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> Andy Milne, Benoit Delbecq "Where Is Pannonica?", SACD

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Elephantus
post 21/06/2009, 22:14
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Andy Milne, Benoît Delbecq "Where is Pannonica? "


Andy Milne, Benoit Delbecq "Where Is Pannonica?" , SACD

Genre: Jazz - Contemporary

Гибридный SACD 5.0
enhanced CD layer features "making of" video (flash video, 14:49, 176MB, 1628 kbps, audio 2 chs)


Andy Milne, Steinway D
Benoît Delbecq, Steinway D and electronics
* B.D. uses Dlooper, an audio application by Tom Mays

  1. Portrait of Giorgio Thelos (Delbecq/Milne) 4:44
  2. Task Sharing (Delbecq) 3:18
  3. Divide Comedy* (Delbecq) 5:57
  4. Ice Storm (Milne) 6:37
  5. Le même jour (Delbecq) 4:39
  6. Mu-Turn* (Delbecq) 6:21
  7. Chander Logic (Milne) 6:04
  8. Pyramides (Delbecq/Milne) 3:17
  9. Water's Edge Part 1 (Milne) 2:51
  10. Water's Edge Part II (Milne) 4:59
  11. Trespassing* (Milne) 3:02

    total time: 51:50

    SACD multi-channel only:
  12. Uhren (Steve Coleman) 3:49
  13. Pyramides (Delbecq/Milne) 3:02
    alternate take and alternate surround image

Recorded: January 26th-28th, 2008 - Rolston Hall, The Banff Centre, Banff, AB, Canada
Produced by: Amandine Pras, Benoît Delbecq, and Andy Milne
Executive Producer:Tony Reif
Mixing: John Adams, Amandine Pras, Nathan Chandler, and Andy Milne - The Telus Studio, The Banff Centre
Mastering: Graemme Brown - Zen Mastering, Vancouver, BC, Canada
Engineered by: John Adams, Graemme Brown, and Amandine Pras


Songlines Recordings (SGL SA1579-2, 7 74355 15792 3), 2009
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Elephantus
post 21/06/2009, 22:32
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Цитата
June 2009 release

"...a brilliant piece of work, amazing colors and soundscapes, and great sympatico..." -Fred Hersch

A piano duo project like no other, Where is Pannonica? brings together two longtime friends for a 3-week composing/recording residency at the Banff Centre, where they originally met in 1990 while studying with Steve Coleman at the jazz workshop. A commission from Chamber Music America's French-America Jazz Exchange provided the impetus for this intensive exploration of the piano as a world of sound unto itself. During the process these two master performers, each with his own fully evolved style, discovered and nurtured an almost magical affinity. Beyond a virtuosic exploration of extended pianistics and a cogent, highly entertaining presentation of improvisational intelligence, Where is Pannonica? is a step outside the box, opening onto barely explored conceptual and sonic realms of audio art.

Benoît Delbecq has synthesized sounds and concepts from Ligeti and Steve Lacy to Aka Pygmy music, while Andy Milne's long association with Steve Coleman inspired a unique integration of rhythmic concepts from Cuba, Ghana, American jazz, funk and hip-hop. Their shared respect and understanding for each other's approach to the piano and to improvisation helped connect them in a profound, almost seamless thought process throughout the collaboration. Interpreting each other's compositions and creating pieces collaboratively, they used this synchonicity to develop complex rhythmic, melodic and harmonic relationships involving, timbre and texture, room acoustics, space, and time.

The spatiliazation of the music is heard in its most complete form in the surround mix - in fact much of the music was composed specifically to exploit and draw inspiration from the sonic properties provided by the 5.0 format. In stereo too, each piece - and indeed the recording as a whole - is conceived as an ongoing dialogue between the instruments, the players, and the room. Extensive use of piano preparations transforms pitch and timbre, which are then continuously reorganized in rhythmic interplay from one pianist to the other. Milne comments: "When composing I tried to think of the 360 degrees of the room space and the more immediate space within and around each piano. For the intro to 'Ice Storm' I thought very consciously about creating compositional elements that would play with the sense of the space between the 2 pianos, using rhythm mostly, to create 5-channel imaging effects within the music." On several pieces (e.g. the coda of "Divide Comedy") Delbecq adds a shadowing, phantasmal element to the spatial aspects through the subtle use of electronics: "Dlooper is a Max-MSP stand-alone application, a multi-track looper that can superimpose 8 stereo channels, and output them on 8 different channels. I chose to play a stereo mix of those layers into speakers placed in the back of the concert hall, as if a radio were making comments on our statements, playing with the memory of what had just been played. The 5.0 microphone tree found itself being the 'mixer' - I was interested in having a stereo signal sent into speakers so as to artefact the room reflections and reverb."

A great deal more could be said about the music and the process of creating it: please refer to the interview with the artists and the 15-minute CD-ROM video on the CD. More info at andymilne.com and delbecq.net.

Andy Milne is considered one of the most distinctive voices at the heart of New York’s creative jazz scene, performing throughout the world in a range of settings, including collaborations with Steve Coleman, Ravi Coltrane, Carlos Ward, Carla Cook, Sekou Sundiata, Avery Brooks, Ralph Alessi, Cassandra Wilson, and Sonny Greenwich. Milne's genre-breaking band Dapp Theory is helping to re-draw and extend the boundaries of jazz. His solo piano SACD Dreams and False Alarms was released on Songlines in 2007.

