10/28/2012

L. Subramaniam & Stéphane Grapelli - Conversations


Album:      Conversations
Artist:        L. Subramaniam and Stéphane Grapelli
Year:         1992
Line-Up:    L. Subramaniam – Violin, viola, violectra, tambura, surmandal, percussion
                    Stéphane Grappelli – Violin, piano
                    Joe Sample – Keyboards, piano
                   Mark Massey – Synthesizer, piano
                   Jorge Strunz – Guitar
                   Jerry Watts – Bass
                   Ron Wagner – Drums
                   Frank Bennett – Percussion
                   Frank Morgan – Alto saxophone
                  Handel Manuel – Piano
                  Niles Steiner – Steinerphone
                  Manoochehr Sadeghi – Santoor
                  Anthony Hindson – Electric guitar
Label:     Milestone Records

"Music is a vast ocean and no one can claim to know it all. The more you know, the more you realize how little you know. It is an eternal quest" - Dr L Subramaniam

Conversations is a collaborative album of French jazz virtuoso Stéphane Grappelli and acclaimed Indian musician Dr. Lakshminarayana Subramanian of the Carnatic tradition. It is a conversation between the west and the east, between two violinists of different cultures, a musical exchange and encounter like those of George Harrison and Ravi Shankar, John McLaughlin and Shakti, and John Mayer and Joe Harriott.

Stéphane Grappelli was born to an Italian father and a French mother in 1908 Paris, France. While learning his musical skills in Conservatoire de Paris in the 1920’s, he was also accompanying silent films as a pianist. Grappelli, who is known as the grandfather of jazz violinists, had already worked with numerous well-known jazz musicians and other musicians making him one the most respected violin players outside the art music scene.

Lakshminarayana Subramanian was born in 1947, Chennai, India to two prestigious musicians. He took up the violin before the age of five in the guidance of his father, Professor V. Lakshminarayana. At an early age he also developed a passion for science and has acquired M.B.B.S at Madras Medical College and a Master’s degree in Western classical music in California Institute of the Arts. So not only is he a qualified doctor of medicine, but he can play the Indian violin leaving your mouth wide open and compose ethereal and soothing musical pieces.

At the beginning of the 90’s these Subramaniam and Grappelli decided to join forces and record an album of very interesting musical landscapes, “Conversations”. L. Subramaniam is very keen to mix different elements of Western art music with the musical tradition of his native India, which has led him on a various musical journeys with many different musicians. On this particular album the conversation between the two violins, one Western and one Indian, is a most interesting experience: the violinists play together and separately music full of rich sensations from which a stream of pleasure and enjoyment resonates. The rhythm section is playing rather minimalistic jazz-rock in the background, leaving the spotlight to the amazing string orgy of Grappelli and Subramaniam. It works perfectly. 
 
The songs on this album do not form a coherent whole for there are a few tracks, which seem a bit out of place, like the display of Subramaniam’s virtuosity on the Indian violin (Paganini Caprice 5) and Grappelli on the piano (Tribute to Mani). However it does not take away anything essential from the magic of the rest of the album. Conversations is a vast musical soundscape which these diverse musicians paint together to the pleasure of our ears. It’s about the softness and delicacy of the Western violin and the curious otherness and exotic appeal of the Indian.

Do not take just my word for it, check for yourself:


Written by Oz and edited by Παναγιωτης

10/21/2012

Gnaw Their Tongues - Reeking, Pained and Shuddering

 
Artist:         Gnaw Their Tongues
Album:       Reeking, Pained and Shuddering
Year:          2007
Line-up:     Mories – All instruments
Label:        Paradigms Recordings

”It is no measure of health to be well adjusted to a profoundly sick society.”
- Krishnamurti

When we dwell upon the nature of art, we easily think of something of extraordinary beauty and something close to perfection. However on the present day there are a few individuals who find aesthetic pleasure from things which are not considered beautiful and harmonious by the traditional conventions. In the late 19th century the Western classical music was facing what now call ”a crisis of tonality”, meaning that composers thought that they had more or less exhausted the possibilities of the system of traditional tonal hierarchies. This resulted in atonality which in short means that music lacks a tonal center, the key. Therefore the music does not sound ”happy” or ”sad” to the average listener but rather harsh and jarring – discordant. In the early twentieth-century Europe also lay the cultural origins of the broad genre which we call noise music. The only distinguishing genre feature is that the music employs noise (an unpleasant or disturbing sound) as a principal musical resource.

