Bass Archives - NativeDSD Music https://www.nativedsd.com/instruments/bass/ Highest DSD Resolution Audio Downloads (up to DSD 1024) Sat, 15 Feb 2025 21:03:26 +0000 en-US hourly 1 https://media.nativedsd.com/storage/nativedsd.com/wp-content/uploads/2020/07/13144547/cropped-favicon-32x32.png Bass Archives - NativeDSD Music https://www.nativedsd.com/instruments/bass/ 32 32 175205050 Ah! Kwantou https://www.nativedsd.com/product/2xhdbs1271-ah-kwantou/ https://www.nativedsd.com/product/2xhdbs1271-ah-kwantou/#respond Thu, 13 Feb 2025 14:00:33 +0000 https://www.nativedsd.com/?post_type=product&p=291865 Formed in 2019, Ah! Kwantou is a group of seven musicians led by the guitar and voice of Kyekyeku, a Ghanaian singer-songwriter from Accra. He has collaborated with world-renowned musicians such as Blick Bassy, Mayra Andrade, Luedji Luna, Pat Thomas, Ebo Taylor, Ambolley, and Rocky Dawuni. Based in southwestern France, the group was born out of […]

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Formed in 2019, Ah! Kwantou is a group of seven musicians led by the guitar and voice of Kyekyeku, a Ghanaian singer-songwriter from Accra. He has collaborated with world-renowned musicians such as Blick Bassy, Mayra Andrade, Luedji Luna, Pat Thomas, Ebo Taylor, Ambolley, and Rocky Dawuni.

Based in southwestern France, the group was born out of Kyekyeku’s desire to collaborate with musicians from diverse backgrounds such as Hip Hop, Neo Soul, Jazz, Funk, and even Ambient Rock. Their strength lies in their shared passion for the energy and intricate polyrhythms of African music, as well as their ability to invite audiences to dance.

Ah! Kwantou’s music draws from African folk and trance. At times light and popular, at times powerful and profound, it navigates between Pop and Highlife, Afrobeat, and Caribbean.

Ah! Kwantou
Kyekyeku, Guitar & Lead Vocals
Kevin Bucquet, Bass & Backup Vocals
Fred Faure, Drums & Backup Vocals
Paul Vernheres, Guitar & Backup Vocals
Thierry Faroppa,  Percussions & Backup Vocals
Jean Vernheres, Saxophone
Fabien Durou, Trumpet

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Live at The Muse Performance Space [Pure DSD] https://www.nativedsd.com/product/oct0057-live-at-the-muse-performance-space/ https://www.nativedsd.com/product/oct0057-live-at-the-muse-performance-space/#respond Mon, 10 Feb 2025 14:00:51 +0000 https://www.nativedsd.com/?post_type=product&p=290948 Octave is proud to present Louisa Amend’s debut album, Live at The Muse Performance Space. Backed by Denver jazz giants Tom Amend, Braxton Kahn and Gonzalo Teppa, this album is an instant classic. Recording Engineer Paul McGowan, achieves beautiful sound staging and a perfectly balanced mix of instruments to fill your listening space with an […]

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Octave is proud to present Louisa Amend’s debut album, Live at The Muse Performance Space. Backed by Denver jazz giants Tom Amend, Braxton Kahn and Gonzalo Teppa, this album is an instant classic. Recording Engineer Paul McGowan, achieves beautiful sound staging and a perfectly balanced mix of instruments to fill your listening space with an in-the-room experience in Pure DSD 256 Stereo.

Louisa Amend is a vocalist and educator based out of Denver, Colorado. She graduated from the University of Northern Colorado in 2016 with a Bachelors of Music Education. Throughout her association with UNC, she was a member of numerous premier vocal ensembles (one earning a few DownBeat Student Music Awards) and several opera productions produced by the university and Opera Classica Europa in Germany.

After teaching in public schools, Louisa transitioned into working as a freelance musician and founded her own teaching studio. Louisa sings locally, both in a jazz and classical setting. She recently completed a dedication to the great vocalist Carmen McRae at Nocturne Jazz & Supper Club with McRae’s former piano player, Eric Gunnison. In addition to performing as a soloist, Louisa Amend is the lead soprano of the Denver-based vocal jazz ensemble, Sharp 5. Louisa is also the music director at a local church, where she sings weekly and directs a choir.

