Описание CD

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  Наименование CD :

Год издания : 2001

Компания звукозаписи : ECM

Время звучания : 55:03

Код CD : ECM 1742

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Free - Improvisation)      

Recording Date: 2000, Avatar Studios, New York

The gathering of this trio in February of 2000 guaranteed little except that they had demonstrated ably - on Nothing Ever Was Anyway: The Music of Annette Peacock - the ability to play together almost symbiotically. This follow-up attempts to extend the trio's reach across Peacock's music and into the terrain of the trio as an entity in and of itself. That said, not all the pieces here are new; in fact, some of them are decades old - Marilyn Crispell's "Rounds" is from 1981, Gary Peacock's "Voices of the Past" and "December Greenwings" are both from the early '80s, and Paul Motian's "Conception Vessel/Circle Dance" is from the early '70s. The trio brings to these vintage pieces not only new eyes, but the freshness of this relationship and the willingness to reinvent them. In addition to the older works, producer Manfred Eicher asked the group to improvise a number of pieces just for the session. The results of this combination are quite remarkable. Perhaps the most noticeably gripping is the melodic invention in Crispell's playing. While it's true she has often displayed her lyrical side in free improvisation, she has never done so to this extent or with this much restraint. No matter where the improvisation goes, no matter whose tune she's playing, Crispell insists on harmony and an inventive yet attentive melodic framework as the session's basis. A shining example is on Peacock's "Voices From the Past," where his opening modal bassline is graced over by Crispell's pianistic melody, offering both line and harmony for Peacock to insert his lyric bassing. Motian uses his slip-dance on the cymbals to offer her just enough counterpoint to create a crystalline, droning melody that gleams in the darkness of the minor key signatures. On the brief title track, Crispell's tune, Peacock once again opens with the time signature and the underside of the melody. Motian joins him to usher in a minimal melodic architecture by Crispell. Short arpeggios are woven into diminished chords and the texture of the interplay. This is improvisation at its most restrained, its most closely listened to, executed with hushed yet dynamic brilliance and emotion. Crispell's "Rounds" echoes Mal Waldron and Dave Burrell in its angular architecture. Peacock takes the piece through from underneath, playing a modal counterpoint to Crispell's sharply arpeggiated harmony. The set ends with "Prayer," an anthem-like hymn. Motian taps out a restrained magisterial rhythm on his ride cymbal with satiny flourishes on the high hat, as Crispell calls Peacock forth from the middle registers and he drones his assent to a chorded melody that moves from augmented sevenths to flatted fifth to major chords. One can hear everyone from Thomas Dorsey to Bill Evans, but underneath it all, is the exacting hand (if the young Claudio Arrau played jazz, he may have sounded like this) and enormous, tender heart of Crispell, calling the piece - and set - to a close. More than a follow-up to their first work together, on Amaryllis, Crispell, Peacock, and Motian have established a new yet authoritative voice in melodic improvisation for the jazz trio.

All Music Guide


Press Reactions


BBC Music Magazine, Pick of the month

Diapason D'Or

Jazzman, Choc du mois

Recommande par Classica

Stereoplay, CD des Monats

Marilyn Crispell has made two of the most beautiful piano trio records in recent memory...Nothing Ever Was, Anyway gave the first intimation of a different Ms Crispell: elegiac, meditative, more inclined to let the spaces between the notes breathe. The Annette Peacock tribute which marked the beginning of her association with ECM, seems to have liberated her. Ms Crispell's new sensibility has grown even more pronounced on the new album. A richly melancholic collection of improvisations and compositions by each member of her the trio, Amaryllis is suffused with a romanticism that Nothing Ever Was hinted at but held in check. It's also a record by a mature woman who knows something of solitude: sorrowful, yet finally affirmative, in the way that Joni Mitchell can be.

Adam Shatz, New York Times

Marilyn Crispell follows up her first ECM album with more contemporary classics, this time by members of her group (bassist Gary Peacock and drummer Paul Motian), alongside some remarkable free Improv. It's not only the material that's altered: on Amaryllis, Crispell shows a tender, reflective side that contrasts with her earlier career as high energy disciple of Cecil Taylor. It could be the most profoundly beautiful album she has yet released. ... There's a crystalline clarity about her lines but no easily grasped melodicism, except in the theme statements of compositions by Peacock and Motian. In contrast with the darker Nothing Ever Was, Anyway, this new ECM recording brings out her nuanced control of dynamics as never before - though her stylistic development could also be a factor here. ... This is certainly one of the great piano trios of today - all the more pity, then, that its opportunities for live performance have so far been limited.

