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Ryan Blotnick
Everything Forgets

jazz/yass/impro
Songlines, 2009

Średnia ocena klientów: -    oceń

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CD : 68,90 zł
dostępność:
ok. miesiąca
Nr kat.: SGL15812
EAN: 0774355158128
format : CD
liczba nośników : 1
Opakowanie : plastik


nr tytuł play mp3
1 Intro 00:51
2 Mansell 04:29
3 Judge's Cave 05:03
4 Mainstream I 05:43
5 My Memory, Sir, Is Like A Garbage Heap 02:04
6 Ballad For A Crumbling Infrastructure 04:44
7 Dark Matter (for Benoit Delbecq) 04:18
8 Slowdozer 01:58
9 Look, A Way! 01:36
10 Mainstream II 06:31
11 Sulphur, the Reins 02:08
12 Funes the Memorious 06:28
13 Business Class 04:49
14 Cloud Stove 02:03
15 Ned Ferm 04:49
16 Sonny Song 01:49


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https://youtu.be/yfRS9f8QpoE
https://youtu.be/YAH6N_zIErA

muzycy:
Ryan Blotnick, guitar
Joachim Badenhorst, bass clarinet, clarinet, tenor sax
Simon Jermyn, 6-string bass, electric bass, effects
Jeff Williams, drums, chimes
Perry Wortman, acoustic bass
Joe Smith, drums

Editor's info:
Since the release of his widely acclaimed Songlines CD Music Needs You in 2007, the New York based guitarist has been performing with Michael Blake Band, Pete Robbins & Centric, and gigging in England and Europe, where he met the Belgian reed player Joachim Badenhorst (featured on our April release Equilibrium), Irish electric bassist Simon Jermyn, and NY drummer Jeff Williams. The impromptu quartet made a mostly free-form demo (“it had this kind of 70s rock vibe mixed with a more modern ‘Icelandic’ soundscape kind of thing,” says Blotnick). When Badenhorst moved to New York last fall, Jermyn came over as well and the quartet did a tour and recording session, focusing on improvs as well as new pieces Blotnick had composed for his NY trio. In early 2009, on tour in Spain with 3/5 of the Music Needs You band (Barcelona-based US drummer Joe Smith and NY bassist Perry Wortman), the trio re-recorded those tunes. This CD selects the best takes from the two sessions and sequences them into two album sides. The lighter, groovier post-jazz trio tracks foreground Ryan’s improvising on his compositions, while the quartet often has a heavier, freer avantrock/new music feel. The alternation sets up a series of contrasts and complementarities that make this a more provocatively organized and musically/emotionally diverse record than Music Needs You:

“I listen to a lot of music on vinyl and one of the things I really like is that at the end of a side you are left with this absence of music, and it puts you in touch with the fact that you want (or need) to hear more. Then you have to physically get up and flip the disc and basically say ‘I want some more music now.’ I think this makes the B side that much more interesting, and there is also a certain kind of commitment involved. Usually the A side is more flashy and meant to draw you in, and then the B side is more adventurous. A lot of the music o
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