.___________________________________________________________________________.
|========================-==-..:.::. SOUNDz .::.:..-==-=====================|
| ___________/_ _______ /\ |\/\/| _\___________ |
: |_ /_ _( )_ \/ .---. _|____//> __ /\ _\ _| :
. | __ / | |____ | |___\_ | /_____\ \ \/ \ __ | .
! | /___/_ | ___ | | | || \ | \/ |_ \ _\___\ | !
. | \ ! \ / | | | || \| \ | \ / | .
<>!_______ \ / | | | || \ \ | |\ \ _______!<>
==\-----. \ \ \ | )_( || \ \ \| |_\ \ / .-----/zNr
.==/\ /___\ |_ _| || \ \ \ /___\ /\dS!
:=/ |'-------'/_________\! |\ \_________/ \=
/____/\_________|===================='-\-'=\________|=====|_________/\____\
___\/_______________________________/_\___________________________\/___
//// // // // // // // // // / \ \ \\ \\ \\ \\ \\ \\ \\ \\\\
/// // // // // // // // // / /\\ \ \\ \\ \\ \\ \\ \\ \\ \\\
/___/___/___/___/___/___/___/___/___/_//\\\_\___\___\___\___\___\___\___\___\
\\ \\ \\ \\ \\ \\ \\ \\ \\ \ \\_// / // // // // // // // //
\\\ \\ \\ \\ \\ \\ \\ \\ \\ \ \\/ / // // // // // // // ///
\\\___\___\___\___\___\___\___\___\___\ \ /___/___/___/___/___/___/___/___///
. ------------------------------------\ /-------------------------------- .
: \ :
| / \ |
| |
| |
| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
| |
| Muriel_Grossmann-Reverence-(DR11)-WEB-2019-SOUNDz |
| --------------------------------------------------------------------- |
| |
| Artist______________ Muriel Grossmann |
| Title_______________ Reverence |
| Label_______________ Dreamlandrecords / DR11 |
| Genre_______________ Jazz |
| Year________________ 2019 |
| Release Date________ 2021-04-14 |
| Street Date_________ 2019-12-15 |
| Source______________ WEB |
| Encoder_____________ MP3 / LAME |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 180.9MiB |
| Playtime____________ 1:18:49 |
| URL_________________ https://amazon.com/dp/B081R7CX22/ |
| |
| |
| 1. Okan Ti Aye 09:55 |
| 2. Union 09:27 |
| 3. Water Bowl 09:42 |
| 4. Sundown 08:57 |
| 5. Chase 09:47 |
| 6. Tribu 09:03 |
| 7. Afrika Mahala 10:23 |
| 8. Morning 11:34 |
| |
| |
| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
| |
| |
| The sources of jazz are to be found in Africa, as any encyclopedia of |
| music will tell you. The polyrhythms, syncopation and improvisation |
| that are integral to jazz all stem from the musical traditions of |
| Africa. These distinct aspects of African music travelled to the |
| Americas with the slave-trade and, intersecting in New Orleans with |
| European instrumentation and arrangement, created the foundations of |
| a new sound. Through the twentieth century Africa continued its |
| influence, as free jazz innovators including Ornette Coleman and Don |
| Cherry travelled there in search of the roots of their art form, |
| while at the same time African musicians such as Abdullah Ibrahim and |
| Fela Kuti brought their music to America and Europe. |
| |
| The island of Ibiza lies in the Mediterranean between Europe and |
| Africa and has been a meeting place of peoples, cultures, languages |
| and music for ages. Muriel Grossmann, who was born in Paris and grew |
| up in Austria, moved to Ibiza in 2004 and there she began to record |
| some of the most exciting and innovative jazz of the new millennium. |
| It is no surprise that with her latest album she turns to the |
| wellspring of Africa, offering eight compositions, exploring the |
| essence of polyrhythm in a personal and committed way. As Grossmann |
| says, 'What jazz and African music have in common and what makes it |
| so unique is that at its very core, as the strongest part of its |
| foundation, each musician is dealing with a particular rhythm that |
| contributes to the whole, therefore generating multidirectional |
| rhythms also known as polyrhythms'. This album is a gesture of |
| acknowledgement, thanksgiving and reverence for the musical |
| traditions that Africa has given jazz. |
| |
| 'Reverence' sees the same quartet that performed on Grossmann's |
| previous three releases transform into a quintet. On this album, |
| Grossmann plays alto, soprano and tenor saxophones, Radomir |
| Milojkovic is on guitars, Gina Schwarz on bass, Uros Stamenkovic on |
| drums, and they are joined by Llorenc Barcelo on Hammond. The colours |
| and textures of the Hammond B3 organ are a perfect addition to the |
| sounds of this already tightly aligned group, providing everything |
| from cosmic swirls and chirped percussion to brilliant solos of |
| exploration. |
| |
| Africa is referenced in multiple ways thorough the compositions. The |
| first track is titled 'Okan Ti Aye', a Yoruba phrase that means |
| 'Heart of the World' and from its opening sounds we can hear an urge |
