ARTIST:.......Susi Hyldgaard
TITLE:........Blush
LABEL:........Enja
GENRE:........Ambient
BITRATE:......VBRkbps / 44,1Khz / Joint-Stereo
SOURCE:.......CDDA
TRACKS:.......12
SIZE:.........64,8 MB
RELEASE YEAR: 2005
RIP DATE:.....Aug-03-2005
T R A C K L I S T
--------------------
01. Blush 04:26
02. Take Your Time 03:39
03. Seeking 04:32
04. Suck the Bone 04:26
05. Follow 03:37
06. Sometimes 04:08
07. Thai Food Chillilimit 04:38
08. This Little Island 04:03
09. Could this Be the Reason 04:39
10. Sisters in Shame 05:28
11. Seeking / Remix 04:16
12. Blush / Remix 05:58
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Total 53:50 min
R E L E A S E N O T E S
-------------------------
Blush is the fourth cd from Susi Hyldgaard. The three previous CD's
Homesweethome, My Female Family and Something Special Just For You
(Best New Name in Jazz Grammy Award 2000) had a lot of publicity and
great reviews both in and outside of Denmark. Among her sources of
inspiration you will find a great variety of artists from lyrical
jazz masters like Bill Evans, Keith Jarrett and Jan Garbarek to the
classics like Bach and Debussy. In recent years the
electronic/acoustic scene has caught her attention with names such as
Lamb, Massive Attack, Moloko and Lambchop amongst her favourites.
When she has not been touring with her own band she has taken time
off to take some musical adventures, eg. a couple of duo concerts in
France and Denmark with NH╪P and concerts with Nils Landgren. She
also composes film scores and finds the work with directors and
pictures a pleasant change from performing. She has worked together
with Michael Mantler in his version of Paul Austers "Hide and Seek"
which has been performed as a theatre play in Copenhagen and Berlin.
The music to "Hide and Seek" has been released on ECM records and
features Robert Wyatt and Susi Hyldgaard.The latest news has been her
guest appearance at the "Jazzpar "prize concerts in both Copenhagen
and Paris. The winner 2004 was Aldo Romano, and the music came out as
a live cd, to be released on Enja march 2005. Together with Diana
Krall, Rebekka Bakken a.o. Susi Hyldgaard is also featured on the
universal music compilation "famous 3 the finest female jazz today".
With the help of Dickon Hinchcliff (Tindersticks) and Steve Arguelles
and some extra work from Mathew Herbert and DJ Opiate (Bj÷rk) Susi
Hyldgaard has created a very personal and touching album:
"I wanted to make a simple album. As few instruments as possible, a
few beats, words that were as easily understood as possible. An
accessable album. With strings and electric bass.
I ended up doing so many things myself in my rehearsal space. I
didn't really plan it to be this way, but this ended up being the
easiest way to make the music simple and as close to what I thought
the songs needed à
I created a lot of new sounds. Felt the freedom of the new
technology, computers with recording and editing systems, doing
vocalsààààredoing vocalsuntil the songs felt right. Working just with
yourself is also where you definitely find you own limitsà.I
sometimes felt like I was making broth out of way too old bones, and
this is where Dickon, ect. came in"
Why Dickon Hinchliffe:
"My husband invited me to my first concert with Tindersticks, last
November. I was very touched by their music and with the sincerity
they possessed when they presented their music to us. They never
seemed pretentious just sincere. I heard Dickon twisting and turning
himself, going for whatever sound on his violin, voice or guitar,
looking to get as close to whatever the songs and music around him
asked for. I asked Werner Aldinger (record company) what he thought
about having Dickon as a part of my coming album. He liked
Tindersticks very much and he had been to several concerts with them
so he wasn┤t hard to talk into the project. Werner gave Dickon 10
songs from a live recording at Schloss Elmau. Luckily Dickon liked
the music very much and agreed to make some violin arrangements for
the songs on the album. More demoes, and ideas left my house and
however weird or obscure, he took them all seriously and added what
was needed with his arrangements. The actual recording with 16
strings at Rak┤s in London was a frightening kick. Strings are
magnificent instruments. I played piano and sang live to add a
"livefeel" to the recording. It isn┤t easy to agree with so many
people at one time! Some songs worked with a clicktrack and some we
did rubato. Its an amazing feeling to play and sing a song and have a
16 piece string orchestra follow your every breath, your moves up and
down in tempo and catch your feel for the song. Doing "Sometimes"
like that, conversation in rubato, felt so good. We worked from early
morning and found ourselves trying to survive through a recording of
"Sister in Shame", very late at night. Tough, but soothing in a way.
Why Matthew Herbert:
"We played around this remix idea for some time, Werner and I.
Actually what I fell for with him wasn┤t so much his bigband album,
it was some work he┤d done with Two Banks Of Four, I heard it on a
webside. I also read an interview with him in a Danish newspaper. He
has an idea behind what he does. He wants to inspire people. I like
that."
Why Thomas Knak - Opiate:
"He┤s just good, he very much has his own sound, poetic and tender
and weird. And he does simple things."
Why Jannik Jensen:
"He was on my first Cd and part of my first serious band as well .We
have played a lot together. Even though it had been 8 years since
we┤d played together, the first session we had in my rehearsal space
on " Could this be the reason " feld like hand in glove. This is also
the version of the bass you hear on the Cd. He┤s thee electric
bassplayer for me. Live he kicks so badly, he can be a lion in a
cage, but he can also play very tastefully with tenderness. And then
he┤s stubborn like a mule, he never gives up especially when it comes
to music he┤s a perfectionist, on playing and on his sound and I have
a lot of respect for that, even though we can get into a fight
occasionally."
Why Steve Arguelles:
"I met him when I was a part of a jury in Germany.He┤s a great
drummer .He has a very unorthodox way of using his drumset, and since
I seldom hear straight drum playing in my music, I chose him .We
played around this for some time in Paris, and I actually had a lot
of tracks with his playing and programming. Many of the songs has had
a totally different approach when we worked together, but I ended up
erasing many of these tracks, because the songs didn┤t come out in
the right way. These things are hard to plan, and in the end the
songs win."
Why Susanne Carstensen and Manuela Lµrke:
"I┤ve been working with Susanne on my live setup. She can do those
beautiful things with her voice that I can┤t do. She┤s got a special
shine. We played many of the songs on the album live, so she was a
natural choice when doing the album. Manuela has got great powers in
her voice, a colourful darkness, and then she┤s very "tight" when she
does those kick butt lyric thingsà..and she┤s a very good friend of
mine."
Why Charlotte Garner:
"I knew for two years that the Cd was to be called Blush.I just
couldn┤t write the titelsong ..
This is where Charlotte comes in. I called her 3 monthes before
deadline, we met twice, and like always, she molded my feverish
babbling thoughts into a beautiful lyric and eventually a song was
born."
http://www.jazzrecords.com/enja/9165.htm