Louisa Amend is a dedicated instructor of voice and piano at her private studio and Graland Country Day School. Over the years, Louisa has worked with Colorado Conservatory for the Jazz Arts (CCJA) as a teacher of their SheBop Young Women in Jazz Workshop and KinderBop programs. Also, she has worked as a clinician for several middle school and high school vocal jazz ensembles and with the Denver Women’s Chorus.


Louisa Amend Quartet
Louisa Amend, Vocals
Tom Amend, Piano
Gonzalo Teppa, Bass
Braxton Kahn, Drums

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Grand Laps https://www.nativedsd.com/product/pwsgl16052-grand-laps/ https://www.nativedsd.com/product/pwsgl16052-grand-laps/#respond Mon, 10 Feb 2025 14:00:03 +0000 https://www.nativedsd.com/?post_type=product&p=290775 Dazzlingly angular, decidedly adventurous performances by French jazz ensemble Kartet, recorded 25 years after their founding. The quartet of Guillaume Orti, Benôit Delbecq, Hubert Dupont and Stéphane Galland bring intriguing compositions and skillful interaction to these sessions. This notable album captures the group’s unique sound in sharp-focused 24/88 resolution, and was awarded Jazz Magazine’s highest […]

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Dazzlingly angular, decidedly adventurous performances by French jazz ensemble Kartet, recorded 25 years after their founding. The quartet of Guillaume Orti, Benôit Delbecq, Hubert Dupont and Stéphane Galland bring intriguing compositions and skillful interaction to these sessions. This notable album captures the group’s unique sound in sharp-focused 24/88 resolution, and was awarded Jazz Magazine’s highest honor, a 2014 CHOC.

Celebrating its 25th anniversary with Grand Laps, Kartet continued to expand on its unique sound and approach, winning a coveted Choc 2014 from Jazz Magazine. French critic Stéphane Ollivier described their music as “in continuous metamorphosis as it pivots around the four players, and results in many simultaneous and complementary points of view on the same reality…a music which reconciles intellect and intuition as it combines a quasi-mathematical rigor with a sensitivity, an instrumental originality, and an attention to detail forged by the supreme exercise of total improvisation.” Popmatters’ Will Layman praised their previous release The Bay Window thus: “Kartet makes a deliberate and beautiful brand of inside-out jazz…decidedly unconventional yet not harsh or taxing on the ear…Kartet flows seamlessly in and out of improvisations, and its arranged material shows harmonic daring and imagination.”

Bassist Hubert Dupont explains how the group develops new pieces: “The improvisations are very connected to the written material, which is quite dense most of the time, with rhythmic games, melodic rules, colors, etc….We enjoy playgrounds, frames, in order to spontaneously organize together tension/resolution movements, suspended colours, illusions….” Saxophonist Guillaume Orti adds: “[Our compositions] work with strict and limited harmonic-melodic material, strongly connected with the rhythmic material. But the shapes we can give to our melodic and rhythmic wanderings are unlimited.” Benoît Delbecq expands on his own process: “For myself, any new rhythmic material is worth sitting down at the piano with, or tapping or juggling with, to enter into a specific knowledge of it. Imagination is like a muscle, and if you give it new ideas it can lead you to unexpected territories, which is what I’m looking for, because that’s when the body ends up speaking first, the flow being given by the trained mind, ready to react like a spring.”

And the effect on younger musicians, and on the audience? “Usually, the people who are passionate about Kartet also dig musicians like Steve Coleman, Steve Lehman, Andy Milne, Ralph Alessi, Tyshawn Sorey, Craig Taborn, Tim Berne…to name a few greats who are constantly searching for newer shapes, a mixture of control and freedom….Our music is not docile, it doesn’t answer a market demand or anything, it is music that’s sincere in its primary direction: find a collective sound, develop our own way to play and build music in a collective way, bring the listener into a state of dream, of trance…there is some magic going on.”


Guillaume Orti- alto, C-melody and F mezzo-soprano saxophones
Benoît Delbecq- piano
Hubert Dupont- bass
Stéphane Galland- drums

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Wow! Live in Performance at the Childe Harold https://www.nativedsd.com/product/2xhdre1269-wow-live-in-performance-at-the-childe-harold/ https://www.nativedsd.com/product/2xhdre1269-wow-live-in-performance-at-the-childe-harold/#respond Thu, 06 Feb 2025 14:00:47 +0000 https://www.nativedsd.com/?post_type=product&p=290072 Wow! Live in Performance at the Childe Harold is a stunning, powerful and passionate performance by the legendary singer and songwriter Al Jarreau captured at his first appearance in Washington, DC in August of 1976. Previously unreleased and originally recorded to Analog Tape for WHFS radio in Washington, D.C., the tape has remained tucked away for […]

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Wow! Live in Performance at the Childe Harold is a stunning, powerful and passionate performance by the legendary singer and songwriter Al Jarreau captured at his first appearance in Washington, DC in August of 1976. Previously unreleased and originally recorded to Analog Tape for WHFS radio in Washington, D.C., the tape has remained tucked away for nearly 50 years until now.

