Описание CD

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  Исполнитель(и) :
   Cyminology  (Ensemble)
◄◄◄        ►►►

  Наименование CD :
   As Ney



Год издания : 2009

Компания звукозаписи : ECM

Музыкальный стиль : Contemporary Jazz, Progressive Jazz, Post-Bop, International Fusion, Vocal Jazz, World Fusion

Время звучания : 58:18

Код CD : ECM 2084 (1780149)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Small Orchestra - Contemporary)      

Recorded April 2008 at Rainbow Studio, Oslo

On their three previous independently released CD's, Cyminology have mined a personalized world and ethnic fusion music based on Middle Eastern and European folk songs combined with ethereal progressive jazz and contemporary classical music. For their debut on the ECM label, a keen sense of their new home label has deepened their commitment to atmospheric music rooted in earthy tones and a strong identity that is all their own, and nobody else's. The alluring vocalist Cymin Samawatie, a native German born of Iranian parents, continues her amazing journey in utilizing her heritage singing poetic Persian Farsi phrases and wordless vocals in a manner that is a logical extension of vocalists such as Jeanne Lee, Jay Clayton, and even Flora Purim in terms of depth. She at once bravely floats on clouds and speaks to humans down below not familiar with her dialect or language, conjuring up magical discourse that fits beautifully into this unique amalgam. Pianist Benedikt Jahnel plays such lovely form and function music as ECM stablemates like Bobo Stenson or Mike Nock, with ultimate delicacy, taste, and subtle modern jazz intricacies. East Indian drummer Ketan Bhatti and bassist Ralf Schwarz keep their roles in check within the softer mezzo piano range, whether offering sensitive ostinato lines or extending their instruments via expansive rhythmic horizons in different time signatures. Starting off with the Jalaluddin Rumi inspired title track "As Ney/Song of the Reed Flute" in a reverent, pastoral, hymnal mood, the ensemble plays pretty music, then adds swelling sounds on a one note exploration during "Niyaayesh," as vocalist and pianist join in solemn unison tones. The near-16-minute triad "Kalaam/Dassthaa/Delbasstegi" wends its way through spooky and serene segments where individual or pluralistic voices from each of the players move forward, then step back. "Sendegi" changes the pace to upbeat in a perky 9/8 rhythm, much more jazzy as Jahnel's lustrous piano urges some jumpy, spiky, staccato-based singing from Samawatie. The remainder of the recording fully identifies the pure ECM aesthetic, as the midtempo, modal 7/8 "Por Se Ssedaa" is the siren's song of a temptress moving into scatted interval leaps from Samawatie. This piece, "Naagofte," and "As Ssafar" explore the concept of a darker, mysterious, underground labyrinth, with minimalist repeating or stairstep piano lines, flowing wordless vocals, and a marginal rhythmic structure. A steady, soft pulse identifies "Ashkhaa," another peaceful composition that completes the circle and the journey from the opening track. This is clearly a transitional album for Cyminology, as they are quite aware of Manfred Eicher's precepts and their surroundings, this being recorded at the famous Rainbow Studios in Oslo, Norway. A more subdued Cyminology than their previous efforts, it marks a new era for the group, fully exploring their cerebral, spiritual, and introspective side.

All Music Guide

====

"As Ney" is the ECM debut of an unique band. The subtle yet dynamic, softly-pulsating music of Cyminology (formed 2002) takes its cue from the sound of the Persian language. "This was the turning point for us," says singer Cymin Samawatie. "When I began singing in Farsi, the music of the group started to become unified. There are still elements from different kinds of music" - including chamber jazz, open improvisation, modern composition, art songs, minimalism, even a distant hint of bossa - "but once we brought in the Persian poetry, it seemed to bring everything together. Farsi is a soft language and has a unique melody in itself, it already gives you a sense of direction. And the changing meters of the poetry influence the rhythm and the time signatures."

Cymin Samawatie writes most of the band's music, as well as song lyrics which, in the tradition of Persian verse, can be interpreted on several levels: are these love poems or do they hint at wider, spiritual, concerns? And she looks also at words from masters of the tradition including, on this recording, Rumi (1207-73) and Hafiz (c.1325-1389). Cymin incorporates, too, verse of Forough Farrokhzaad (1935-67), Iranian modernist poet and film director, a strong feminine voice, whose cry for personal freedom takes on a particular poignancy in the light of political developments of the last 30 years. Cymin would sooner celebrate positive aspects of Persian culture than dwell on present-day restrictions, but her very profession, lead singer of a band, is not one currently available to Iranian women in their homeland.

