New Coltrane “single”. “Lost” album out in a couple of weeks. A welcome teaser, but TBH, I think it’s lacking context.
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Some context already provided here.
I just meant that the track sounded a bit isolated without hearing it in the context of the whole session / album.
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It has been eight years since Steve Tibbetts gave us the fiery electric guitar album “A Man About A Horse” (ECM 1814). Now he returns with a different kind of recording: an album of, primarily, acoustic sounds. The making of “Natural Causes” took place in a period when Tibbetts was reconsidering some fundamental aspects of his art and craft – in parallel with daily studies of Bach, Bartók, and music theory. Examining those giants up close made it doubly difficult to go about business-as-usual in his own work. “After some hours, my ears would be wide open…and disinclined to the prospect of blasting electric guitar. So I stuck with my dad’s Martin D-12-20 12-string. I wanted to keep things simple…
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Yr is yet another fascinating peek into the Steve Tibbetts sound-verse. The feeling of open plains that so characterized his previous efforts remains, only now the production is more immediate, such that the 12-string intimations unlocking the doors of “Ur” set us adrift in our own mysteries. Percussionist Marc Anderson soars, seeming to grow out of Tibbetts’s hollow-bodied heart before the heavy thrum of the latter’s electric curls itself into a ball and rolls down a hill of unrelenting melody. After an explosion of beats and guitars settles us into the soothing reverie of “Sphexes,” we find our expectations blotted by an interlude of kalimbas before Tibbetts spreads his buttery axe over this acoustic toast with sweetness in “Ten Years.” Fantastic. “One Day,” much like the opener, rises from the ashes of a campfire, but not without leaving an aftertaste of the prairie. “Three Primates” is a pocket of sunshine that shifts masterfully between tones and timbres. Now darkened by shadow, now blinded by noon, it dives headfirst to a tabla-infused conclusion…
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Debut album by the next young and talented violinist on Deutsche Grammophon, following the successful footsteps of Anne-Sophie Mutter and David Garrett who both joined the label as youngsters. The youngest musician currently signed to Deutsche Grammophon (born in 2001). Daniel Lozakovich is a mature core-classic artist and young sports fan at the same time. Multi-award winner, including the 1st prize at the 2016 Vladimir Spivakov International Violin Competition. Praised by audiences and critics alike (Lozakovich is destined for a prodigious career). Many supporters, including Valery Gergiev, Martin Engstroem, Daniel Hope, Andris Nelsons, Daniel Barenboim, Renaud Capuçon.
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I accept with pleasure the invitation to write some brief notes for this CD. The first impression I had upon listening to it was that of the excellent group sound. The trio is notoriously one of the most particular line-ups in the world of jazz and with this type of formation it is not always easy to create the right vibe and find the right blend or balance. It is often necessary to focus on the atmosphere and the overall sound, rather than on the work of the individual. It takes intelligence, humility and respect for tradition, but I believe that all of these ingredients are present on this record. The original compositions are particularly fine, as is the work of interplay, and the interesting arrangements reveal a great collaboration in the work of the ensemble and a keen attention towards the contemporary jazz panorama. I had the pleasure of associating with all three members of the trio during the years when I taught at the Conservatory of Santa Cecilia and I am happy that these three musicians have reached such an important milestone with their first album. Congratulations to all of you. I wish you all the best! --Roberto Gatto
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Debut album
Roger Waters - Amused To Death (2LP 180gr, Analogue Productions reissue 2017)
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