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████ The Dowland Project (John Potter)-Romaria █▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄
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██ ██
██ artist....: The Dowland Project (John Potter) ██
██ album.....: Romaria ██
██ label.....: ECM New Series 1970 ██
██ genre.....: Avantgarde ██
██ type......: Album ██
██ album year: 2008 ██
██ rip date..: 04.01.2008 ██
██ streetdate: 00.00.0000 ██
██ ██
██ tracks....: 17 ██
██ size......: 100,8 MB ██
██ language..: English ██
██ bitrate...: avg.Kbps / 44,1kHz / Joint-Stereo ██
██ source....: CDDA ██
██ ripper/sup: me /me ██
██ grabb/enco: EAC /Lame 3.97 ██
██ ██
██ url.......: www.ecmrecords.com ██
██ ██
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▀▀▀▀▀▀▓█▓█▓▓▀█▓▄■ RELEASE INFORMATION ■▄▓█▀▓▓█▓█▓▀▀▀▀▀▀
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██ With a revised line-up, John PotterÆs Dowland Project ██
██ expands its repertoire on its third album, freely exploring ██
██ love songs, chants and motets from the 12th century to the ██
██ present by Oswald von Wolkenstein, Orlando di Lasso, Josquin ██
██ Desprez and others including the anonymous composers of the ██
██ Carmina Burana manuscript. New to the Project is MiloÜ ██
██ Valent, the vibrant violinist and violist from Slovakia who ██
██ is equally at home in early music and in the gypsy and folk ██
██ musics of eastern Europe. Like English reedman John Surman ██
██ and American lutenist Stephen Stubbs he is also able to ██
██ improvise beyond the traditions: these richly atmospheric ██
██ pieces are reborn in the interaction of the players. ██
██ ██
██ Background ██
██ ██
██ What does an ensemble of four musicians from completely ██
██ different societal backgrounds do with a 13th-century song ██
██ that survives only as a skeletal vocal line? The answer is: ██
██ they listen, they improvise and they give free rein to their ██
██ musical associations, knowing that the result will be ██
██ something entirely new. For John Potter, the longstanding ██
██ tenor of the Hilliard Ensemble and a teacher at York ██
██ University, music exists by definition only in the present. ██
██ So far, so good, one might think. But the consequences are ██
██ far-reaching, as was already evident in the Dowland ██
██ Project's two earlier albums, 'In Darkness let me dwell' ██
██ (1999) and 'Care-charming Sleep' (2003). ██
██ It goes without saying that a firm grasp of historical ██
██ styles is essential. But otherwise nothing more is needed: ██
██ 'If we take the opportunity to ignore historical detail ██
██ where it doesnÆt serve our interests in the present, we can ██
██ bypass the musicological thought police and negotiate ██
██ directly with the dead composers.' Thus Potter writes in his ██
██ article for the book 'Horizons Touched - The Music of ECM', ██
██ published by Granta, London, in 2007. ██
██ Now the Dowland Project is expanding its repertoire and ██
██ delving into songs from the 12th century to the present day. ██
██ These richly atmospheric pieces exist only in the ██
██ interaction of the musicians involved. John Surman, one of ██
██ the great saxophonists of European jazz and a marvellous ██
██ player of the tenor and bass recorders, is again part of the ██
██ group. Then there is Steven Stubbs, a baroque lutenist (and ██
██ conductor) who seems to have free improvisation in his ██
██ blood. Another is MiloÜ Valent, the vibrant violinist and ██
██ violist from Slovakia who is equally at home in early music ██
██ and in the gypsy and folk musics of eastern Europe. ██
██ Fittingly, the instruments they employ come from completely ██
██ different eras. Chronology has been suspended: listeners of ██
██ this tightly focused music plunge deep into the past while ██
██ remaining wholly in the present. ██
██ 'Originally we planned to arrange the programme around the ██
██ movements of a Mass Ordinary', Potter recalls, 'but it ██
██ didn't work out for musical reasons, as became clear in the ██
██ St Gerold recording session. Contrapuntal pieces are almost ██