| for celebrating African music from its ancient percussion traditions |
| to more recent traces of Fela Kuti and Afro Pop. The number |
| culminates in a blazing solo by Grossmann on tenor that sets a tone |
| of celebration for the entire album. |
| |
| This same high energy approach appears again on 'Chase'. At the |
| foundation of this composition is a powerful, moving, danceable bass |
| line, while the rhythms created on the organ and guitar evoke the |
| dual guitar play that was a trademark of James Brown's sound. The |
| drum work ranges from tight to more flexible grooves, while Grossmann |
| on alto provides deep, singing melodies, simple and direct, as if the |
| saxophone too is a part of the rhythm section. Grossmann explains: |
| 'Count Basie once said about his band that he wanted it sounding like |
| one big drum. That's what I aimed for with my album "Reverence"'. |
| |
| Other compositions are reflective and pensive. 'Union', for example, |
| is a nine-minute meditation by Grossmann on soprano saxophone, |
| working through variations on a simple, beautiful melody while |
| Schwarz grooves steadily on the bass, Barcelo makes his Hammond |
| burble, and Stamenkovic summons a shimmering, endless field of |
| cymbal-tones. And 'Sundown' has Grossmann on tenor again, in slow, |
| weaving interplay with Hammond b3 and Celtic harp to produce a |
| feeling of deep repose, truly a masterpiece. |
| |
| 'Water Bowl' refers to the daily routine of women and children in |
| many parts of Africa who walk long distances to fetch water for their |
| families, and who sing while doing so. Grossmann's alto moves through |
| one melodic idea after another, as if singing the mystic meaning of |
| things, while Milojkovic's solo reminds us of the blues as he plays |
| soulful lines characteristic of the soul-jazz of Gant Green or |
| Boogaloo Joe Jones. Barcelo contributes beautifully on this number, |
| with his rich treatment of the Hammond and its chameleonic |
| possibilities of changing sound and colors. |
| |
| 'Tribu' opens with a sumptuous bass solo by Gina Schwarz that is |
| melodic, rhythmic and deeply resonant; one can feel the wood in its |
| sound, and it evokes the spirit of many African instruments. To my |
| ears, Tribu and Union are unique compositions in Grossmann's work, |
| departing from the swinging grooves found in her records 'Golden |
| Rule', 'Momentum' and 'Natural Time' and moving towards more RNB |
| oriented grooves. The theme on 'Tribu', and that of the composition |
| which follows, 'Afrika Mahala', are, for this listener at least, |
| total earworms; they play on in the mind, unbidden, without warning, |
| and without the aid of device or sound system. 'Afrika Mahala' is |
| also notable for a fine guitar solo by Milojkovic who then hands over |
| to an intense duo between Grossmann and Stamenkovic, evoking the |
| spirit of those burning 60s saxophone and drum duos. |
| |
| A chorus of African instruments introduces 'Morning', the final |
| track, and leads into another irrepressible theme on alto, setting |
| the mood for the day that comes, embracing the celebratory spirit, |
| bringing listeners, as Grossmann puts it, into 'a fulfilled state of |
| being'. |
| |
| As with several of Grossmann's previous albums, a distinguishing |
| trait is the use of drone-instrumentation. African instruments |
| feature, including balafone, krakebs, kalimba, ngoni and dun duns, |
| along with celtic harp, flute and slide guitar. The effects these |
| create are subtle; they augment the group's performance and their |
| layers of sound are like the intricate weaving of single threads into |
| patterned coloured cloth, both delicate and strong. |
| |
| Make no mistake: the music you will experience on 'Reverence' is not |
| African; it is deeply spiritual jazz from the edge of Europe that |
| gives thanks to Africa for its knowledge, its wisdom, its beauty. And |
| we now, in turn, give thanks for these beautiful sounds. |
| |
| |
| Muriel Grossmann - soprano, alto, tenor saxophone |
| Radomir Milojkovic - guitar |
| Gina Schwarz - bass |
| Uros Stamenkovic - drums |
| Llorenc Barcelo - organ |
| |
| Composed by Muriel Grossmann. |
| Produced by Muriel Grossmann & Radomir Milojkovic. |
| Recorded at Dreamlandrecords Studios. |
| Mixed and mastered by L. Henry Sarmiento II, Sonic Vista Studios, |
| Ibiza. |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
| |
| . . |
| |\/\/| |
| |____| |
|------------------------------=---=-======-=---=-------------------------|
|===/\===============================SOUNDz==========================/\===|
'--/__\--------------------------=-2013-2021-=----------------------/__\--'