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▀▀▓▓█▌ Steve Swallow with Robert Creeley - So There ░
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▀▀▄▓▒▓ Artist .....: Steve Swallow with Robert Creeley ▓▒▓
▐█▓▓ Title ......: So There ▓▓█
▀██▓ Year .......: 2006 ▓██
██▓ Genre ......: Jazz ▓██
███ Label ......: ECM Records ▓██
███ Source .....: CD ▓█▓
███ Bitrate ....: 178 kbps avg ██▓
███ khz ........: 44.1 █▓▓
███ Mode .......: Joint Stereo ██▓
██▓ Encoder ....: LAME ██▓
██▓ Reldate ....: 2007-06-25 ▓██
██▓ Storedate ..: 2006-00-00 ▓██
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███▌ Tracklist ▀ ███
██▓▀ ███
███ 1. Oh No 0:34 ███
███ 2. Names 2:28 ███
███ 3. Here Again 2:29 ███
███ 4. Ambition 1:59 ███
███ 5. Indians 3:42 ███
███ 6. From Histoire de Florida 1:04 ███
███ 7. Sufi Sam Christian 3:05 ███
███ 8. Later 2:04 ███
███ 9. From Wellington, New Zealand/From Eight Plus 4:08 ███
███ 10. Miles 3:28 ███
███ 11. Just in Time 2:46 ███
███ 12. Return 4:17 ███
███ 13. Echo 2:46 ███
███ 14. Sad Advice 3:08 ███
███ 15. Riddle 4:16 ███
███ 16. Blue Moon 4:12 ███
███ 17. I Know a Man 2:27 ███
███ 18. Valentine for Pen 1:16 ███
██▓ ▓██
██▓ 50:09 min ▓██
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███▌ Release ▀ ███
██▓▀ ███
███ The late poet Robert Creeley was no stranger to ███
███ jazz. His own work descended from Ezra Pound and ███
███ William Carlos Williams, and he provided the link in ███
███ the new American poetry between the Black Mountain ███
███ school and the Beats; early on, he composed his work ███
███ to the music of Bud Powell. Later he collaborated ███
███ with the jazz musicians preeminent among them: Steve ███
███ Swallow (whom Creeley collaborated with on numerous ███
███ live occasions and on the bassist's ECM Home album ███
███ in 1979, where his poems were sung by Sheila ███
███ Jordan), and the late Steve Lacy. As evidenced on So ███
███ There, Swallow is the perfect aural illustrator and ███
███ collaborationist for Creeley because he allows the ███
███ poet free reign, giving him a place to truly speak ███
███ for himself. Swallow composed the music to follow ███
███ the flow and rhythm of Creeley's taut, sometimes ███
███ elliptical line and his rhythmic breath. The work ███
███ for So There began in 2001, when Swallow got his old ███
███ friend to read numerous poems into a microphone at ███
███ Tom Mark's Make Believe Ballroom Studio in New York. ███
███ Swallow began working his way through the poems, ███
███ listening to them dozens of times to find those he ███
███ most wanted to compose to. He worked on the music ███
███ for years; creating compositions not only involving ███
███ his bass, but also for piano. More startlingly, he ███
███ began composing pieces for string quartet based on ███
███ what he said were "not just the rhythms of Bob's ███
███ speech, but the colors and atmospheres implicit in ███
███ the poems as well." In January of 2005, Creeley ███
███ died, never having heard any of the finished work. ███
███ In March of 2005, along with pianist Steve Kuhn and ███
███ the Oslo Cikada String Quartet, Swallow and company ███
███ began recording the work with ECM producer and label ███
███ owner Manfred Eicher in Norway. ███
███ ███
███ What is most beautiful here is the manner in which ███
███ Swallow allows the seeming spontaneity in Creeley's ███
███ speech and lean images to inform the music. There ███
███ are places when the stop and start rhythm of the ███
███ poet's cadence is simply underscored with one of ███
███ Kuhn's piano lines on the right hand, and others ███
███ where the entire group floats and hovers about it ███
███ before digging into the groove. Swallow also picks ███
███ up on the notion of counterpoint in Creeley's poems ███
███ and gives the strings room to flow not so much ███
███ against the words, but instead to color them with ███
███ alternate meanings. And truth be told, we've seldom ███
███ heard Kuhn this freely disposed to swinging, to ███
███ playing this freely or this expressively. Swallow's ███
███ compositions allow room for improvisation, and the ███
███ sheer delight of Creeley's language seems to set ███
███ this impulse to the air in the hands and ears of the ███
███ musicians. Check the gorgeous swinging post-bop ███
███ improvisation by Kuhn and the counterpoint from ███
███ Swallow before the quartet enters in "Names." When ███
███ Creeley's voice enters, the music lies low for a ███
███ moment, and the poet's words almost dance above the ███
███ strings. Elsewhere, such as on the piece taken from ███
███ "Histoire de Florida," Kuhn's playing is elemental, ███
███ not ornamental, in setting the place and mood for ███
███ Creeley's voice as he cheerfully allows the melody ███
███ to create a space for the poet to speak through. The ███
███ strings move almost sentimentally, as he reads: ███
███ "You're there/still behind/the mirror, brother ███
███ face/Only yesterday/you were younger/now you/look ███
███ old/Come out/while there's still time/left/to play." ███
███ Swallow's voice plays a shimmering blues in the high ███
███ register that is nearly pastoral as an answer, ███
███ playful even, and it gently becomes elegiac, though ███
███ not funereal; there is joy no matter the mood, and ███
███ Creeley's sense of humor is wondrous in so few words ███
███ even when he's serious: "Lift me into ███
███ heaven/slowly/Cause my back's/sore/My ███
███ mind's/thoughtful/I'm not sure/I even want to/go. ███
███ The blues come out to dance in "Sufi Sam Christian," ███
███ and Kuhn's playing is simply gorgeous, as is ███
███ Swallow's. The entire exercise is one of mystery, ███
███ surprise, and delight. This is a gentle kind of ███
███ presentation that carries its force in the measure ███
███ of astonishment that the listener feels after ███
███ encountering the work. So There is an album that can ███
███ be listened to over and again in a single setting, ███
███ but it still won't give up all its secrets, because ███
███ there is mischief here, too ("I Know a Man"), and ███
███ Swallow can tease it out from the poem, or perhaps, ███
███ it's vice versa. Creeley's always-twinkling eye ███
███ seems to pull it from the composer, who lays it ███
███ before us, tempting listeners to indulge the magic a ███
███ small bit at a time. Wonderful. ███
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▓██▌ Group ▀ ▓██
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▄ ▀▄▓▄▓██ if you have something to offer contact us. ███
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