██ always linked with an identifiable composer, so we tend to ██
██ be warier of them than with monophonic songs, which are most ██
██ likely anonymous and no one can really know how they ██
██ sounded. Roughly up to the age of Wagner the composer always ██
██ had to subordinate his will to that of the performer. Viewed ██
██ in this light, there are actually no theoretical or ██
██ intellectual limits to dealing freely with the material. At ██
██ most the limits are artistic and musical. We can make a ██
██ structure more complex by adding lines or simplify it by ██
██ leaving things out. Or we can slice a piece into sections ██
██ and interpolate improvisations into it. We applied all these ██
██ procedures, but only when we came to play could we see how ██
██ it really functioned.' ██
██ What does 'Romaria' mean? The title was chosen for its many ██
██ associations, beginning with the word 'aria'. It refers to ██
██ Christian pilgrimages and processions in Portugal and Brazil ██
██ and thus points to a geographical destination for our ██
██ musical journey, which begins in the Alpine regions of Upper ██
██ Bavaria ('Carmina burana') and South Tyrol (Oswald von ██
██ Wolkenstein). In a metaphorical sense 'Romaria' also alludes ██
██ to the processual character of the Dowland Project itself, ██
██ for in reality this third album is already the ensemble's ██
██ fourth. ██
██ After finishing recording 'Care-charming Sleep' in September ██
██ 2001 and dining in St Gerold Provostry in the Vorarlberg ██
██ region of Austria, Manfred Eicher suggested going back to ██
██ the church at midnight and playing some more music. 'I ██
██ didn't have any more material in my luggage', Potter ██
██ recalls. 'All I could offer was two collections of medieval ██
██ poetry, one in Latin and another in English. I read the ██
██ texts or described their contents to my colleagues, then off ██
██ we went.' Potter, as he informs us in 'Horizons Touched', ██
██ considers the completely free and uninhibited improvisations ██
██ that followed to be among the most extraordinary musical ██
██ experiences of his life. The live recording of the session ██
██ has now been mixed and is scheduled for release by ECM. ██
██ Thus, together with Manfred Eicher, there arose the idea of ██
██ a sort of ex post facto transition from the renaissance ██
██ songs and madrigals on 'Care-charming Sleep' to the group's ██
██ completely free music-making set aside for the next album. ██
██ As Potter explains, 'When we met again in St. Gerold last ██
██ January we could draw directly on the audacity we gained on ██
██ that evening six years ago.' The partial recasting of the ██
██ ensemble had purely practical reasons: Maya Homburger and ██
██ Barry Guy, the violinist and the bassist on the two earlier ██
██ recordings, were unavailable owing to their many other ██
██ commitments. Steven Stubbs and Manfred Eicher quickly ██
██ settled on MiloÜ Valent, who had already taken part in ██
██ Stubbs's 'Teatro Lirico' (ECM 1893) and who adds his own ██
██ distinctive colour to the group. ██
██ ██
██ John Potter is a singer and musicologist who was trained in ██
██ the English choral tradition and founded his own ██
██ rhythm-and-blues band as a teenager. Even then he was ██
██ fascinated by many different forms of singing, which later ██
██ found expression in his highly regarded book 'Vocal ██
██ Authority ' (Cambridge University Press, 1998). A founding ██
██ member of the Electric Phoenix Ensemble, he sang in the ██
██ Hilliard Ensemble from 1984 to 2001. He has a special liking ██
██ for contemporary music and has given the premiΦres of works ██
██ by Gavin Bryars, Bill Brooks and others. He is also the ██
██ producer of three ECM albums with the Scandinavian Trio ██
██ Mediaeval. ██
██ ██
██ John Surman, according to the Virgin Encyclopedia of Jazz, ██
██ has been æone of the key figures in contemporary jazz over ██
██ the past three decadesÆ and 'a powerful and resourceful ██
██ improviser who leaves out more than he put in'. He has been ██
██ recording with ECM since 1976. Besides 16 albums as a ██
