Malgré son titre, on ne peut vraiment pas accuser ce nouvel album de Savall de n’être guère épais : voilà une cinquantaine de pièces de mille origines chantant qui la guerre, qui la paix ; là où Savall est hautement original, c’est qu’il présente toutes les nations belligérantes de la Renaissance jusqu’à, à la louche, le milieu du XVIIIe siècle, de l’Espagne à l’Angleterre en passant par toutes les Allemagnes, l’Italie, l’Europe centrale sans oublier les forces orientales, en particulier l’Empire Ottoman – dont toutes les musiques ne sont pas anonymes, puisqu’il s’y trouve également Dervis Mehmet – et dont l’on pourra entendre une vraie « marche turque », la musique des janissaires qui a tant inspiré les musiciens européens dès les grandes incursions ottomanes (dont on rappelle qu’elles frôlèrent les portes de Vienne, par exemple en 1683).
William Byrd (c.1543 – 1623) was considered by his contemporaries to be a musician without peer. The music he wrote for voices to sing is generally recognized as his chief glory. While there are no transcriptions of chansons or song intabulations among his instrumental works, every moving line in one of his fantasies or pavans is in essence a wordless voice, having different registers and needing breath. Presented here by acclaimed harpsichordist Colin Tilney is a delectable assortment of keyboard works highlighting the vocal character of Byrd’s writing including his exquisite setting of John Dowland’s famed Pavan "Lachrymae."
Instead of the tentative Discipline which opened the gig in Austria, Milan is greeted with a full-on Vrooom. It’s a better decision because right off the bat, the group sound assertive and in control of their surroundings. Even the slight stumble early in Frame By Frame can’t unseat this ferocious beast of a rendition - no wonder Belew can be heard exclaiming “Alright!” off mic at its conclusion.
Prior to this concert, it had been seven months since the Double Trio had last assembled before an audience in Argentina. The first gig of any tour is always a slightly fraught affair; anything that can go wrong probably will. Gear will futz, fingers and feet will lie to their owners and the sound could well be unsound as the entire crew get to grips with the task of presenting nearly two hours of challenging music.
A wonderfully confident beginning in Florence with Vrooom coming out a tad slower but without losing any energy. The benefits of this approach include Tony Levin’s upright bowed bass on the coda having the same space to chug up to the front of the sound. Frame is taken at a calmer pace so that the English guitarist in the group doesn’t have fingertips ablaze as a result of the double time phase shifts both during and at the end of the song.
There are some nights when the energy flows within Crimso and this gig is certainly one of those. Vrooom though to Dinosaur seem to be possessed of a glowering intensity that one wonders how they will be able to sustain such power. The answer is to dial things down a little with the inclusion of an elegant rendition of One Time. B’Boom and Thrak reconnect Crim to some tumultuous forces including Adrian’s patented power-drill noise generator, Levin’s prowling bass and a brief but nonetheless laser-guided solo from Trey Gunn of the kind he would throw about during ProjeKct 2. Within the space of only a few minutes all kinds of musical landscapes are created and regenerated amidst the ever-changing turbulence.
The fifth night of the 1995 European Tour – the band roll into Zurich. While waiting for definitive notes from Sid the Smith, we have Stormy’s show notes. He has repaired the opening notes of VROOOM, which were missing from the DAT, and his personal highlights were Coda Marine 475, Frame by Frame, The Soundscape into B’Boom, the Thrakking, People, and a well-paced Sleepless (he’s a drummer. He should know). In his words a “good show overall”.
Many mysteries surround the life of Jehan de Lescurel, beginning with his date of birth. Probably the son of middle-class Parisians, cleric, musician and poet, he was most likely trained at Notre-Dame. His oeuvre consists of some thirty songs written in the waning tradition of the art of the Parisian troubadours and even broaches polyphony. In them, he describes several amorous situations, sometimes depicting the emotions of the rejected suitor, sometimes those of the beautiful misunderstood lady, in a game of love and feelings that range from nostalgia to ecstasy, and not excluding humour. In this complete recording, the three voices of Céladon are backed up by richly coloured instruments.
