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Presents:
NguyΩn LΩ - Homescape - Duos
RiPPER..: Billy Cristal GENRE......: Jazz
LABEL...: ACT SCENE DATE.: 05/09/2006
bITRATE.: VBR/44,1Hz STORE DATE.: 03/24/2006
ENCODER.: Lame 3.903 APS TRACKS.....: 15
SiZE....: 84,2 MB SOURCE.....: CDDA
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- TRACKLIST
01 Stranieri 06:00
02 Byzance 04:25
03 Muqqam 02:44
04 Mali Iwa 06:27
05 Zafaran 06:02
06 Domus De Janas 02:18
07 KithΓra 02:18
08 Chelsea Bridge 03:00
09 Safina 03:28
10 Des PrΘs 02:19
11 Thang Long 05:33
12 Neon 03:12
13 Mangustao 07:26
14 Lacrima Christi 03:14
15 Beyti 02:53
Total Playtime: 61:19
- NOTES
∩Electronically enhanced duos═, produced in Nguy░n L░═s
living room (hence the title) with trumpeter Paolo Fresu
and singer/oud player Dhafer Youssef, the fifteen tracks
on this intriguing album are, even by the
French-Vietnamese guitarist═s extraordinary standards,
unusually wide-ranging, embracing everything from freely
improvised trumpet/guitar collaborations, through keening
vocals set against electric guitar, to softly intertwining
oud/guitar pieces. There is even a gently persuasive visit
to one of Billy Strayhorn═s tenderest melodies, ∩Chelsea
Bridge═. Having laid down the duo music, L░ then edited
and electronically processed it, producing what he himself
describes as ∩Sardinian breath, the Oriental trance, the
Asian mystery═, the ∩sound of imagination opening doors═.
Just listing the ingredients (which include vocoded
samples of Sardinian choirs, Vietnamese guitars with
scalloped frets underpinned by booming electronic
percussion, muted Milesian trumpet plaints complemented by
filigree-delicate guitar), however, gives only a poor idea
of the sonic richness and imaginative vitality of this
album; as with L░═s Tales from Vi░t-Nam or Maghreb and
Friends, the overall effect of this music is far greater
than the sum of its parts might suggest, such is the power
and coherence of L░═s unique musical vision. Warmly
recommended.
*
A laboratory in the living room
"Homescape": Guitarist NguyΩn LΩ and his fascinating
electronically enhanced duos with trumpeter Paolo Fresu
and singer/oud player Dhafer Youssef
Even in the adventurous territory of jazz, this
French-Vietnamese musician stands out as a unique explorer
of sounds. His new CD will surprise even those who believe
themselves to be, by now, familiar with the diversity of
his musical output. The first unusual fact: Most of the
tracks were recorded in LΩÆs living room (pardon me, his
salon), and also completed α la maison using his computer.
The second unusual fact: This domestic method of producing
music need not conjure up the cosy, well worn realm of
familial comfort, in fact NguyΩn LΩ leads the listener
into a space that is full to the brim with warped sounds
and acoustical metamorphoses. The windows of this space
are open to influences from very different parts of the
world. The, as LΩ puts it, ôSardinian breeze, the hypnotic
influence of the orient, and the mystery of Asiaö broadens
into an ever more fascinating sonic magnificence. And all
of this is home grown and finely honed.
NguyΩn LΩÆs alternating partners for this album are the
Sardinian trumpeter Paolu Fresu and the Tunisian oud
player Dhafer Youssef. The guitaristÆs connection with
Fresu goes back more than ten years, he had admired him
the first time he heard him. LΩ met Dhafer Youssef six
years ago during evenings with world music, jazz and rock
at ViennaÆs äPorgy and Bessô jazz club, and he äknew
instantly that this was someone with a special intensity.
Today Youssef lives in his neighbourhood BarbΦs, a virile
melting pot in the north of Paris. One might be tempted to
call this recording äTwo Duosô alluding to LΩÆs album
äThree Triosô (ACT 9245-2). But the artistic process
didnÆt end with the playing. NguyΩn LΩ has processed these
recordings electronically to äconcentrate themô. Duos that
have undergone a metamorphosis. Musical dialogues in an
electronic laboratory.
