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████ ■ ███▓█ █▓███ ■ ████
████ · ▄▓███▓ OPEN MUSiC ASSOCiATiON ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ Barry Guy - Folio ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ARTiST..[ Barry Guy ▓▓▓▓█
█▓▓▓▓ TiTLE...[ Folio ▓▓▓▓█
████ GENRE...[ Jazz GRABBER.[ EAC ████
████ LABEL...[ ECM ENCODER.[ Lame 3.97 ████
████ YEAR....[ 2005 QUALiTY.[ avg. 173kbps ████
████ SOURCE..[ CDDA MODE....[ Joint-Stereo ████
████ PLAYTIME[ 57:53 min REL.DATE[ 12.13.2009 ████
████ TRACKS..[ 14 RiPPER..[ TEAM OMA ████
████ SiZE....[ 75,0 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
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████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
█▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
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████ 01 Improvisation 01:27 ████
████ 02 Prelude - Ortiz I - Postlude 21:32 ████
████ 03 Improvised commentary 01:10 ████
████ 04 Folio Five I 03:24 ████
████ 05 Improvised commentary 01:34 ████
████ 06 Folio Five II 04:18 ████
████ 07 Improvised commentary 01:11 ████
████ 08 Folio Five III 03:54 ████
████ 09 Improvised commentary 01:20 ████
████ 10 Folio Five IV 04:24 ████
████ 11 Improvised commentary 01:06 ████
████ 12 Folio Five V 03:18 ████
████ 13 Memory 05:04 ████
████ 14 Ortiz II 04:11 ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 57:53 ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
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████ ôFolioö is a major statement from Barry Guy. ████
████ Over the last three decades the British ████
████ bassist/composer/improviser, weaving between ████
████ the genres with characteristic unflagging ████
████ energy, has uniquely made an impact on jazz, ████
████ free improvisation and contemporary ████
████ composition and been a key figure in the early ████
████ music movement, a multiple distinction shared, ████
████ to our knowledge, by no other musician. ████
████ ████
████ Founder/leader of the London Jazz Composers ████
████ Orchestra (established 1971) and the Barry Guy ████
████ New Orchestra (established 2000) he is the ████
████ author of many pieces for large jazz ████
████ ensembles, and a virtuoso player who has ████
████ changed the language of free music. He was for ████
████ many years in the forefront of the early music ████
████ movement, playing baroque and early classical ████
████ music on historical principles for more than a ████
████ decade with Christopher HogwoodÆs Academy of ████
████ Ancient Music. He has held principal bass ████
████ positions in orchestras including the ████
████ Orchestra of St. JohnÆs Smith Square, the City ████
████ of London Sinfonia, the Monteverdi Orchestra, ████
████ the Kent Opera and the London Classical ████
████ Players. And he is an outstanding composer of ████
████ new music. Pierre Boulez premiered GuyÆs piece ████
████ ôDö for strings back in 1974; in 1991 he won ████
████ the Royal Philharmonic Society Award for ████
████ Chamber Composition, later in the decade ████
████ enjoying a valuable association with conductor ████
████ Richard Hickox. In recent years, Christoph ████
████ Poppen has been an ardent supporter. Poppen ████
████ and the Munich Chamber Orchestra gave the ████
████ German premiere of GuyÆs ôAfter The Rainö in ████
████ 2001; the recording of ôFolioö is also an ████
████ important chapter in the ongoing collaboration ████
████ between ECM New Series and the Orchestra, of ████
████ which Muriel Cantoreggi is first violinist. ████
████ ████
████ ECM has long presented Barry Guy in a range of ████
████ roles. In the last decade for instance, he ████
████ joined the Hilliard Ensemble in a performance ████
████ of his ôUn coup de dΘsö on ôA Hilliard ████
████ Songbookö. He has played extensively with John ████
████ PotterÆs Dowland Project (see ôIn Darkness Let ████
████ Me Dwellö and ôCare-charming Sleepö). He has ████
████ been a major contributor to Evan ParkerÆs ████
████ pioneering Electro-Acoustic Ensemble (see ████
████ ôToward The Marginsö, ôDrawn Inwardö, and ████
████ ôMemory/Visionö). Patrick and Thomas Demenga ████
████ recorded his ôRedshiftö on their album ôLux ████
████ Aeternaö. And Guy has featured on his own ████
████ album ôCeremonyö, together with Maya ████
████ Homburger. (Going still further back in label ████
████ history, Guy participated in Barre PhillipsÆs ████
████ four basses project ôFor All It Isö in 1971 ████
████ and recorded with John Stevens, Trevor Watts ████
████ and Howard Riley on ôEndgameö in 1979). ████
████ ████
████ Since he began working closely together with ████
████ Swiss-born baroque violinist Homburger û they ████
████ met on an Academy of Ancient Music tour in ████
████ 1986 û Guy has been bringing his musical ████
████ interests closer together. Once kept distinct ████
████ and separate, they are now allowed to spur ████
████ each other, to alternate, or intermingle. In ████
████ its November 2005 issue Down Beat magazine ████
████ notes that ôBarry GuyÆs collaborations with ████
████ baroque violinist Maya Homburger create a ████
████ conduit through which music from the 17th ████
████ century and earlier can mingle effortlessly ████
████ with contemporary music that privileges ████
████ improvisationö. Nowhere is this truer than on ████
████ ôFolioö. ████
████ ████
████ As Irish poet/novelist/dramatist Brian Lynch ████
████ writes in the liner notes: ôThe bringing ████
████ together of forms and the fusion of ████
████ composition and improvisation are cooperative ████
████ ventures. At their nexus lies the composerÆs ████
████ partnership with Homburger. Her baroque ████
████ sensibility brings to the music a disciplined ████
████ yet joyful severity and, above all, a powerful ████
████ propulsiveness. This sense of purpose, driving ████
████ but also driven, is shared by Muriel ████
████ Cantoreggi, whose modern violin may be heard ████
████ as the voice of modernity itself. Between the ████
████ violins there are exchanges of the deepest ████
████ subtlety and tenderness. The Munich ensemble ████
████ responds in kind û in music of this intensity ████
████ there is no room for mere accompaniment û ████
████ supplying as it were the ground for the ████
████ intuitions of the soulà.ö ████
████ ████
████ ôFolioö was initially inspired by Nikolei ████
████ EvreinovÆs play ôThe Theatre of the Soulö and ████
████ it explores, via musical analogy, the ████
████ interrelationships and interpenetration of the ████
████ rational, emotional and subconscious aspects ████
████ of the human mind. Bridging the æoldÆ and the ████
████ ænewÆ are GuyÆs variations on a piece of music ████
████ by Diego Ortiz (1510-1570), incorporated into ████
████ his multi-layered æFolioÆ. The composer ████
████ illuminates the concepts behind his ████
████ interlacing of the diverse strands of ôFolioö ████
████ in his own notes in the CD booklet and û ████
████ musically û in his extraordinary double bass ████
████ improvisations that act as ôcommentariesö on ████
████ the unfolding musical action. ████
████ ████
████ ████
████ URL: n/a ████
████ ████
████ ████
████ ████
████ ████
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████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ MAiL: oma@never-ever.com ▓ │▀▀▀█▓▄▄ █████
█▀ ▀██▓▀ ▀ ▀ ▀▓██▀ ▀█
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████▀ The only thing that really matters is music!!! ▀████
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▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀
▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀
▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .