Ton-Art_-_Mal_Vu_Mal_Dit_(1991)-HiT2000

Section
MP3/FLAC
Group
HiT2000
Size
97,64 MB
Files
10
Date
2004-04-11

NFO

                       -──────────────── ▄██▄ ────────

                                        ▀█████▄

                       -── ███ ███ ─ ▄██▄ ▀█████▄ ────

                          ▐███ ███▌  ▀██▀  ▄██████▄

                       -─ ████ ████  ▄▄▄ ▄██████████▄

                         ▐█████████▌ ███▌▐████▀ ▀████▀

                         ███████████ ████ ██▀ ─── ▀▀

                        ▐█████ █████▌▐███ ▀

                        ██████ ██████ ▀██ ──────────

                       ███████ ███████▄ █  -.2ooo.-

                       ─────── ▄▄▄ ────────────────

                        "HiGH   ▀ iNTELLiGeNCE tRoLLS"



   _______________________________________________________________________



      a r t i s t : Ton-Art

        t i t l e : Mal Vu. Mal Dit.

          d a t e : 1991

        l a b e l : Hat Art

        g e n r e : Jazz

  r l s.  d a t e : Feb/2004

      t r a c k s : 09

    b i t r a t e : 192kbps

          s i z e : 97,6 MB



   _______________________________________________________________________



     Werner Dafeldecker  double bass

     Susanna Heilmayr  oboe

     Michael Moser  cello

     Klaus Peham  tp.   flgh.

     Burkhard Stangl  guitar

     Johann Karl Steiner "Hans"  bass clarinet

     Paul Skrepek "Cornelius Gzesh"  drums

     Bernhard Spahn  alto sax

     + Tom Varner  french horn



     Where Ton Art's Z· was an angular mix and match of all the

     dying music styles of the 20th century whose parts were used to

     create something new and different, it was still an effort that

     required the blending of those styles by musicians who had

     different approaches to them. Here, that sextet with two more

     years of grafting and extrapolating under their belts has

     expanded to a nonet, offering more opportunities than ever for

     cultural and musical terrorism. The group's latest offering is

     more solid, but less solidly any one thing. The new band adds

     Michael Moser's cello, Susana Heilmayer on baroque oboe and

     viola, and Tom Varner on French horn to the septet's alto sax,

     bass clarinet, bass, drums, trumpet, flugelhorn, and guitar

     mix. What is revealed on Mal Vu Mal Dit Is not so much the

     destruction of the rules of any particular game but a band that

     experiments musically with the rules of any of those games they

     devise as a whole. So, the CD begins by reaching deeply into

     1930s jazz and serial tone rows to make them swing as in "Good

     Luck George Washington & Kim Novak" by Tom Varner and arranged

     by Hans Steiner. Here avant-garde improvisation sits atop

     smattered ostinato muted trumpet figures and glissandi strings

     and a horn section playing a section of Sch÷enberg's Moses und

     Aaron in blues time. The centerpiece of the album is guitarist

     Burkhard Stangl's "Neun Passages," a jazz work so complex it

     cannot be contained within the term. The charts are all written

     for instruments playing at the top of their registers in

     varying harmonies, with no discernible melodic framework

     between them. Intermittent passages of improvisation, almost

     always brief, are layered between repetitious lines and

     ostinato figures. Shades of Milhaud and Henry Cowell are

     layered in between swing measures, and Berg makes an appearance

     next to Bud Powell and "Little Rootie Tootie!." The strange

     thing is, with all the celebratory jazz, the piece is, for the

     most part, bleak, moody, and strung with a harmonic

     counterpoint that extracts almost all the color from its

     palette. Perhaps this meditation on melancholy results in the

     free jazz "Suite pur des Voleurs," dedicated to Jean-Luc Godard

     by Steiner. Here, free blowing and loose, harmonic collages

     abound, carrying the entire band over into a morass of gorgeous

     cacophony. Rhythm and meter disappear into the vanishing

     specters of melodic presences where only tonality and voicings

     count for expression. By and large, though the charts are more

     complex and the music more dense, and thus more demanding on

     listeners to find themselves in the music, Mal Vu Mal Dit is

     deeply satisfying as a record of changes in how we perceive the

     relationship between musical history and music, and how deeply

     fixed our ideas about harmony, melody, and rhythm can be and

     still allow for angular, even jagged intrusions to widen our

     perspective.







   _______________________________________________________________________



      01-Good Luck George Washington & Kim Novack               [05:09]

      02-Metamorphology                                         [06:07]

      03-Neun Passagen                                          [11:25]

      04-Suite Pour Des Voleurs                                 [09:50]

      05-Vedute                                                 [05:23]

      06-Die Bralasurende Saravalla                             [08:05]

      07-Dada & Bravo                                           [07:39]

      08-Mal Vu. Mal Dit.                                       [11:01]

      09-TV-Ton-Art                                             [06:25]

                                                                -------

                                                                 71:04 min

   _______________________________________________________________________



Files

PathSize
01-good_luck_george_washington_and_kim_novack-hit.mp37,09 MB
02-metamorphology-hit.mp38,40 MB
03-neun_passagen-hit.mp315,68 MB
04-suite_pour_des_voleurs-hit.mp313,51 MB
05-vedute-hit.mp37,39 MB
06-die_bralasurende_saravalla-hit.mp311,10 MB
07-dada_and_bravo-hit.mp310,51 MB
08-mal_vu._mal_dit.-hit.mp315,13 MB
09-tv-ton-art-hit.mp38,81 MB
ton-art_-_mal_vu._mal_dit._(1991)-hit.jpg11,78 KB