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a r t i s t : Michel Wintsch
t i t l e : Waamat
d a t e : 1994
l a b e l : Unit
g e n r e : Jazz
r l s. d a t e : Aug-2005
t r a c k s : 09
b i t r a t e : VBRkbps
s i z e : 57,8 MB
_______________________________________________________________________
WAAMATs
(quatre tableaux pour nonet) 1994,
Hans Koch (ss, cl.b.) -
Ian Gordon-Lennox (tp) -
Jean-Jacques Pedretti (tb) -
Michel Wintsch (p, acc) -
Franτois VolpΘ (m) -
Martin Schⁿtz (vcl) -
EspΘ (vc) -
J.-P. Schaller (b) -
Andy Brugger (pe)
.Unit Records UTR 4073 CD
This is the last part of the trilogy that began with
composer/pianist/arranger Michel Wintsch taking on
expressionistically the figure and work of Ernest Hemingway and
the compositional methodologies of Bela Bartok. On Waamat,
Wintsch creates his own poetic oratorio of sorts. Using a
septet to accomplish his idea -- with an electric bass of
course -- Wintsch also collaborated with the poet Espe for an
original text that could have come from Tom Waits and William
Burroughs' Black Rider. While the vocals aren't present on
every track, there is enough to make the accompanying music --
even when there is no recitation -- creepy, crawling, and
boisterously uncomfortable. On the three-part "Voinitzev," for
instance, where droning trombones play a funereal dirge
throughout, they get interrupted by intervals where a clarinet
plays a dolorous counterpoint and the lead-in of a marimba in
quadruple time that signals Espe will be growing her dour words
through the middle of the mix. It's like Steve Reich meets
Messiaen's Quartet for the End of Time meets Slapp Happy with
Dagmar Krause. On the two-part "Saloniki," Espe wails like
Diamanda Galas in the background as tentative trombones,
trumpets, marimba, and Martin Schⁿtz's cello hover in the
foreground. There are lines coming together in spite of the
voice and counterpoint touched upon by the trumpets, before
Wintsch enters playing a tarantella, then a gypsy song, with
his accordion to the occasional bleat of Hans Koch's soprano
saxophone and the ghostly repetition of the marimba. As Espe
begins to wail in recognizable cadences, if not words, the
rhythm becomes constant, assertive, pronounced, and foreboding
in its minor-key deliberations as the piece picks up speed
until it virtually disappears, leaving the vocal to encounter
the silence alone. This is music that is metalinguistic; in
other words, it is music about music as a process, but it is
ultimately, if disconcertingly original and listenable. ~ Thom
Jurek, All Music Guide
_______________________________________________________________________
01-Waamat Introduction [02:41]
02-Le Chant de la Terre [02:23]
03-Voinitzev I [04:41]
04-Voinitzev II [09:05]
05-Voinitzev III [02:19]
06-M for Murder [00:17]
07-Saloniki I [03:29]
08-Saloniki II [08:07]
09-Helvetrange [07:39]
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40:41 min