The sixth night of the 1995 European Tour – and our bold adventurers find themselves in Dusseldorf. While waiting for definitive notes from Sid the Smith, we have Stormy’s show notes. His personal highlights were Walking on Air, Red, the Thrakking, Elephant Talk and the Talking Drum (with the exception of THRAK, a very different selection to the night before). In Stormy’s words another “good show overall”.
Matthias Weckmann is doubtless the most fascinating Hamburg composer of the mid-17th century. A disciple of Schütz, nurtured on Italian music and, in particular, that of Claudio Monteverdi, he shone in all genres, achieving an impressive blending of these two worlds. His concerts spirituels are characterised by the important role they give to the instruments, veritable accomplices of the singers.
The seventh night of the 1995 European Tour – the band hit Berlin. While waiting for definitive notes from Sid the Smith, we continue to use Stormy’s show notes. His personal highlights were Frame by Frame, Red (which he describes as a good stomp), the drumming on B’Boom (he is a drummer, you know), the Thrakking, Sex, Sleep Eat Drink Dream and Elephant Talk (which he also describes as a good stomp). A stomping good show.
One can always count on Ed Palermo and his Big Band to pop up every couple of years with another sizzling set of Frank Zappa inspired jazz, and he's done that yet again here in early 2016 with his latest Cuneiform Records release One Child Left Behind. Featuring 17 tracks, 9 of which are Zappa recreations, along with some Palermo originals and other covers, One Child Left Behind is a dazzling display of musical artistry from this large outfit, which for the album consists of seventeen musicians.
The eighth night of the 1995 European Tour – and Munich is Stormy’s favourite night of the tour thus far. The band are really hitting their stride, it shows what having a day off can do. His personal highlights were a good Coda Marine 475, a “stomping” Red, (that must be a technical term) the Thrakking, Sex Sleep Eat Drink Dream, People, a great “grooving” Elephant Talk, Indiscipline, and a “very good” Talking Drum. Overall, a very good show.
The ninth night of the 1995 European Tour – and Stuttgart is a different story. While waiting for definitive notes from Sid the Smith, Stormy's thoughts are as follows. "There seem to be little mistakes here and there that just take the edge off, making this an ok show overall."
La celebración del milenio granadino no podía haber sido puesta en mejores manos: Jordi Savall, al frente de sus ya míticos conjuntos y con un importante refuerzo de artistas vinculados a la música árabe, recreará el ambiente de la ciudad desde su fundación hasta su incorporación a la corona castellana casi cinco siglos después. De la fundación del Reino de Granada, expansión y esplendor del al-Andalus, hasta su incorporación al Reino de Castilla y León.
In this wonderful solo album, Norwegian early music performer Rolf Lislevand turns his attention to the music of two composers from the court of Louis XIV: Robert de Visée (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition.
Here we have the tenth show of this 1995 European Tour – While waiting for definitive notes from Sid the Smith, Stormy’s thoughts are as follows. Paris is great on any night, but with Crimson in town it’s rockin’ A good rendition of Discipline sets up the evening and we’re away! His personal highlights were, yes you guessed it Discipline, a Solid Coda Marine 475, a Solid Red ( solid must be another drumming term) the Thrakking and a Funky People. Overall, a very good show.
The eleventh night of the 1995 European Tour – KC steam into Brussels. While waiting for definitive notes from Sid the Smith, we continue to use Stormy’s show notes. RF has patch problems in VROOOM and overall with the coda, it’s not the best. Red gets a bit messy, the drums are a bit busy (wow, and he’s a drummer!) and a “stomping” VROOOM VROOOM. His personal highlights were, Frame By Frame, Dinosaur, a “very good” People and VROOOM VROOOM.
They really enjoyed this one!If you listen carefully at the end of a particularly convincing rendition of LTIA Pt.II you can hear the excitement (or perhaps relief?) of the band at the end of the gig as they congratulate each other and decide to do yet another encore! Thanks to the vagaries of this soundboard mix we get a close-up view of Fripp’s fingerwork on the ever-so-slightly incomplete opener, Discipline. It’s a claustrophobic mix that initially largely excludes the bass and drums (quite a feat when you think about it) but thankfully widens out as the set progresses.