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More info about Franco Battiato

Opinions:

A.

Flowing smoothly by its rhythmical and melodic aspects, as if an imaginative voyage which moves the object from one position to another.

Notes set up in the long durations showed up repeatedly which effect a soft wandering mind, fortunately without replacing its main topic. The appearance of choir which became a path in entering the solemnity completed all performances as its exploration for the musical sounds.

B.

He is an Italian singer-songwriter, composer, filmmaker and, under the pseudonym Süphan Barzani, also a painter. Battiato's songs contain esoteric, philosophical and East Asian religious themes. His collaborations from 1994 onward with the nihilistic-cynical philosopher Manlio Sgalambro have added lyrical references to Emil Cioran, Friedrich Nietzsche and other anarchistic thinkers. Shadow Light was released in 1996.

By composing the song Haiku in his album, it demonstrates his concern for East Asian religious themes. Haiku is a form of Japanese poetry, consisting of 17 moras (or on), a unit in phonology that determines syllable weigh in three phrases of 5, 7, and 5 moras respectively. Although haiku are often stated to have 17 syllables (a unit of organization for a sequence of speech sounds), this is inaccurate as syllables and moras are not the same. Haiku typically contain a kigo (seasonal reference), and a kireji (cutting word). In Japanese, haiku are traditionally printed in a single vertical line and tend to take aspects of the natural world as their subject matter, while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku and may deal with any subject matter. Previously called hoku, haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.

C.

You would be forgiven for having thought Franco Battiato's album "Sound Light" as Christian Church music, but rest assured it is in no way associated with the Holy Roman Catholic Church. At least not directly. I would dare say the sounds from this album are profoundly spiritual; I don't think anyone can deny it having at least listened to it at least once. Maybe it is Msr. Battiato's use of long, haunting melodies (produced using both electronic and traditional-accoustic means). Perhaps it is the vocal work somewhat reminiscent of Gregorian chants (the fact that the text is in Italian certainly helps in that direction). Perhaps, perhaps, perhaps. Me personally, I think it is because Msr. Battiato, in composing and producing this album, was with all his heart searching for something. Something spiritual.

More Info about Xiame

Opinions:

A.

Compositions was filled with the inspirative musical sources, and all performance presented as soothe as its live music. All features which might be idolized by audiophilers, seen as the music which is generated by vivid rhythimical patterns on conga, and considered as the heart beats of the compositions.

Melody was dominantly formed on the plucked instrument performances, appears as the breath for the songs effects the informal expression for most of the compositions.

B.

In this album, room was given to every musician, to break the boundaries of their experiences and education backgrounds, blending on all compositions.

At the end they produced music that is as clean and structured as classical, but still giving chances to improvise as in the African, Latino and the Blues.

All of this work makes their music easy and nice to enjoy it, as the beautiful and brilliant contemporary compositions (especially in the songs Dancing Elephant, The Wedding Day, Wine Flow Like A Wind; I enjoy it and it make me feel on top, man!!)

C.

From the first track, I almost instantly recognize the 'Flamenco/Latin' overtones of Xiame's album, with the use of steel-string acoustic guitar and traditional Brazilian percussion instruments. Though at the same time I also recognize the 'contemporary' overtones represented by what I dare say is the 'pop rock'-like usage of electric guitars, keyboards etc. To me personally, "Canto D' Alma" is not really an album to dance to but rather to relax to, to groove to, (maybe even to meditate to). The album mixes instrumental numbers with those containing either English and/or (what seems to be) Spanish/Portuguese lyrics. You'd be forgiven to think that Xiame has international ambitions, though in my opinion without abandoning each their members' musical roots.

Though I must admit that I had to 'Google' them before discovering this, Xiame is actually an international music group (which began as a trio) that was formed in Germany, with members from Germany, Brazil, London, and the United States. "Canto D' Alma" itself was written and recorded in 1995 Germany. If I were to have my arm twisted to try to peg Xiame into a certain genre, I'd be forced to drop them in the 'Jazz Fusion' bucket. But to be honest I wouldn't be too comfortable in trying to 'limit' them like that. I would rather sit back and enjoy their dreamy melodies with a cup of Brazilian coffee. Or something. Cheers! :D

More info about Le Mystère des Voix Bulgares

Opinions:

A.