The idea did not spring from nothing. In Paris, NguyΩn LΩ
says, electronic sounds are more en vogue than any other
kind of music. No stage looks complete without a laptop
and DJ. All the clubs feature the combination of dance and
experimental sound. äI usually donÆt trust fashionô, he
says, but this surge of electronic music has not left him
unaffected. Last year he was confronted with electronic
music while writing a film score, for which he was asked
to use elements of noise and electro-acoustic
experimentation, the äabstract side of musical materialô.
This inspired him to dig deeper into the sonic fabric of
music. This experience also made him think about producing
an album from his home. ôI simply wanted to develop
everything that is possible at home. I wanted the duos to
retain their intimacy, while giving them an added
orchestral dimension by allowing the spirit of the machine
to influence them. This is a radical process: The most
intimate form of jazz playing, the duo, is stripped of its
immediacy. Yet it still sounds intimate and warm. And this
is the essential paradox that NguyΩn LΩ so ingeniously
brings to life here.
LΩÆs approach to each duo differed depending on his
partner. With Paolu Fresu he essentially had a totally
open conception: Improvisation with no composed material.
Although there are exceptions: Billy StrayhornÆs ôChelsea
Bridgeö to name one that developed into an intimate gem
featuring muted trumpet and gentle electric guitar. NguyΩn
and Dhafer collaborated on the music for their duo, or
adapted compositions of YoussefÆs, lending them a new
structure through the process of improvisation. One track
might be characterized by YoussefÆs unique expressive wail
and an electric guitar contributing a rock-and-roll
energy, while another celebrates the archaic sound of oud
and guitar in sensually intertwining improvisation. In the
duos with Fresu soft muted sounds of the wind instrument
meet strange, electronically filtered gongs and Asian
melody. Or numerous trumpet voices split an electronic
noise-scape. ôNeonö is the name of this track, and it is
surprising to learn that the rhythm track was added later
underneath the string instruments and trumpet, as if it
had been present all along as an intuited rhythm.
Everything integrates organically on this CD. The music
sounds as if the electronic processing had been sensed all
along during the playing, as an anticipated electronic
intensification. It never seems out of place. NguyΩn LΩÆs
ôchamberö music has a compelling inner logic - and
convincing internal vigour.
http://www.actmusic.com/act9444_d.htm - German Review
http://www.allaboutjazz.com/php/article.php?id=21452
*
Personnel:
NguyΩn LΩ - electric, acoustic, fretless, synthesizer,
e-bow, Vietnamese guitars, computer programming &
electronics
Paolo Fresu û trumpet, fluegelhorn & electronics
Dhafer Youssef û oud, vocals & electronics
Recording, editing & mixing by NguyΩn LΩ at Louxor Studio,
Paris BarbΦs from January 2004 to December 2005 except
æMangustaoÆ and vocal solo part of æByzanceÆ recorded live
at Centre for Contemporary Arts, Glasgow on October 22,
2005 by Christian Ulbrich.
Produced by NguyΩn LΩ
Executive Producer: Siegfried Loch
*
About NguyΩn LΩ
"A deep-minded musician, filled with mystery, whose
playing is never meaningless" (Telerama)
"Magican guitarist" (Jazz Mag, Guitare & Claviers)
Like a funambulist, NguyΩn LΩ skips from
rock-burning intensity to Asian refinement,
from the meticulous search of new sounds
to the catching joy of improvisation.
Born 01/14/1959 in Paris of Vietnamese parents, he began
to play drums at the age of 15, then took up guitar &
electric bass. After graduating in Visual Arts, he majored
in Philosophy, writing a thesis on Exoticism. Then he
devoted himself to music, creating "ULTRAMARINE" (1983), a
multi-ethnic band whose CD "D╔" was considered "1989's
best World Music album" (Philippe Conrath, LibΘration.)
NguyΩn LΩ is a self-taught musician with a wide scope of
interests: rock & funk (Jim Cuomo, Madagascar tour 84),
jazz standards & contemporary music (Yves Robert),
electronic music (Andre Almuro, Tona Scherchen), ethnic
music projects include African & Caribbean with
ULTRAMARINE, Algerian with Safy Boutella, Indian with
Kakoli, and Vietnamese with his "Dan Bau" (traditional
one-stringed instrument) teacher Truong Tang.
In September 87 he was chosen by musical director Antoine
HervΘ to play with the O. N. J. (French National Jazz
Orchestra). With this big band, he played with such
musicians as Johnny Griffin, Louis Sclavis, Didier
Lockwood, Carla Bley, Steve Swallow, Randy Brecker, Toots
Thielemans, Courtney Pine, Steve Lacy, Dee Dee
Bridgewater, Gil Evans, and Quincy Jones.
