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The Sahib Shihab Quintet : Seeds [Jazz]
专辑名称：Seeds
歌手姓名：The Sahib Shihab Quintet
唱片公司：Schema Rearward
发行日期：2009年01月12日
专辑流派：Jazz
专辑语言：英语
文件内容：mp3 vbr 50,8 MB
Finally available on CD! According to search results
the original LP got released somewhen between 1968 and
1970. Not quite clear, thats why I tagged the CD as of
2008 whereas MK2 tagged their vinyl rip as 1970.
No bonus tracks for the reissue edition though.
Some friends think that Shihab the man owes the
balance of his soul to his beautiful Danish wife.
They may be right; for Eros is the very essence of
what Shihab plays.Yet Eros is a god with many a face.
A tale of tender mournings Shihab抯 flute is telling
in MAUVE - a piece that translates its title into
delicately changing colors of sound. In UMA FITA DE
TRES CORES he has his instrument wooing with the
proud self-reliance of Latin grandezza. Calmly,
softly, almost blandishly Shihab blows the solo flute
in the Jimmy Woode composition MY KINDA WORLD. Serene
and somewhat playful his own title ANOTHER SAMBA
comes along - a most uncommon composition by the way:
lasting for sixty bars as if growing independent out
of itself, with solos that appear to be additional
spinnings rather than improvised choruses; and yet; a
perfect, self sustaining melody no element of which
is superfluous. In the last of the pieces for flute,
in Klook Clarke抯 THE WILD MAN, which is based on a
flourish of trumpets, Shihab for the first time
reminds of the sombre, the demon-like face of God
Eros. He contrasts flawlessly intoned passages with
challenging phrases, phrases raucously sung into the
flute - really, he is a 搘ild man?who is playing
like that. This raucous challenging sound prevails
throughout the four baritone-titles (揝hihab never
withholds long to caress? Campi says). Shihab blows
the instrument the same way he speaks: without any
delay, directly coming to the point. And he treats it
like a voice, not aiming at an artificially
homogeneous sound in all the registers, but at their
different modes of expression. In the high pitches
the horn gains a brilliant tenor-like quality - for
instance in PETER扴 WALTZ, dedicated to Shihab抯 son
Peter, and in Kenny Clarke抯 simple drum fills
comprising theme JAY-JAY. In the deep register Shihab
produces snotty sounds filling lady抯 ears with
horrors like Pan - thus in JAY-JAY and in the boppy
blues SET UP . Shihab抯 sense of a scurrilous humor
breaks through in SEEDS (which reminds of the
West-African heritage of jazz with its multiple
rhythms and its renunciation of harmonious
development - only the eight bars of the bridge base
on a progression of chords): not only does he omit
the notorious bombastic chord by the ensemble after
his own final cadenza, he even ends with a minor
second above the keynote. Seems as if Shihab now
unrestrictedly conveys to his music all the
experiences and emotions he formerly did not deal
with in a musical way. Shihab the man need not be
disturbed so that Shihab the musician may improvise
passionate choruses. It would be unjust, however, to
forget the choruses of the four other musicians for
those by the 揵orn leader? Francy Boland, taciturn
and always introverted: he plays an extrovert, a
masculine piano. Even with spare single note lines he
produces a piercing and ringing sound that hitherto
nobody except him has discovered, a bluesy sound
bespeaking the very element of frustration that lies
within the title of the trio number WHO扡L BUY MY
DREAM. The unfailing feeling for rhythm the musicians
of the CBBB praise with the arranger Boland, becomes
manifest in the piano solo on SET UP. Francy抯
improvisation is rhythmically styled in a Monk-like
manner, and yet no accent could be set differently.
Maybe this is the secret of the Shihab-Combo. 揜hythm
is our business? this credo of Jimmy Lunceford could
be the one of the five musicians as well. Sadi hits
his vibes as dryly as if wanting to bring its
ancestors to memory, the wooden chimes of West
Africa抯 coastal tribes. To reach the fullest
poignancy possible, he intentionally calms down even
the resonance in MY KINDA WORLD. In UMA FITA DE TRES
CORES Jimmy Woode bears out the crispy jazz beat
against Sadi抯 Bongos and Klook抯 Latin-American
percussion all by himself. Moreover - and that, too,
is connected with the school of the Duke who was the
first in the history of jazz to discover the
instrument抯 potential as a melody instrument - Woode
rips a marvelous counterpoint to the inventions of
the other melody instruments, take for example
PETER扴 WALTZ. And then there is Kenny Clarke. Klook.
On the entire record he only uses his brushes. Means
by which different drummers only know to bring
forward impressionistically blending noises: He drums
a vigorous beat with them, fanciful fills, a solo,
melodious and at once skillfully playing with cross
rhythms in JAY-JAY. The 揵orn leader? the
搊utstanding baritone saxophonist of modern jazz?
(Joachim-Ernst Berendt), he could not wish himself
different sidemen for this record overdue since some
years.
01 Seeds
02 Peter's Waltz
03 Set Up
04 Who'll Buy My Dream
05 Jay Jay
06 Another Samba
07 My Kind'a World
08 Uma Fita De Tres Cores
09 Mauve
10 The Wild Man |
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狗仔卡
发表于 2009-1-22 17:14:32
恢复卡
orth“ to the bittersweet title track „Songs From The City“, from the almost punkish „Ivory Republic“ to the tender and intimate „Upside Down, Downside Up“, from the rough „Trans Siberia“ to the touching „Rise And The Fall“, which almost sounds like a britpop version of José Gonzales, from the Drone Rock instrumental „Anthropogenia“ to the monumental anthem „Ljubljana 225“ with its epic finale: There is nothing missing on this journey. Yet it's always Symbiance and their everlasting search for the unsaid: Combining the lyrical bitterness of the restless city and the rough poetry of the forgotten hinterland. Crisp guitas, pearly pianos and a haunting voice: An exceptional Indie Pop album, with postrock elements and a good amount of singer/songwriter melancholy. Expect the unexpected and await it!