Fabulous vocal performance of Bulgarian folk songs concentrated on female voices. Modernized vocal arrangement appeared as an explotion which has successfully unveiled the mystery of genuine of secretive Bulgarian singing abilities. All features stimulates the musical horizon entering the new experience in myriad of vocal advancement.

Its magnificent vocal skill displays the mighty distinction which can not be possessed by the instrumental sounds. Arrangement could be considered as an interpretative method which helps translating the images of solist and accompaniment which usually appear in the instrumental music, into the vocal performance on Kalimankou Denko, and Svatba as well.

String instruments of both conventional and unconventional instruments that took part as the accompaniment on Brei Yvane positioned its musical components as the melodic separator which has detached phrases from one to another.
Drum beats with the powerful sounds on Erghen Diado became syncopations which continuously strengthen the melodies of song lyric from the lack of melodic instrument sounds. Wind instrument as a solist with the string accompaniment and other instrument which plays the tender melodies on Mir Stanke Le is actually take a role as charmer for the song melody and its lyric.

B.

This Bulgarian State Television Female Vocal Choir is an internationally renowned World Music ensemble that blends traditional six-part a cappella repertoire with modern arrangements. It is most recognized under their contribution to Marcel Cellier's Le Mystère des Voix Bulgares project. First created as the Bulgarian State Radio and Television Female Vocal Choir in Bulgaria in 1952 by Georgi Boyadjiev. The choir is now under the direction of Dora Hristova.

Singers are chosen from country villages for the beauty and openness of their voices, and they undergo extensive training in the unique, centuries-old singing style. Influenced by Bulgaria's Thracian, Bulgarian, Ottoman and Byzantine history, their music is striking in its use of diaphonic singing and distinctive timbre, as well as its modal scales and dissonant harmonies (abundant second, seventh, and ninth intervals).

Three prominent soloists of the group have also performed together as the Trio Bulgarka, notably on the Kate Bush albums The Sensual World and The Red Shoes. The whole ensemble performed with the Italian comedy rock band Elio e Le Storie Tese in the single Pipppero off the album Italyan, rum casusu çikti.

Le Mystère des Voix Bulgares (Vol. 1) release in (1975), all the song from this album was contributed by strong accapela and some very common instruments from Asian country, especially in the part of Mir Stanke Le, the flute remind me of my own journey from Aceh through west Sumatra. I heard the sound

C.

Sometimes Abbrassive, you would recognize hints of pain, sadness, but also sometimes overjoy, worship, happiness for life, raw, raw emotions. This is a recording of traditional singing from Bulgaria, accented at times by traditional stringed and woodwind instruments. Deeply rooted, sometimes pushing you away because it seems so... foreign except for those who hail from, or are born from the soil where these women live their daily lives.

Though foreign (to me), you could still recognize some of the universal, humanitarian feelings emanating from these haunting melodies. Personally, this recording, I love it.

More info about Charlie Parker

Opinions:

A.

Focused on a jazz star Charlie “Bird” Parker, especially the musical works he’s done during career. Jazz has integrated musicians from the different backgrounds, indeed helps improvisers in creating the unitive musical works.

Parker’s tenor saxophone played mesmerizing improvisation which was supported with the solid wind instruments and others, displays his true musical (personal) character on every improvisation he performed. The rapid melodic movements, explain a vigorous musical character made by a maestro, meanwhile the mellows display the gentle motives that flows with chord progressions along the composition.

Exploring the new sources for solo instruments is the scene that shows a successful attempt by the coming up of some other instruments, represents the friendly adjustment among those marvelous musicians. An ethnical approach on the musical performance can be seen by the “Klezmer-like” feature where saxophone and trumpet appeared as the solists with their amazing improvisations as well.

