments. Pianist Thelonious Monk's "Eronel" is full of life and movement: Rantala's upper register playing is filled with a particular joy, Lund's drumming adds color and drive to the performance and Danielsson's solo keeps up the energy and feelgood vibe. For Kurt Weill's "September Song," Rantala adopts a stride piano style, the punchy, positive, left- hand patterns creating an optimism that contrasts starkly with the regret and sadness often invested in the song. Rantala's own "Americans In Paris" is pretty and a little wistful, while "Bob Hardy" swings. "Smoothie," another of Rantala's own compositions, is immediately memorable. Taken at a relatively slow tempo, Lund's drumming has a laidback and relaxed feel, yet there is an energy and drive to the tune. Baldych gives his most empathic performance, playing a hypnotic pizzicato pattern to match Danielsson's bass rhythm and underpinning Rantala's own crystalline playing. A $10 bet on this becoming a future jazz standard could be money well spent. My History Of Jazz tells one musician's musical story-"My entire history in music" as Rantala writes in the liner notes. There's no blues and no mainstream, because he's never been into those styles. There's Bach, because that's where Rantala's story began, like many pianists. Above all, there's an obvious affinity with jazz masters like Monk and Duke Ellington. The result is music of great technical skill and, even more importantly, of great emotional depth. (Bruce Lindsay)
ACT Music
That old discussion has broken out again: What is jazz? Who does it belong to? Where does it begin? The latter of these questions is at least not an issue for the Finnish pianist Iiro Rantala: "Johann Sebastian Bach and his music came into my life when I was six." So it comes as no surprise that Bach ties up his new ACT album "my history of jazz" - Rantala's personal history of the music that captivated him when he was 13 is embedded in the classically rendered aria: "Ever since then I always wanted to become an improviser, composer, stage performer and bandleader". A universal concept shown on the five greatly varied improvisations on the Goldberg Variations, upon which Rantala threads the album like a string of pearls. “My history of jazz" is the logical counterpart to Rantala's ACT debut "Lost Heroes", on which he built a unique personal monument to past musical paragons and kindred spirits – so unique, in fact, that it won him the Echo Jazz and the annual German Record Critics Award, amongst others. There too, the Finnish classical composers Jean Sibelius and Pekka Pohjola were of course also among the inspirations, as were the entirely dissimilar jazz piano legends Art Tatum, Erroll Garner and Michel Petrucciani. This time, great composers find their way into Rantala's kingdom, like George Gershwin ("Liza"), Kurt Weill ("September Song"), Duke Ellington and his valve trombonist Juan Tizol ("Caravan"), Thelonious Monk ("Eronel") and the Swedish cool jazz saxophonist Lars Gullin ("Danny’s Dream"). With "my history of jazz" Rantala places himself at the head of a new pianist generation that liberates itself from the inflated cult of the "all new" and instead returns to build on the old jazz tradition of studying the great inventors of the genre, of admiring them and of using them for one's own sound. "The great thing about being a musician is that you don't have to invent everything yourself," Rantala says. "You can listen to the people who were there before you and learn from them. Many people ask me what my influences are, who I like and who I've arranged for myself. I've always been very open-minded about that." The five Rantala compositions on “My History of Jazz” are perhaps the hardest to get out of your head. Whether reanimating the romantic jazz tradition in "Americans In Paris" – which itself is based on the German and French Impressionists – or whether breaking down the swingbob rhythmic from hot to modern jazz as in "Bob Hardy"; whether he gives his minimalistic answer to the Nordic jazz revolution of recent years in the stirring "Smoothie", which is perhaps the catchiest tune on the album, or whether he makes his contribution to the escapist piano solos of the moment with "What Comes Up, Must Come Down"; even when he embraces pop with "Uplift", Rantala always impressively demonstrates that he is a talented stylist, one who breaks down styles and reconstitutes them – borne by unrivalled technology. And that with an unprecedented versatility that he explains as follows: "I was never devoted to blues piano or what people call "mainstream jazz". That is why that is missing on "my history of jazz". Apart from that I don't think anybody can complain about a lack of stylistic variety on the album: There's baroque, ragtime, bebop and swing to be heard on it, Scandinavian melancholia, ballads with a French character, fusion, smooth jazz and even tango." For this unique mix of various moods, focused entirely on melodies, Rantala found congenial comrades-in-arms: the delicate Danish drummer Morten Lund, who has proven his extensive understanding of jazz with, for example, Italians like Enrico Rava, Paolo Fresu and Stefano Bollani. Then there is the bassist, cellist and ACT star Lars Danielsson, who brings an unmistakable voice to the strings. And finally the most recent ACT discovery Adam Baldych, the violinist with not only classical training but also perhaps the biggest variety of tone qualities and the strongest expressiveness that jazz has ever had – just lend an ear to his plucked intro to "Smoothie". For piano enthusiasts it may be a bonus that Rantala makes use of two other, fantastic pianos on this album, alongside the Steinway from Tia Dia Studios in Sweden's Mölnlycke: "September Song" resounds from Alfred Brendel's Steinway D, "Caravan" from the Bösendorfer Imperial from the Montreux Jazz Festival. That too awakens associations, and so Rantala's "my history of jazz" can be rounded off as one man's response to the much-discussed questions of the time: When a creative spirit condenses the history of music into one moment with outstanding mastery of his instrument, jazz can be the new classical.
Photo
Состав
Iiro Rantala - piano Lars Danielsson - double bass, cello Morten Lund - drums Adam Baldych - violin (4, 8, 11, 13)