██ leader, he has also taken part in many other projects. His ██
██ most recent release, 'The Spaces in Between', was an ██
██ 'editor's choice' in Jazz Review. Further albums are ██
██ currently in preparation. ██
██ ██
██ MiloÜ Valent grew up in a family of folk musicians in ██
██ Slovakia. His training covers both the classical repertoire ██
██ and folk music. After serving as a member and concertmaster ██
██ of several orchestras he founded his own baroque orchestra, ██
██ Solamente Naturali, in Bratislava. He can be heard on ██
██ Stubbs's 'Teatro Lirico' and appears as a soloist on ██
██ Vladimφr Godßr's 'Mater' (ECM 1985). ██
██ ██
██ Stephen Stubbs was born in Seattle and studied harpsichord ██
██ and composition at the University of Washington, where he ██
██ took up the lute. After continuing his studies in England ██
██ and Holland he gave his dΘbut as a lutenist in London's ██
██ Wigmore Hall in 1976. From 1981 on he taught at the ██
██ Musikhochschule in Bremen. In 2006 he returned to the United ██
██ States, where he founded the Seattle Academy of Baroque ██
██ Opera. His ECM dΘbut under his own name, 'Teatro Lirico', ██
██ was praised in the New York Times as a 'risky but ██
██ irresistible project'. ██
██ ██
██ ██
██ ██
██ ██
██ ██
██ If you enjoyed this REC, BUY IT! otherwise delete it please ██
██ because the Artist deserves your support! ██
██ ██
██ ▄ ▄ ■■ ▄ ▄ ██
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▀▀▀▀▀▀▓█▓█▓▓▀█▓▄■ TRACK LISTING ■▄▓█▀▓▓█▓█▓▀▀▀▀▀▀
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██ 01.Got Schepfer Aller Dingen 04:35 ██
██ 02.Veris Dulcis 05:14 ██
██ 03.Pulcherrima Rosa 05:32 ██
██ 04.Ora Pro Nobis 04:13 ██
██ 05.Lß Lume 04:23 ██
██ 06.Dulce Solum 06:53 ██
██ 07.Der Oben Swebt 04:59 ██
██ 08.O Beata Infantia [Fragment] 03:36 ██
██ 09.O Rosa 04:48 ██
██ 10.Saudade 06:18 ██
██ 11.In Flagellis 03:53 ██
██ 12.Kyrie Jesus Autem Transiens 03:30 ██
██ 13.O Beata Infantia 03:53 ██
██ 14.Credo Laudate Dominum 03:58 ██
██ 15.Ein Gut Preambel 00:58 ██
██ 16.Sanctus Tu Solus Qui Facis 04:31 ██
██ 17.Ein Iberisch Postambel 05:48 ██
██ ██
██ ██
██ ██
██ ▄ ▄ ■■ ▄ ▄ TOTAL: 77:02 mins ██
██ ▄▄▄▄▄▄▓▓▓▀▀ ▀ ▀■ ■▀ ▀■ ■▀ ▀ ▀▀▓▓▓▄▄▄▄▄▄ ██
▀▀▀▀▀▀▓█▓█▓▓▀█▓▄■ TEAM INFORMATION ■▄▓█▀▓▓█▓█▓▀▀▀▀▀▀
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▓▓ * We are always looking for: ▓▓
██ - Talented Music Rippers (allyear, allgenre, promo, vinyl ██
██ and radio livesets) ██
██ - prefered 100Mbits affiliated sites (NO! 10mbit bbb!!) ██
██ ██
██ * We are currently looking for: ██
██ - A Dump site ██
██ - iRC BNC Supplier ██
██ ██
██ ██
██ And if you think that U can help us to make a better group ██
██ don't hesitate, contact us! I hope you know how do that =) ██
██ since we are a closed group so... ██
██ - we DON'T have any contact detail here ██
██ - we DON'T have a public irc channel ██
██ - we DON'T offer releases ██
██ - we DON'T have a web page (try http://www.utb.de) ██
██ - we ARE UNTOUCHABLE... ██
██ ██
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██ More One Year is over, and we are proud of our 2700+ rels we did. ██
██ We have grown to a big group with many nice ██
██ members, and we see us as part of the scene now. We never thought ██
██ it would be like this, but we managed it! Thx fly out to those ██
██ who helped us in the one or other way. Especially the siteops ██
██ who host us and all our friends from other groups who trust us ██
██ and belive in us, thank u very much. ██
██ ██
██ Check out UTBDVD for latest music DVDr releases. Our new section ██
██ founded after our B-day. Just for fun, we dont have DVD-only ██
██ ripper! But searching for nice DVDr only sites to affil! ██
██ ██
██ Greetz fly out to: ██
██ ██
██ to all ppl and groups ██
██ that support the scene and us ██
██ but a special greet to ku (he knows why... :) ██
██ ██
██ and to following groups: ██
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▐███▓▓▌ ------COPYING KILLS MUSIC - SO BUY THE SHIT----- ▐▓▓███▌
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▀▀██▓▓▓▄ ascii by lord maxxtro.cro|udated 04-01-05 ▄▓▓▓██▀▀
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