B.

Watching the musical film “Bird”, Produced & Directed by Mr. Clint Eastwood and music score by Mr. Lenny Niehous, it brought me closer to knowing about “Charlie ”Bird” Parker; the legend whose story lives after I’ve read the Jazz Book written by Joachim E Berendt. Revise Edition 1984 (page 89 – 99), the story about Charlie Parker & Dizzy Gillespie.

The setting, music score and the screen play has taken me to an experience quite romantic, and the struggling life had been for Bird the Legend, on the cruel part of the Jazz world and Industry during the discovery of bebop by Charlie Parker and Dizzy Gillespie ( 1937 – 1955 )

“Come till the top, and the fire of spring,

Your winter garden prevent on fling

Bird of Time, as a better wing to flatter

Bird is on the wings.”

It’s a poem which came from his mind before he tried to end his life by drinking iodine. After that, we could understand how Mrs. Chan Parker (his wife) supported his musical ability. This dedication can be seen from Chan’s dialogues, “He is very special creative man; his livelihood depended on improvisation and composing music.” She said this when she saw her husband’s release from hospital.

With his Alto Saxophone he played from jam session to jam session around Texas. When once he played in a jam session with members of the Bessie (Count Bessie) band, nobody like what he was showing, so much so that drummer Jo Jones threw his cymbal (at Charlie) to stop his playing, at which point Charlie packed his Saxophone and went out. Charlie Parker tells, “I’d been getting bored with the stereotyped changes were being used all the time at the time, and I kept thinking there’s bound to be something else, I could hear sometimes, but couldn’t play it.” (Jazz Book : 92 )

After some years he began attracting an audience, and one day Burt, one of the saxophonists from Bessie’s Band who call him “Charlie from just around”, Charlie threw his Saxophone into a river and said, “What do you think about that Art, Burt?”

At that time Charlie Parker was joined together with Dizzy Gillespie starting from 1943. Since that time they were together nailing the bebop style in the Modern Jazz World.

Charlie Parker’s Alto Sax became the most expressive voice of Modern Jazz – each note arising from the blues tradition, often imperfect, but always from the depth of tortured soul.

With the Charlie bird Quintet, Bird made the most important combo recording of Bebop “Koko”, based the changes to ‘Cherokee’ the piece which he attract attention, “Now Is the Time” a blues, “Chasin’ the Bird” with the fugato entry of trumpeter Miles Davis- commencing the fashion of fugues and fugati in modern Jazz….. countless others. Accompanied by Errol Gardner he recorded “Cool Blues”, relating coolness and the blues in the title itself.

Mr. Charlie “Bird” Parker, looked like a Buddha .He recently died at a juggler on TV after being sick of strain and sickness on 12 March 1955. (Jack Kerouac – the JAZZ World : 126)

His simple hope was, “I’d be happy if what I played would simply called “music” (the Jazz Book :96).

Charlie from Just Around was a hit the world over and became a Legend….

So…. Thanks to Mr Client Eastwood, Mr. Leny Niehous, and all crew of the Musical Movie “Bird” for introducing me to the courageous, full of integrity, never satisfied and dedicated, Mr Charlie Parker together with his friend Dizzy Gillespie, to put his style (bebop) on the Modern Jazz World.

C.

Bebop! Charlie Parker is an idol of the Beat Generation, inspiring the Jazz lifestyle as an intellectual ideal pursued by many youngsters of the time, improvisation as their lifeblood and spontaneous intellectualism as the seductive drug that you simply cannot escape from. Listening to this soundtrack album you can *feel* the struggle, the... well, to me it somewhat makes a bit clearer to me the meaning of the phrase, "if you can define Jazz, then it ain't really Jazz."

Mr. Parker's melodies are quite autobiographical and so it would seem natural that these songs perfectly describe his musical, and life, journeys. As light entertainment these are catchy tunes, but if you'd care to meditate a bit deeper on them, you can sense the anxiety, sometimes even the pain, which Mr Parker carries through with aplomb, through his short but intense life.