In Sepember 89, he recorded ULTRAMARINE's 2nd album "D╔",
and in May 1990, his first album as a leader, "MIRACLES",
recorded in the U.S.A. with Art Lande, Marc Johnson &
Peter Erskine. At the same time he works with such
musicians as Michel Portal, Miroslav Vitous, Trilok Gurtu,
J. F. Jenny Clarke, Aldo Romano, Daniel Humair, Dewey
Redman, Andy Emler, Jon Christensen, Nana Vasconcelos,
Paolo Fresu ...
In May 92, after a month tour with Paul McCandless on
winds, Art Lande (p), Dean Johnson (b) & Joel Allouche
(d), he recorded his 2nd album, "ZANZIBAR".
Since January 93, he has been a frequent guest soloist
with K÷ln's WDR Big Band, especially with composer /
conductor Vince Mendoza. NguyΩn LΩ plays on three of his
projects: "JAZZPANA", "SKETCHES" with Dave Liebman,
Charlie Mariano and Peter Erskine, & "DOWNTOWN", with
Russell Ferrante. In April 1994 he was invited to be the
soloist of "The New Yorker", a suite written & directed by
Bob Brookmeyer, with Dieter Ilg (b) & Danny Gottlieb (d).
With these two musicians, he set up his new trio, and
recorded his CD, "Million Waves" in December 94. Michel
Contat, from TΘlΘrama writes about this CD: "This trio
brings him to some musical spaces which he had not even
imagined, & which are pure poetry."
In 1995 NguyΩn LΩ recorded "Tales from ViΩt-Nam", a
special project of Vietnamese music, with a 8-piece band
combining jazz & traditional musicians. In the meantime,
he played in trio with Michell Benita (b) and Peter
Erskine, recorded on Michel Portal's new album with Ralph
Towner (g), and worked with Ornette Coleman on one of his
contemporary music pieces, "Freedom Statue". In June 95,
he was invited by the WDR Big Band to play on "Azure Moon"
with the YELLOW JACKETS and Vince Mendoza. In July 95, the
Stuttgart Festival invited him to be one of the guitarists
to celebrate the "Universe of Jimi Hendrix". Other
participants included Trilok Gurtu, Terry Bozzio,
Cassandra Wilson, Jack Bruce, Vernon Reid, David Torn,
Victor Bailey, Pharaoh Sanders .... In Germany he worked
with John McLaughlin & Markus Stockhausen.
In January 1997 NguyΩn LΩ recorded his album "Three
Trios". It features the guitarist in three different
settings including bassists Marc Johnson, Dieter Ilg and
Renaud Garcia-Fons and drummers Peter Erskine, Danny
Gottlieb and Mino Cinelu. Following the release of "Three
Trios" NguyΩn LΩ toured in the USA, winning great critical
acclaim for his concert in New York's legendary Birdland.
In the fall of 1997 he joined Paolo Fresu's highly
acclaimed new quartet. Together they recorded "Angel".
As early as 1992, NguyΩn LΩ had been working on projects
with the Algerian singer Safy Boutella. 1997 the
Franco-Vietnamese guitarist followed these traces deeper
into the Maghreb. On "Meli Meli", Cheb Mami's most recent
album (with Khaled, Algeria's most popular singer), NguyΩn
LΩ not only played guitar, he also produced some of the
songs. Finally, in early 1998 he asked Cheb Mami's drummer
Karim Ziad to introduce him to the world of the Berbers
and popular Algerian music. Once again he brought together
a multicultural band with the Serbian pianist Bojan
Zulfikarpasic, Austrian saxophonist Wolfgang Puschnig,
Italian jazz musicians Paolo Fresu and Stefano Di
Battista, the Berbersingers of B'net Houariyat, Cheb Mami
himself, and two friends out of LΩ's Vietnamese project;
Huong Thanh and Hao Nhien. With them he recorded "Maghreb
and Friends".
*
Another Quality Release from OSC!!
Enjoy!!
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-NEWS
OSC is still holding it down after more than 2 years in
tha scene. Our dedication to bringing you the best in
ol skool classics is, and always will be, our driving
force. Quality over quantity.
"It's all about the music, fuck the other ish." - OSC
Because of this motto we strive to continue bringing you
releases in the highest possible quality, whether it be
urban, house, latin or any other genre.