One day as I was exploring the website of the English record label Paradigms Recordings, I happened to stumble upon an album that had such an intriguing description that as a little musical pervert I had no choice but to venture forth in to the sick, disturbing and frightful but yet the so fascinating world of the Dutch one-man project known as the Gnaw Their Tongues. The website says that the music is ”harrowing, apocalyptic bestial ritual music from the deepest, darkest cellars of the Netherlands. Avant black metal, agonising funeral doom and blackened experimental drone noise stab forth again and again until all the blood is split and total carnage is all that remains. Pure dread put to music”. That really sums up the record perfectly. Reeking, Pained and Shuddering is a truly unique mixture of noise, black metal, black and dark ambient, martial industrial, spoken word sequences and drone, if you care about genre tags.

The music consists of horrendous, distorted cacophonies which are accompanied by drums, strings and painful screams. Occasionally, the overbearing barriers of noise and blasting black metal mayhems dissolve into more dark ambient soundscapes and almost gentle string passages almost resembling a piece of chamber music only to explode to screeching screams of demons. One piece opens up even by a female opera singer creating an interesting contrast to the menacing humming background sound until a brutal blast beat appears out of nowhere. The general sound world is cold, harsh and uninviting. The songs are narrated with spoken word performances which reflect the twisted and sick aspects of the modern day society. Fanatic preachers painting pictures of a christian hell, sinister voices reciting biblical quotations and eyewitnesses recounting the search of Ed Gein's house.

The music is truly frightening. It takes you on a cinematic horror movie-like trip to the darkest corners of the human psyche. However, it is a journey of a most fascinating nature similar to that of Dante's descent to hell. Proceed with caution:


Written by: Παναγιωτης


10/15/2012

Junipher Greene - Friendship



Artist:    Junipher Greene
Album:     Friendship
Year:      1971
Line-Up:   Helge Groslie - Lead vocals, keyboards
           Bent Aserud - Electric & acoustic guitars, flute, harp,  vocals
Oyvind Vilbo - Bass, vocals
Geir Bohren - Drums, vocals
Freddy Dahl - Lead vocals, electric & acoustic guitars, vibraharp
Label:     Sonet

Friendship my friends, is a matter of thought,
It’s a wonderful thing that cannot be bought,
It comes from the heart and lasts through the years,
Through hardship and sorrow, and human tears,
And it shines like rays of the sun.

The beginning of the 70’s, progressive rock was thriving in the UK, but what was happening in Scandinavia? Something very spectacular was recorded in Oslo, Norway: A double-LP called “Friendship”, which was actually the first double-LP ever made in Norway. The exact year was 1971, and the artist was a band called Junipher Greene. In the same year, prog-classics such as Aqualung by Jethro Tull and Moving Waves by Focus were released, but this early prog-rock gem was never really discovered by the big audience, though perhaps it should’ve been.

The band was founded in 1966 and it started as a blues group in Sandaker Secdondary School of Oslo. The magnificent tale of this band reached its climax with this album, which, in 2007, was given a title “The best rock album of Norway”. After a few comeback-gigs in 2008 and 2009, their 2010 concert called “Rock på Torget” in Bodø became the last live show of this marvelous group. Fortunately, it was captured on DVD.

Friendship” is a mixture of various musical genres of that time. The pillars lie on a rock’n’roll ground, but there is a spoonful of jazz and a gentle pinch of blues in the sauce. Organ-spiced rock is sometimes accompanied with the gentle touch of flute, which is actually the reason I brought up Focus and Jethro Tull. The high point of the album is definitely the unbelievably beautiful “Maurice” where the rhythm section is playing bossa nova and the air is filled with the incredible flute dominance. The album culminates to the self-titled track, running almost 20 minutes: a standard duration in the prog-scene.

