Wednesday, December 10, 2008

Hughes de Courson et Pierre Akendengué “Lambarena - Bach to Africa”

01 - Cantate #147, Jesu Joy Of Man's Desiring; Chanté Par Le Petit Aurelien [Johann Sebastian Bach -BWV 147/10]
02 - Sankanda (Chant Du Haut Ogoué); Lasset Uns Den Nicht Zerteilen) [Sami Ateba / Nana Vasconcelos]
03 - Mayingo (Chant Du Bas Ogoué); Fugue Sur Mayingo [Tomas Gubitsch]
04 - Herr, Unser Herrscher [Johann Sebastian Bach - Passion selon St-Jean, chorus No1
arr. H. de Courson]
05 - Mabo Maboe + Gigue de la 4me suite en mi bemol majeur pour violoncelle [Tomas Gubitsch]
06 - Bombe + Ruht Wohl, Ihr Heiligen Gebeine; Bombé, Cérémonie Bouiti ApinDJi [Bomb + Ruht Wohl, Ihr Heiligen Gebeine (Johann Sebastian Bach - Passion selon St-Jean, mouvement 67 - BWV 245]
07 - Pepa Nzac Gnon Ma + Prelude de la partita pour violon No 3 [Sami Ateba / Nana Vasconcelos]
08 - Mamoudo Na Sakka Baya Boudouma Ngombi + Prélude #14 [Johann Sebastian Bach -BWV 883]
09 - Agnus Dei [Johann Sebastian Bach -Agnus Dei (Messe en si, BWV 232, arr. P. Akendengu]
10 – Ikokou [Sami Ateba / Nana Vasconcelos]
11 – Inongo + Invention trois voix No. 3 en Re majeur, BWV 789 [Sami Ateba / Nana Vasconcelos]
12 – Okoukoue + Cantate 147 [Johann Sebastian Bach -BWV 1006]
13 – Was Mir Behagt, Ist Nur Die Muntre Jagd [(Johann Sebastian Bach /Sami Ateba / Nana Vasconcelos -Danse NDJobi Du Haut Ogoué, Tambours]
14 - Cantata, #147,"Jesus oue ma joie demeure" [Johann Sebastian Bach -Jesu Joy Of Man's Desiring" BWV 147/10,

Hughes de Courson - arrangement;
Pierre Akendengué - guitar;
Osvaldo Calo - organ;
Tomas Gubitsch - conductor;
Sami Ateba, Nana Vasconcelos - percussion;

Discography of Hughes de Courson:
Charlemagne (1993)
Lambarena - Bach to Africa (1995)
13 Croquis de Jeunes Filles As (1996)
Mozart in Egypt (1997)
Songs of Innocence (album) (1999)
O'Stravaganza - Vivaldi in Ireland (2001)
Lux Obscura: Un Projet Electro-Medieval (2003)
Mozart in Egypt 2 (2005)

This tribute to Albert Schweitzer mingles the classical music of two continents, combining well-known compositions by Johann Sebastian Bach with analogously themed traditional songs of Gabon. A sense of humor and adventure keeps the project from sinking under the burden of its conception, plus the talents of 13 formidable vocal and instrumental ensembles. The Sturm und Drang of the chorale prayer "Herr, Unser Herrsher" is underscored by fierce percussion, a Bach violin suite floats above a balafon in another cut, and the Gabonese vocal piece "Pepa Nzac Gnon Ma" allows just enough room for a peppy string counterpoint from the Prelude to Bach's third violin partita. It's rousing, heady fun that would have kept Schweitzer's trusty Victrola cranking for hours. ~ Bob Tarte, All Music Guide

Nacido como un homenaje a ALBERT SCHWEITZER, el proyecto LAMBARENA - Bach to Africa fue una concepción de MARIELLA BERTHÉAS y de la fundación "L'Espace Afrique", a quienes les debemos esta grabación. Lambarena reúne los dos elementos esenciales del "mundo del sonido" de SCHWEITZER: la música de BACH y las melodías y los ritmos nativos de su patria por adopción, el Gabón. Esta obra es el resultado de la colaboración de dos músicos dotados de un talento único: HUGHES DE COURSON, compositor y productor francés, que armó la estructura clásica de Lambarena, y PIERRE AKENDENGUÉ, autor, filósofo y guitarrista del Gabón con una discografía de más de 12 discos.

DE COURSON y AKENDENGUÉ empezaron su labor para Lambarena combinando las armonías tradicionales de Bach con diferentes armonías étnicas del Gabón (hay por lo menos 42 grupos étnicos diferentes en un país de tan sólo un millón de habitantes). Crearon un tejido de sonido fascinante que está compuesto por las voces de los cantos del Gabón y las melodías clásicas de BACH, compenetrado íntegramente por los ritmos subyacentes de la selva africana.

Después de meses de preparación, los 10 conjuntos de música del Gabón que PIERRE AKENDENGUÉ había escogido para que participaran en Lambarena viajaron a París para reunirse por casi 100 días en el estudio con ejecutantes de música clásica occidentales así como con los músicos argentinos del tango y jazz OSVALDO CALA y TOMAS GUBITSCH y con los percusionistas SAMI ATEBA y NANA VASCONCELOS.
El resultado de esta colaboración multicultural es Lambarena.