This new version features an Analog Tape to DXD transfer by Rene Laflamme at 2xHD Mastering.  It is available in Stereo DSD 512,  DSD 256, DSD 128, DSD 64, DXD, FLAC 192k and FLAC 96k from NativeDSD Music. 

The album includes liner notes by acclaimed music writer A. Scott Galloway and an essay about the Childe Harold by former Washington Post music critic Richard Harrington. Plus interviews with artists who knew or were inspired by Al Jarreau including Nile Rodgers, Dionne Warwick, Will Downing, Dee Dee Bridgewater and Marcus Miller.

The album includes 5 Songs Never Before On a Live Al Jarreau Recording including James Taylor’sFire and Rain” and Count Basie’sShiny Stockings,” plus his early takes on “Take Five” and “You Don’t See Me”.

This exhilarating driving performance highlights Jarreau at an amazing time in his career, swinging for the fences.


Al Jarreau, Vocals
Tom Canning, Piano
Ben Atkins, Bass
Tom Drake, Drums

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2 Flute Summit: Live Session https://www.nativedsd.com/product/e299hr-2-flute-summitlive-session/ https://www.nativedsd.com/product/e299hr-2-flute-summitlive-session/#respond Thu, 23 Jan 2025 14:00:40 +0000 https://www.nativedsd.com/?post_type=product&p=288725 2 Flute Summit: Live Session is the second album from HR Recordings with flute player Avichai Ornoy.  On this album he joins forces with Mattan Klein, Sean Clapis, Francisco Loque and Daniel González. The album combines two flute soloists with guitar, drums and bass. A unique quintet group in a live music session in Madrid […]

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2 Flute Summit: Live Session is the second album from HR Recordings with flute player Avichai Ornoy.  On this album he joins forces with Mattan Klein, Sean Clapis, Francisco Loque and Daniel González.

The album combines two flute soloists with guitar, drums and bass. A unique quintet group in a live music session in Madrid in December 2024 playing themes by Hermeto Pascoal, Bob Mintzer, Herbie Hancock, Lou Donaldson, Mark Levine, Matti Caspi and Mattan Klein.


Avichai Ornoy, Flute
Mattan Klein, Flute
Sean Clapis, Guitar
Francisco Loque, Bass
Daniel González, Drums

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Sandhills Reunion https://www.nativedsd.com/product/sglsa15532-sandhills-reunion/ https://www.nativedsd.com/product/sglsa15532-sandhills-reunion/#respond Thu, 16 Jan 2025 14:00:44 +0000 https://www.nativedsd.com/?post_type=product&p=287500 Sandhills Reunion is an audio play, “a coming together of the spoken word and music.” Members of Jerry Granelli’s V16, joined by cello and woodwinds including clarinetist François Houle, perform in counterpoint to Rinde Eckert’s poetic narratives, partly inspired by the 19th-century outlaw Billy the Kid. Vivid sonics place the listener in a mythical American […]

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Sandhills Reunion is an audio play, “a coming together of the spoken word and music.” Members of Jerry Granelli’s V16, joined by cello and woodwinds including clarinetist François Houle, perform in counterpoint to Rinde Eckert’s poetic narratives, partly inspired by the 19th-century outlaw Billy the Kid. Vivid sonics place the listener in a mythical American landscape, where echoes of the Old West resonate with contemporary traumas and realities.
– Mark Werlin, AllAboutJazz and NativeDSD reviewer


Jazz and the spoken word have been linked at least since the Beats. Jerry Granelli was an aspiring teenage drummer in San Francisco in the late 1950s, when Ginsberg, Ferlinghetti, Rexroth and Patchen declaimed to the accompaniment of local players in clubs like the Cellar and the Blackhawk, and he got to improvise a bit with most of them. In the late 70s at the Naropa Institute in Boulder, where he founded the music department, Granelli often collaborated with Ginsberg, Burroughs and Anne Waldman in improvised concerts. His fascination with words led to the 1993 Jazz Instrumental album A Song I Thought I Heard Buddy Sing, inspired by Michael Ondaatje’s experimental novel about Buddy Bolden, Coming Through Slaughter.

