Dear friends and listeners .... I groped today to climb in a reckless comparison between what 'that was the thought of the Italian Futurist movement, which was not only Marinetti and modern jazz, where I intend to modern ideas and projects that magma of the music that Miles Davis gave good the "the ".... that one would want to call it Fusion or any other label, it does not matter ..... there is no doubt that if there is only one form of music that was able to compare, combine other forms and expressions in a continuous movement in search of new sounds and ideas this is just the jazz .... ..... always border line by breaking the other hand, as was the guiding idea of \u200b\u200bthe Futurist movement that I try 'to combine the art of becoming the transformation of the continuous movement, contaminating the language, art, music of the time "mixandola" with aspects of reality' in contrast with each other ..... future events which tentva the kitchen to mix with the roar of the engines with the poetry, which from a certain point of view could be a schizophrenic artistic-philosophical end in itself, that the attempts were not experiments .... .... as d 'Moreover, this disc, I'm going to offer you is a strange sound mixing experiment taggabile as future jazz or new sounds ..... a bit 'hip-hop, a dash of lounge music, the ever-present DJ sets, pieces of rap, an ensemble of strings, perfumes soul, and spirit vocalese of hovering over a handful of classic American music. A cocktail barman malriuscito a naive or ambitious?
Not really concerned if the subject responds to that bad boy Bill Laswell and if the occasion calls himself surrounded by a crew of buccaneers sailed improvisation as Karl Berger, Nicky Skopelitis, Brandon Ross, and Amina Claudine Myers.
And as in all productions of Laswell what matters is not so much the technical performance of the musicians, their interplay, processing and improvisation on the theme, the idea of \u200b\u200bmusic goes beyond genre, a concept of sound that transcends the aesthetic established, a breeze that upsets any certainty insinuating style.
Several gems of this recording, as the beautiful version of "Angel Eyes" with the deep voice of Amina Claude Myers puts chills, the chase between vocalese rap style and the classic "Twisted," the Ellington that you expect in "Cottontail", initials "Little Boy Do not Get Scared" from the hypnotic groove and the counterpoint of alienating outcomes Material Strings conducted by Karl Berger. If the
draft Bill Laswell not upset much a public now accustomed to any kind of musical works, his Little Boy Do not Get Scared is a happy example of fusion between genres, a clever, fresh and original tribute to vocalese, generally too often forgotten or considered of B. Download HERE
and enjoy .... zero
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