Tuesday, December 9, 2008

DAVID LIEBMAN "The Blessing of the Old, Long Sound"

Alberto Mariani
Carlo Mariani
Tiziano Tononi
special guest:
Dionigi Burranca

1. The Blessing Of The Old, Long Sound (D. Liebman) 4:40
2. Africa (J. Coltrane) 9:46
3. Invasione (A. Mariani) 6:51
4. L'Aquilone Giallo (C. Marlani) 5:17
5. Punto D'Organo Ballo (C). Burranca) 6:07
6. Processione (D. Burranca) 4:52
7. The Drum Thing (J. Coltrane) 7:34
8. Elm (R. Beirach) 6:02
9. Spirits Renewed (D. Liebman) 6:40

David Liebman
soprano sax (all tracks except 'The Drum Thing"), tenor sax, flute ("Elm", "The Blessing"), sulittu [sardinian wooden flute] ("The Blessing"), synthesizer ("The Blessing").

Alberto Mariani
tenor sax ("Ballo Punto D'Organo", "Africa", "Spirits Renewed"), traditional (Mediana D, Mediana C, Fiorassio Bb) and specially projected launeddas [Punto Nuovo E, Punto D'Organo Gb9, Colmediana A].

Carlo Mariani
traditional (Fiorassio D, , Punto D'Organo G, Mediana C, Mediana D, Fiorassio Bb, Fiorassio C] and specially projected launeddas [Fiorassiana D].

Tiziano Tononi
congas, drums, boo-bam, assorted percussion.

Dionigi Burranca
traditional launeddas [Mediana a pipìa] ("Processione")

Recorded: Milan, November 20-25, 1989
Notes by David Liebman:

My experience with world or ethnic dates back to my group, "Lookout Farm" in the 1970s. Indian music wasincorporated into our sound and permeated several albums. In fact, a high point of all my travels still remains the recording we made in Bombay in 1976. The album called "Passing Dreams" featured the group's members interacting with four master Indian musicians.

The attraction of world music for an improvising musician like myself seems to be quite basic. These are the elements of spontaneous interpretation as well as ongoing improvisation of course. These are a given in ethnic music. But even more essential to me is the humaneness and passion which is so obvious in the folk music of any country. It is the truest expression of man's spirituality, uncluttered by intellect, yet embodying fantastic technique at the same time.

It was in Sardinia, while on tour with Paolo Fresu a few years ago, that I made the acquaintance of the launeddas and even played briefly with the Maestro, Dionigi Burranca. I met Alberto and Carlo Mariani while teaching in Rome and with their loving help, became more familiar with both the instrument and the music of Sardinia. Finally, Gianfranco Salvatore approached me to do this project.

What is the specialness of this music? For me, it is the obvious "joie de vivre" you feel as you listen and play in this language. These musicians celebrate life; the human spirit; the everyday fact of being alive. It is one of the most consistent joyful sounds I can image. Aberto Mariani is one of the most dedicated musicians I have known. When I tried to write some music for this project, I really didn't know what the launeddas was capable of, but 1 figured correctly that if anyone could make my ideas applicable, it would be Alberto. He is truly amazing and a very spiritual human being, Carlo is also a joy to be around and work with. And to be with the maestro - without understanding his words - I feel his wisdom and warmth as he spoke to his respectful students, Carlo and Alberto. How wonderful tradition can be - the passing of knowledge from generation to generation over the centuries.

Issued in 1989, the pairing of saxophonist and composer David Liebman with an Italian jazz trio would seem to signal an exercise in the deep, lush lyricism that jazzmen from Italy express no matter what side of the in/out fence they are on. But this set is more an exploration of tone, drone, and mode. These pieces are like mantras that come from time immemorial, whether they be Liebman's compositions or those of his collaborators Alberto and Carlo Mariani, Tiziano Tononi, or special guest Dionigi Burranca. Even John Coltrane's classic "Africa" is re-envisioned according to these age-old techniques and observances of sound as tone and tone as drone, with the drone being the most primordial of all sound objects and syntaxes. The strange exotic delight that takes place in the articulation of these frameworks, where melody is not a factor but harmony and interval become central, is almost pre-linguistic musically, yet it is advanced and very sophisticated -- particularly in the improvisational passages by Liebman and Alberto Mariani on saxophones against the traditional Italian launeddas. While many jazz fans might have a hard time with this, those open-minded enough to try something outside the shop will find this album not only fascinating, but compelling listening as well. ~ Thom Jurek, All Music Guide

“Launeddas, strumento del futuro. Così vuole il metodo di chi prova a ridisegnare l’identità delle tre canne simbolo di Sardegna. La firma di Liebman, il virtuoso del jazz che già aveva assaggiato i sapori etnici di un’isola mediterranea, avalla l’operazione sul Cd della New Sound Planet, etichetta di respiro avanguardista, anche grazie alla produzione di Gianfranco Salvatore. Alberto e Carlo Mariani, da anni impegnati con puntiglio nello studio delle "cannas" di ogni festa tra Campidano e Gallura, conquistati da armonie ronzanti, che affiancano adesso l’amico americano in una prova audace. E un ospite speciale e autorevole come può esserlo un patriarca della musica tradizionale sarda, Dionigi Burranca, benedice l’operazione innovativa. Nessun attentato all’ordine stabilito: basta spaziare con timbri e sovrapposizioni per ridiscutere precetti che hanno resistito ai secoli. La nuova vita di un pezzo d’archeologia sonora comincia da qui. Le tre canne dei nuraghi spesso somigliano incredibilmente ai sintetizzatori di Philip Glass e di John Surman. Le idee coltraniane rifioriscono nell’intreccio di sax soprano e launeddas, quasi avessero riscoperto la loro sorgente originaria. E il contatto tra stilemi jazzistici e suoni delle etnie diventa alchimia entusiasmante. Potrebbe essere lo slancio di un rinascimento, un decollo oltre il folclore”.