Described by The New York Times as “brilliant and unconventional,” Benoît Delbecq is acclaimed as one of France's indispensable pianists. He has been involved in numerous collaborations with French musicians, visual artists and poets, and with North American, European and African musicians, and has forged a personal style by drawing from jazz, ambient, contemporary classical and non-western music. Jazz Times calls him "one of the avatars of prepared piano" for the way he creates unusual harmonies, colours and phrases. He leads or co-leads several projects, including Delbecq 3, Kartet, The Recyclers, Poolplayers, Ambitronix and PianoBook, and has an extensive catalogue of releases on Songlines, including the solo piano SACD Nu-turn (2003).


For eighteen years, we've waited to enjoy a glass of wine with poultry, overflowing with irony: our two questing spirits in pursuit of the sound of our muse. Today we celebrate another step in getting there, being there. This phase begins with two buses stopped along the Trans-Canada in the frigid cold. In the middle of a long journey, neither of us realizes the mere 10 metres that separate us; a distance that shrinks as we discover our deep brotherhood and growing trust while traveling this road together. Synergy that expands by leaps and bounds daily... Miraculous.
Soon we find ourselves finishing each other's jokes, musical phrases, and conceptual suggestions. The strange coincidences of our personal experiences during this journey make for an uncanny backdrop to this movie.
So, Where is Pannonica, anyway? Is she looking out from her terrace over Nica's Eights wondering how it will all come together or fall apart? Perhaps hearing strains of Pyramides will transport her to other worlds beyond Muhal Hill. She might find humour in watching the legacy of Giorgio Thelos' poetry outlive his innovative methods for raising poultry in the mountains of the Bow Valley.
On the 18th day, B proposed some task sharing to give the rhythmic synapses a break. A responded favorably, enthusiastically devouring every suspended contortion.
We couldn't possibly call it an ice storm in the Rockies with the average temperature outside flirting with -25 °C on a daily basis, but running back to our studio from Props Pub was often a risky journey on ice. During one storm, we glided in eighths through a 21-count double-vision vamp, so treacherous that even with special footwear, we needed some playful training to keep standing.
After the storm broke, Mal and Steve dropped by for a divided comedic break, with 5's pulling against 3's and 4's, until finally some textures from a previous experience returned to surround us with an electric recap burst from the digital society.
Occasionally unrevealed time divisions appear, but when they lead to a new harmonic vision, it's almost always because our comrade Chander is nearby. As is always the case, something funny accompanies his presence, a sort of "I know this one too..." smile. A wrote about such an experience, anecdotally paying tribute to that very unique lifestyle we associate with Chander s suspended logic.
Later le même jour, we got into a playful game of pursuit, with A chasing B, the older brother leaping through a meadow of prepared obstacles, leaving space for his sibling to catch up along the way. A positioned himself in the distance, near the southern edge of Rolston Woods, albeit a somewhat disadvantaged perspective compared to that of his older brother, and trusting B's lead, found his way back to the foreground.
As the two brothers came together to explore the Danish Micro Turn, they opted against plucking, in favor for strumming, using some hair they acquired from Cheryl's friend Nigel. Moving into the 27 eighths, A decided to think about 13.5 fours.
Standing next to water has often been a source of inspiration for poets... however during winter in the land of the holy springs, there is no such place except for when one fully revisits this statement while visiting the hot springs themselves. But would one call it the water's edge? . If experienced in two distinct states, part one is perhaps characterized by water which seems to fall quickly, while the second part requires an appreciation for water slowed down by the frost - a phenomenon best observed through the window of a warm room.
After much discussion, we decided that our closing remarks would echo the footsteps of those who came before us. Who on earth has not been caught trespassing? - The later the better! Our instrument has been played by thousands who have passed away... but how many have died while playing her? To exorcise this axiom and give it a blink, A opted to feather the frame and low end, and mute the middle with bits of obsolete latex. B helped flank the truism of it all, drowning into the vibe and provoking electronically processed variations of the freely unrehearsed sounds. Pannonica listened gleefully... remembering.


Для Бенуа Дельбека это от части продолжение работы с Poolplayers, только инструментальный состав поменялся. Итак вы между двумя роялями, к которым немножко добавляют электроники, ну совсем немножко. Ведь что можно сделать с роялями, для этого понадобятся всякие вещи, колышки, например (интересно осиновые, или кленовые), но самостоятельной заточки. Их потом местами между струн втыкают, и в этих местах из клавиш ударный инструментполучается. Где-то просто ф-но, а где-то ударные. А от куда я это знаю? Так с диска, я на нем, на САСД видео смотрел?!!! СД слой – Енхэнсд СД, а на нем видео, вот и получился енхэнсд САСД. А еще в фильме как Дельбек на пару с Энди Милном этот проект готовят, и вместе работают, в общем – документалка, но занятная. Там и увидел, как микрофоны между парой роялей стоят. Рояли по бокам, крыльями к друг другу они удобно вкладываются, а здесь разведены, а там – вы, т.е. не вы, а микрофон, но вы же слушаете. Короткие – высокие (по тону) струны спереди-слева и направо-сзади, а длинные, стало бы басовые – по бокам. А еще по ним стучат (это с демпфером), можно и дергать, и как на цимбалах или виолончели играть и по корпусу стучать. А Дельбек еще циклы электронные многоканальные (всего-то восемь каналов) запускает (об этом выше смотрите). Иногда что-то фортепиано-мелодичное исполняется, а иногда не совсем это что-то, звуки стало быть или такие мелодии. Вот такой рояль вокруг вас. И скоро вы понимаете, что не рояль вокруг, а вы – это рояль, мир – рояль с постукиваниями. И хочется взять например гвоздик и тоже что-то поковырять, пощелкать, дзинкнуть. А можно коньяком этот ф-ночный мир изнутри смазать, он не похужеет. А можно….

Музыка – 10
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Многоканальность - 10
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