Sandhills Reunion is a multi-layered interweaving of words and music that Granelli called an audio movie or play. The text, written and performed by actor/playwright/singer Rinde Eckert, is a glancingly linked sequence of reflections, imaginings, internal monologues and one historically accurate dialogue (“Twenty Questions for an Outlaw”) using the persona of Billy the Kid as a thematic touchstone and the Sandhills region of northwestern Nebraska as the landscape of memory and desire. By turns rowdy, comic, ironic, nostalgic, angry and melancholy, it presents the unnamed speaker’s inner life in the context of American reality and myth (complete text included in the booklet). The music, composed and played by an ensemble of trusted Granelli collaborators, counterpoints and boldly colours the words with its timbres and rhythms. It conjures up its own “locations” within the band’s collectively imagined synthesis of blues, jazz, rock, funk, ambient, folk, country, the popular and the more esoteric music of the 20th century – from raunchy bars to uptown refinement, chamber music to the avant-garde.

Granelli explained the process of creation: “[Producer Lee Townsend and I] discussed the overall concept, basically recording it like shooting a film — just gathering material, then putting it all together in the mix. I asked the members of the band to write — not specifying what to write, but implying what I was hearing. I didn’t write a lot of music myself but was kind of the vision holder, maybe the director. The next step was finding the text, the voice. I’ve had a long relationship with Rinde. I’d originally planned to use Michael Ondaatje excerpts, but in the end Lee suggested that Rinde could create a new text. The musicians never heard any texts. Part of the reason for this is that I wanted the music to stand alone, not as a servant to the words. The idea was that we would have two strong elements that come together to produce a third thing, a new form. So the listener might pay attention one time to the music and next time to the text, and once to the feeling of both”

Jerry Granelli, drums, samples
Rinde Eckert, voice, text
François Houle, clarinet
Jeff Reilly, bass clarinet
David Mott, baritone sax
Christoph Both, cello
Christian Kögel, electric & acoustic guitars
J. Anthony Granelli, bass, lap steel guitar

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The One Constant (Unmastered Edition) https://www.nativedsd.com/product/sgl25882-the-one-constant-unmastered-edition/ https://www.nativedsd.com/product/sgl25882-the-one-constant-unmastered-edition/#respond Thu, 12 Dec 2024 09:00:25 +0000 https://www.nativedsd.com/?post_type=product&p=283112 In this forward-looking re-imagining of the classic piano trio form, pianist-composer Danny Fox and his ensemble create vivid sound pictures that evoke a wide range of musical moods. This special unmastered edition was sourced from the artist’s original approved final mixes. – Mark Werlin The first album by the Danny Fox Trio (formed in 2008), […]

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In this forward-looking re-imagining of the classic piano trio form, pianist-composer Danny Fox and his ensemble create vivid sound pictures that evoke a wide range of musical moods. This special unmastered edition was sourced from the artist’s original approved final mixes.
Mark Werlin

The first album by the Danny Fox Trio (formed in 2008), The One Constant introduced a distinctive voice to the jazz public.The One Constant (Unmastered Edition) is an exclusive NativeDSD release in Stereo DSD 512, DSD 256, DSD 128 and DSD 64. For this title we have assembled the original unmastered mixes, presented without peak limiting, compression or any other mastering or processing. The result is much more dynamic, transparent, spacious and timbrally pure. It fully benefits from NativeDSD’s Higher Rates Program. 

These pieces don’t sound like conventional jazz tunes: they have fresh melodies with interesting harmonic twists and unusual forms. The band honed its interpretations collaboratively, and the clarity, detail and meshing of the three voices are impressive; the improvisations flow out of the composed material organically, and the roles of each musician are varied creatively from song to song. The music’s staying power may be related to the contrast between the energy and cohesiveness of the group dynamic and its darker emotional undercurrents.