The band had to finance half of the LP by a demand of the record label, Sonet, which considered progressive rock as a risky investment. Sonet is a Swedish record label concentrating on jazz, founded in the 40’s, now being a part of Universal Music Group. My Special edition is a re-mastered version (2003) of the LP.

Friendship” may be a hard one to acquire, but it is worth the search, if you are into 70’s prog-rock. It is a pioneer in Scandinavian progressive music; Junipher Greene is one of the first progressive groups from Norway. The attitude that stems from this piece is amazing; “Friendship” should’ve been one of the cornerstones of the evolution of prog-rock. Now it remains a mysterious Norwegian diamond in the history of chaotically breeding music industry.

Check out some samples: the self-titled track and the enchanting flute brilliance:


Written by: Oz





10/08/2012

Houria Aïchi & L'Hijâz'Car - Les Cavaliers de l'Aurès



Artist:                 Houria Aïchi & L'Hijâz'Car
Album:               Les Cavaliers de l'Aurès
Year:                  2008
Line-up:              Houria Aïchi – Vocals
                           Grégory Dargent – Oud, banjo
                           Etienne Gruel – Daf, bedirs, derbouka  
                           Jean-Louis Marchand – Clarinet, metals
                           Fabien Guyot – Daf, bendir, karkabou
                           Nicolas Beck – Tarhu, hajouj 
                           Sefsaf, bdesslam Mejjaoui & Ali Bensadoun – backing vocals
Label:                 Accords Croisés

My ”brother”, my lover,
He is like quicksilver.
O God, protect his clan,
Prolong his life
Increase his prosperity.

The Shawiya Berbers are the indigneous ethnic group living in the mountainous territory in north-east Algeria called the Aurès. Continuing to led a pastoral life to the present from the ancient days the Shawiya are recognised as excellent horse breeders. The brave and tough mountain shepherds are known as the Horsemen of the Aurés. Now they remain the mythical, imaginary and handsome men, warriors mounted on their magnificent steeds.

In addition they have their own musical tradition. It is said that during the harvest festival nights gasba – a long oblique flute – can be heard, and its sensual soundings capture the hearts of girls. Singers with bewitching voices recount tales of passing time and lost loves. The voices are accompanied by the bendir frame drum and by the jingles of the silver bangles that the girls wear on their ankles.

On this record the Shawiya singer Houria Aïchi teams up with Strasbourgian group L'Hijâz 'Car to create a fascinating album which captures the magical ancient melodies of the Aurés mountains and combines them to modern expression. Houria Aïchi provides the rich vocal traditions of her culture, those of which she had learned from her grandmother in the form of traditional songs and complex vocal techniques of a great uniqueness. For this astounding record she dug deeper to the Shawiya folklore, mythology, history and music.

Martina A. Catella of the production agency and record label Accors Croisés got interested in Houria Aïchi's project and got her together with a music group called L'Hijâz 'Car. The five members had met in a music conservatory and decide to invent their own ”folklore” which drew inspiration from Gypsy and Middle Eastern music fusing them to elements of rock and jazz. While Houria Aïchi had studied the folklore of the Horsemen of the Aurés she provided Grégory Dargent, the main composer of L’Hijâz 'Car, the musical material in the form of early recordings and her own interpretations on Dictaphone tapes. Dargent retired then to his small home studio to study the tapes and immersing himself in this new exciting musical world.

The result is the most exciting, astounding and exotic aural marvel – unlike anything you have heard before and are unlikely to hear again. This record stands between the magical world between the ancient and modern creating something new, but still preserving the old without sounding forced. The bold and unique voice of Houria Aïchi recounting her native folklore is accompanied with rich instrumentation of the Arabian musical tradition played five young and talented musicians who bring their own flavor to the mix. As the album starts off with and old Dictaphone tape recording you know that you are about to enter an entirely new dimension of music.

Absolutely mesmerising. Check the piece that got me personally interested in the group below:

http://www.youtube.com/watch?v=ANWF2J4CT10 (live version)

written by: Παναγιώτης