Andy Hamilton, The Wire

Like its predecessor, Amaryllis is an album that draws the listener into a pulse and a breath-slowing, contemplative mood, which allows undercurrents of edginess and intensity to ripple through without dousing the listener with cold water. The programme is a strangely savoury mix of luminous introspection, dark moods, and spark-shooting passion. Its immediate appeal stems from the empathetic, dovetailing interaction within the trio.

Bill Shoemaker, Jazzreview

Like running into a relative of somebody you know well, this probing set betrays a gesture here, a mannerism there, a certain chime to a laugh or intensity of glance that is at once familiar and new. At times it's like listening to a Keith Jarrett or Bill Evans trio, but with those pianists' vocabularies eerily rewritten. For two decades, Marilyn Crispell has been one of the most highly regarded pianists at the sharp end of contemporary jazz. This Baltimore-raised musician went to the New England Conservatory to study classical music, and then became diverted by the work of Cecil Taylor and John Coltrane. She eventually became keyboard partner for the fearsome multi-instrumentalist and composer Anthony Braxton, with whom she could share enthusiasms from Coltrane to Hildegard of Bingen....

This set has Crispell investigating a more lyrical and less awesomely pianistic music. Four of the pieces were improvised from the off, but sound like compositions, such is their conviction and clarity of phrasing. The ruminative opening passages, initially draped around Gary Peacock's plummy, luxurious bass sound, reflect the atmosphere of the whole set. Paul Motian, one of the closest things to a sound-painter in the jazz drumming, rustles around Crispell, scattering offbeat snare sounds and brief shimmers of cymbals, occasionally hinting at distantly martial tattoos that cajole and fade.

Marilyn Crispell has grown more intrigued by the late Bill Evans in recent years, and the connection is clear in the voicings of some chords, even if there is little of Evans's urgent orthodox swing. Requiem, a piece that echoes Crispell's baroque-music origins, also recalls the dolorous harmonies of Annette Peacock a composer to whom Crispell devoted an earlier trio disc. (Nothing ever was, anyway, ECM 1626)

Not all the music is reflective - December Greenwings has a folksy, countryfied line and a playful skippy feel in Crispell's improvising, and on the fast, liquid Rounds Crispell plays a devastating solo of tidal energies and hurtling precision. ...

John Fordham, The Guardian

The heart of this music lies in four pieces collectively improvised in the studio. Amarylls, Voices, M.E. and Avatar are all spacey, delicate forays, almost free-form ballads that take the listener through an interior soundscape of hushed, filigree beauty. Peacock's fluent bass and Motian's ultrasensitive percussion are vital factors, yet it's Crispell's sureness of touch that stands out; her choice of notes are pared back in Zenlike economy.

Graham Lock, JazzTimes

Peacock's Voice from the Past is the perfect title to open this album of lush, impressionistic, relatively dark "mood" music by three artists whose collaborative spirits are in full flower. ... A feature of Amaryllis is the sections of spontaneous composition, where free, open-ended playing follows its own inner logic. This logic does not drive the music so much toward abstraction as it does toward a kind of wayward tunefulness. As a result, the choruses, the recurrences and conventional measures are suspended in the name of pure expression.

John Ephland, Schwann Inside

Atemberaubend, wie die zierliche Pianistin konzentriert Ton an Ton setzt, den zarten Klangen ausreichend Raum und Zeit lasst. Souveran webt Gary Peacock seine Basslinien ein, und Paul Motian schafft jenseits aller Beats einigende Strukturen. So gerat Amaryllis zu einem beeindruckenden Manifest musikalischer Freiheiten: In blindem Verstehen entfaltet sich ein mild changierendes Feuerwerk brillanter Ideen, die bei aller Ernsthaftigkeit doch herrlich unbeschwert erklingen.