According to Danny, “Most of the pieces have a searching quality to them that springs out of my own process of self-discovery. This takes on a new dimension when the three of us begin working on the piece, as we are searching for something together.” A Harvard graduate with a major in neuroscience, Danny was largely self-taught as a musician. “Monk was certainly a big early influenc. I’m especially inspired by groups like Miles’s 60s quintet, the Coltrane Quartet, etc., where you can really hear everyone searching for a personal sound, both individually and collectively. At Harvard I was surrounded by a staggering diversity of people, cultures, and ideas, which fostered an open-mindedness and willingness to draw from many influences. When I moved back to NYC I began studying with (classical pianist) John Kamitsuka. Having worked on some of the more fiery Scriabin etudes, I found myself searching for darker sounding chords. Listening to Messiaen (one of my favorite composers) opened my ears up to ways of making dissonance sound beautiful. Also, in terms of composition and structure, I began to notice how great composers are able to extract so much music from a few strong, even simple ideas. They take a motif and create an entire world out of it. This commitment to an idea is something I try to apply to my own compositions as well as to my improvisation. In terms of structure and development, I usually build the pieces around a couple of themes such that any given section will relate to the ones around it. In the long-form ‘Drama King’, all four sections are based on either the triplet figure of the first melody or the shape of the C half-diminished chord that prevails throughout the first section, or a combination of the two.”


Danny Fox- piano
Chris van Voorst van Beest – bass
Max Goldman- drums 

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Dave Brubeck Redux [Download & Vinyl Bundle] https://www.nativedsd.com/product/dave-brubeck-redux-download-vinyl-bundle/ https://www.nativedsd.com/product/dave-brubeck-redux-download-vinyl-bundle/#respond Mon, 25 Nov 2024 10:24:55 +0000 https://www.nativedsd.com/?post_type=product&p=279672 Also available on Reel to Reel tape here.

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Save 25% when you purchase this DSD Download & Deluxe Double Vinyl Bundle!

Dave Brubeck Redux was recorded ‘off-the-floor’ to 2 Track Analog Tape at 15 ips, using the purest audiophile analog techniques, capturing the energy and joy of three brilliant young musicians playing together as one, seizing the well-known compositions and making them freshly their own.

The L.A. Network project was born as a collaboration between two veteran recording engineers and producers – 2xHD’s president André Perry and Resonance Records’ president George Klabin – with the idea of creating a high-end rendition of Dave Brubeck’s most memorable compositions.

Perry and Klabin have collaborated on many projects over the last 5 years, including high-res remastering of famous albums by Bill Evans, Wes Montgomery, Jaco Pastorius, Stan Getz, Sarah Vaughan, Shirley Horn, and others.

Los Angeles (L.A.) is one of the great music centers of America, with a vast pool of outstanding jazz musicians and singers. The Dave Brubeck Redux album is the first of a projected series of audiophile L.A. Network recordings which will be performed by various musicians and released in high-resolution download formats including Stereo DSD at NativeDSD.


The L.A. Network
Josh Nelson – Piano, Arranger
Alex Frank – Bass
Ryan Shaw – Drums

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Dave Brubeck Redux [200g Deluxe Double Vinyl] https://www.nativedsd.com/product/dave-brubeck-redux-200g-deluxe-double-vinyl/ https://www.nativedsd.com/product/dave-brubeck-redux-200g-deluxe-double-vinyl/#respond Mon, 25 Nov 2024 10:09:36 +0000 https://www.nativedsd.com/?post_type=product&p=279661 Also available on Reel to Reel tape here.

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These fresh renditions of Dave Brubeck’s most memorable recordings, recorded ‘off-the-floor’ in 2 tracks at 15 ips, using the purest audiophile analog techniques, capture the energy and joy of three brilliant L.A. musicians playing together as one, seizing the well-known tunes, making them freshly their own. This recording was accepted with great enthusiasm when released as a high-res download.

2xHD Vinyl are sourced from first generation analog recordings without any digital corruption, mastered by René Laflamme, cut all analog at Bernie Grundman Mastering Lab, and pressed in 200g vinyl at 45RPM.

The L.A. Network project was born as a collaboration between two veteran recording engineers and producers – 2xHD’s president André Perry and Resonance Records’ president George Klabin – with the idea of creating a high-end rendition of Dave Brubeck’s most memorable compositions.

Perry and Klabin have collaborated on many projects over the last 5 years, including high-res remastering of famous albums by Bill Evans, Wes Montgomery, Jaco Pastorius, Stan Getz, Sarah Vaughan, Shirley Horn, and others.

Los Angeles (L.A.) is one of the great music centers of America, with a vast pool of outstanding jazz musicians and singers. The Dave Brubeck Redux album is the first of a projected series of audiophile L.A. Network recordings which will be performed by various musicians and released in high-resolution download formats including Stereo DSD at NativeDSD.