Born to Iranian parents in Braunschweig in 1976, Cymin was raised bilingually and bi-culturally, spending summers in Iran. In Germany, as a teenager, she raced through musical idioms in search of a mode of expression. At 13 she led a choir, at 17 had an acoustic-grunge duo with Ralf Schwarz on guitar, singing self-penned songs of alienation. She studied classical music in Hannover, specializing in percussion and piano, and jazz in Berlin where, at the Hochschule der Kunste, her teachers included American jazz veterans David Friedman and Jerry Granelli. She credits Granelli for encouraging her to improvise with Persian poetry, and to set it to 'non-traditional' music.

It's not a coincidence that Samawatie begins the album with a setting of Jalaluddin Rumi's "Song of the Reed-Flute", from the compendious "Masnavi": "Listen to the song of the reed-flute / Lamenting its banishment from its home / 'Ever since they tore me from my reed bed / My plaintive notes have moved men and women to tears / I burst my breast, giving vent to sighs / To express the pangs of yearning / For everyone who is far from his home / Longs for the day he can return." If Cyminology's music is still, broadly, "contemporary jazz" - jazz experience being common to all members' backgrounds - it also aspires to regions beyond it.

It was in Berlin, where 'multi-culturalism' is an everyday reality, that the Cyminology group came together. Pianist Benedikt Jahnel, born 1980 in France, grew up near Munich, moving to Berlin in 2000. Amongst his teachers were John Taylor, Kenny Werner and Richie Beirach. Jahnel has already toured with international musicians including Charlie Mariano and Phil Woods, and is active with three other bands, his own Benedikt Jahnel Trio, and the groups max.bab and the Kaktus Sextett. Cyminology grew out of the collaboration between Samawatie and Jahnel, with both of them providing repertoire. "When Benedikt brings a piece to the band, it's generally 'composed' in all its details," Cymin says. "My approach to songwriting is more open and the work changes as we play it. Sometimes Benedikt will play what I write, and sometimes he'll find something much more beautiful, which I welcome, of course. And Ketan, our drummer, I never tell him what to do. He's got such great ears and is so imaginatively responsive."

Ketan Bhatti, born in New Delhi, India in 1981, grew up in Bielefeld. Playing piano from the age of 7, and touring as a drummer since he was 14 he has been active in projects from reggae and triphop to jazz as both musician and producer. Ketan recently produced music for Nuran Callis's play "Home Stories" at the Schauspiel Essen and for Schiller's "Die Rauber" at the Volkstheater in Vienna. He is the newest member of the band, replacing Cyminology's original drummer Sebastian Schmidt in 2004. Ketan describes himself as a sound-oriented drummer, and he is as alert to the textural implications of the poems Cymin sings as to the concentrated interaction with his fellow musicians.

Like Cymin, bassist Ralf Schwarz, grew up in Braunschweig, where he was born in 1971, and played organ and guitar before switching to double-bass and electric bass a decade ago. Through lessons and workshops with players including Ron Carter, Steve Coleman, Mark Dresser, Mark Helias, Richie Beirach and Billy Hart he has had the opportunity to refine and develop his skills, and his discerning choice of notes is a key component of the total group sound.

But much of Cyminology's learning has been done on the road. For a young band this is already a well-traveled one, and the group has clocked up thousands of road miles with concerts around the world. Their itinerary in the last year alone has taken them across the USA, and to Egypt, Jordan, Lebanon, the Sudan, Syria, and the United Arab Emirates. (Cymin's liner photos document aspects of the Middle East tour).

www.ecmrecords.com/Background/2084.php


  Соисполнители :

Benedikt Jahnel (Piano)
Cymin Samawatie (Vocals)
Ketan Bhatti (Drums, Percussion)
Ralf Schwarz (Double Bass)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 As Ney (Song Of The Reed-Flute)         0:10:01 Rumi , Samawatie, Samawatie
   2 Niyaayesh (Prayer)         0:05:25 Jahnel, Jahnel, Samawatie, Samawatie
   3 Kalaam / Dassthaa / Delbasstegi (Words / Hands / Closeness)         0:15:47 Bhatti, Cyminology, Jahnel, Jahnel…
   4 Sendegi (Life)         0:04:07 Samawatie, Samawatie
   5 Por Se Ssedaa (Resonating)         0:05:26 Hafiz, Samawatie, Samawatie
   6 Naagofte (Untold)         0:07:18 Farrokhzad, Jahnel, Jahnel
   7 As Ssafar         0:02:59 Samawatie
   8 Ashkhaa (Tears)         0:07:15 Samawatie, Samawatie

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