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Marco Eneidi / Damon Smith / Spirit
Peter Kowald
Ghetto Calypso

jazz/yass/impro
Not Two, 2006

Czas trwania: 68:42

Średnia ocena klientów: -    oceń

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sprawdź inne płyty z promocji:
Not Two


CD : 19,90 zł
na stanie
Nr kat.: MW769-2
EAN: 5907589871692
format : CD
liczba nośników : 1
Opakowanie : kartonowy ecopack
plik mp3 : 19,90 zł
format : mp3
jakość : 320 kb/s
 
plik FLAC : 24,90 zł
+ okładka : skan książeczki w jpg


nr tytuł play mp3
1 a tiny hole in tuva 02:49
2 psylium 04:02
3 tangled lines 04:38
4 ghetto calypso 06:04
5 sufi prayer 01:19
6 david, with bert, plays mahler 04:23
7 breakfast with a dervish 02:11
8 the unforseen is what is beautiful 06:17
9 cracked mirrors, for example, or the long faded portrait of one of your friends? 03:11
10 pull, push, jump (up) 06:04
11 obo 02:40
12 black dots 06:36
13 last call for a bawdy-house sweetheart 02:00
14 gargoyles 02:23
15 flight of the Marabou 00:52
16 new music pygmies 06:22
17 easinesses found 06:39


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https://youtu.be/VOZaOB-1iL0

Marco Eneidi - alto sax
Peter Kowald - bass
Damon Smith - bass
Spirit - drums

Recorded May 3, 2000 at Headless Budda Studio Oakland, CA.
Mastered at Headless Budda Studios.

This CD is dedicated to the memory of Peter Kowald 21.04.1944-21.09.2002

Review:

The Polish NotTwo label has been dropping some fantastic music of late, and this six-year-old session is no exception. The bass duo of Damon Smith and the late Peter Kowald can be heard on Smith's own Balance Point Acoustics label; this set puts the pair in the company of saxophonist Marco Eneidi and the enigmatic drummer Spirit, whom I'd never heard before.

The earthiness of the Smith/Kowald duo is in full effect on tracks like 'David, with Bert, plays Mahler' or the title track, both players being rooted in a confluence of stereotypically 'American' and 'European' modes of dialogic improv. 'A Tiny Hole in Tuva' is a bit of a surprise when the bassists create a gorgeous drone, but Eneidi's playing is even more startling. I was not prepared for the sheer force of his presence on this session, the bent bravura and speech-song venom with which he can attack and elongate a phrase. It's not all Ayleresque or Brotzmanian fire and brimstone, however, even though the dynamic level is often high; 'Breakfast with a Dervish,' a brief Eneidi solo outing, is positively other-worldly, exuding a kind of cosmically Eastern ethnicity. Some of his best work.

At the other end of the spectrum is the aptly named Spirit, whose sound often hovers on the edges of audibility. It's actually quite intricate, a myriad of tinkles, soft ametric intertwinings and the occasional rattle and thump only hinting at jazz rhetoric. His handling of timbre and space on 'The Unforseen is What is Beautiful' is positively exquisite, his lines cut from the most delicately ornate fabric.

The two opposing forces, Spirit and Eneidi, bob and weave around the bassists, who form the axis around which all forces revolve. They are the anchor in an ever-changing stylistic storm, and it's this oil-and-water aesthetic that makes the disc such a joy to experience. Even though I'd like to have heard some of these pieces extended, most being in the two-to
.......
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