The L.A. Network
Josh Nelson – Piano, Arranger
Alex Frank – Bass
Ryan Shaw – Drums


PLEASE NOTE
The audio samples below are from the digital DSD version of this album. Please refer to the image of the back cover above for the correct song order of the Double Vinyl.

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Phonetics https://www.nativedsd.com/product/sglsa15522-phonetics/ https://www.nativedsd.com/product/sglsa15522-phonetics/#respond Thu, 21 Nov 2024 14:00:42 +0000 https://www.nativedsd.com/?post_type=product&p=278612 Drawing on diverse musical sources and the talents of a superb group of musicians, the music on “Phonetics” is greater than the sum of its parts. Insightful performances of saxophonist Mark Turner, violist Oene Van Geel, bassist Mark Helias, and percussionist Emile Biayenda are presented in first-rate audio quality, with excellent low-level detail (breathiness from […]

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Drawing on diverse musical sources and the talents of a superb group of musicians, the music on “Phonetics” is greater than the sum of its parts. Insightful performances of saxophonist Mark Turner, violist Oene Van Geel, bassist Mark Helias, and percussionist Emile Biayenda are presented in first-rate audio quality, with excellent low-level detail (breathiness from the saxophone mouthpiece, the faint scraping of the viola bow), fast response in the double-bass low notes, and a deep soundstage for the drum set.
Mark Werlin, NativeDSD & AllAboutJazz

Paris-based pianist-keyboardist-composer Delbecq counts among his inspirations Cowell, Cage, Ligeti, Aka pygmy song, Balkan dance, Abdullah Ibrahim, Cecil Taylor, Steve Lacy, Miles, Monk, Ornette, and colleagues such as Steve Argüelles and Marc Ducret. He has developed an unmistakable yet richly varied musical idiom. Intellectually intriguing, emotionally evocative, palpably elegant, Phonetics presents an artist at the height of his imaginative and synthesizing powers. The audiophile recording and subtle 5.0 mix burnish the music’s lunar intensity.

The idea for this international band involved some educated hunches, says Delbecq: “I wanted to provoke an encounter between musicians I knew from different scenes, Europe meets North America meets Africa [Emile Biayenda is Cameroonian and leads the percussion ensemble Les Tambours de Brazza]. When I started writing I had a sound in mind… a very open but very rhythmic way of playing…and different directions I wanted us to explore collectively. The mixed timbres of tenor and viola were in a sense the key to the group.” Prepared piano is also featured on several tracks: “I wanted to leave space for the guys to improvise, and accompanying with prepared sounds allows the music to sound very open harmonically, while it places me on a different axis in the rhythmic web. It also allows the mind to escape the piano in some way, and this can lead to rare blends, such as with viola playing pizzicato.”

Critic Bill Shoemaker notes of Delbecq’s previous Songlines album, the solo piano record Nu-turn, that his “affinity for African and Asian folk music and his Paul Bley-derived lyricism and floating pulse constantly dovetail about one another. This accentuates the exotic, mysterious qualities of his music,”  with its fugutive harmonies and eddying polyrhythms. Expanding these moods and concepts in a five-way dialogue demanded an unusual degree of concentration and intuitive understanding from everyone involved – particularly as each piece has its own specific underlying structures, as well as its own potential for “mutation” of these points of departure. “I change the tools for each piece, and each piece is trying for a different character in the playing for each person….On ‘Multikulta’ it’s a strict rhythmic fabric that patterns the composed material, but I was interested in letting the bass and drums spontaneously mutate the form of it during Oene’s soloing. ‘Au Louvre’ is an actual mutation of ‘Maat,’ one of the pieces I wrote in 1990 for the collective group Kartet. Each phrase of the theme begins at a different point in the bass line’s cycle, kind of in the African way, and out of this Emile constructs these rhythmic micro-forms, which sets the bass line in motion along several different axes, a bit as if one were turning an actual object round in one’s hands to view it better or explain it. The downbeat or accenting is not an imposed hierarchy – you’ll see that Emile never really plays the crash cymbal as the marker of a rhythmic hierarchy, that’s so elegant!”

On “4MalW” (a hushed yet astringent tribute to his mentor Mal Waldron), Delbecq sampled the band at rehearsals: “I would then be able to trigger these scraps of memory as the piece unfolded. What I love about samples is that they play tricks on your memory, they move the relationship we have with what is played or is going to be played somewhere else.”


Benoît Delbecq, Piano & Sampler 
Mark Turner, Tenor Saxophone
Oene van Geel, Viola
Mark Helias, Bass
Emile Biayenda, Drums

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