Sven Thielmann, Stereoplay

Nach dem Trio-Vorganger von 1997 spielen sie nun klassische Kompositionen aus ihrem eigenen Katalog, aber es sind die dazwischen gestreuten ruhigen, freien Impressionen, die das Album so zeitlos machen. In grossen Bogen atmen diese Stucke und werden im Inneren durch den Abbruch der allzu offenbaren Beziehungen vorm Schwelgen bewahrt. Ahnbare Melodien erscheinen, gebrochene Harmonien, ein schwebendes Metrum, das alles zusammenhalt, es ist eine Stimmung der Gelassenheit, die alles grundiert. Ohne dieses Gefuhl konnte die Musik in eine Summe von Stimmen zerfallen, so schafft sie einen Raum, den man vertrauensvoll betreten kann, ohne jeden einzeln begrussen zu mussen.

Konrad Heidkamp, Die Zeit

Eine Musik, die uber die mechanischen Bewegungsgesetze der Harmonielehre triumphiert, die bisweilen fast zum Stillstand kommt und einzelnen Tonen Raum schafft. In ihrer Bereitschaft, aufeinander zu horen und ihre Ideen ineinander zu verzahnen, sind Marilyn Crispell, Gary Peacock und Paul Motian eine Traumformation improvisierter Musik. Auf Amaryllis, der zweiten Platte der drei, stellt das Trio seine freie Interpretationen vor: Nichts ist hier Effekt, nichts Demonstration, nichts Routine - alles nur Musik.

Steffen Hentz, Financial Times Deutschland

In Momenten des Glucks uberwindet die Kunst die Schwerkraft der Verhaltnisse. Spielend und spielerisch stellt sie die Gesetze der Physik auf den Kopf, zum Beispiel das, nach welchem das Volumen eines Raums, von der Dicke der Haut abgesehen, von au?en betrachtet das gleiche sei wie von innen. ... Nichts anderes, scheint mir, ist in der Sequenz von zwolf Stucken zu erfahren, welche die Pianistin Marilyn Crispell mit ihren langjahrigen Partnern und Weggefahrten Gary Peacock und Paul Motion eingespielt hat: zum Teil weit zuruckreichende Kompositionen aller drei Beteiligten und in vier Fallen frei improvisierte Piecen, die klingen, als waren sie komponiert - offene Formen, die beben vor Interaktion und hellwacher gegenseitiger Aufmerksamkeit. ... In jeder dehnen sich die Innenraume wie Asien, und die Zeit verandert ihren Aggregatszustand, manchmal fast bis zum Stillstand. ... Crispell ist zweifellos eine eminente, sich jedem Risiko aussetzende Spontanerfinderin, komplex, aber nicht atonal, weit entfernt von jenem brachialen Kaputtspiel-Vitalismus, den wir vor einem Vierteljahrhundert einst mit Free Jazz assoziierten, mit ihrer fein ziselierten offenen Kammer-Kunst geradezu am andern Ende, also bei sich angelangt. ... Amaryllis, so hei?t ihr neustes Blumenstuck, ist eine grosse CD.

Peter Ruedi, Die Weltwoche

Je trouve cette musique touchante et magnifique. Elle semble venir naturellement, avec un grand sens de l'espace et de la respiration. Marilyn se laisse porter par ce qu'il y a d'unique dans le jeu de Peacock et celui de Motian, et s'exprime elle-meme avec une simplicite et une sincerite profondement humaines. J'apprecie egalement les dynamiques et des phrases des morceaux plus energiques qui viennent enrichir l'univers du double disque precedent.

Stephan Oliva, Jazzman (Choc jazzman)

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Наименование трека



   1 Voice From The Past         0:05:57 Peacock
   2 Amaryllis         0:03:35 Crispell
   3 Requiem         0:04:45 Peacock
   4 Conception Vessel / Circle Dance         0:05:39 Motian
   5 Voices         0:04:32 -"-
   6 December Greenwings         0:04:11 Peacock
   7 Silence     T       0:03:20 Crispell
   8 M.E.         0:05:18 Motian
   9 Rounds         0:04:09 Crispell
   10 Avatar         0:04:19 -"-
   11 Morpion         0:03:34 Motian
   12 Prayer         0:05:43 Weiss


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