Arcado String Trio ?Behind The Myth?_音乐专辑
Arcado String Trio ?Behind The Myth?
又名: 《迷思幕后》/阿卡多弦乐三重奏
表演者: Arcado String Trio: Mark Dresser: contrabass; Mark Feldman: violin; Hank Roberts: violoncello
介质: cd
发行时间: December 2003
唱片数: 1
出版者: Winter & Winter
条形码: 0025091903924
专辑简介
Arcado String Trio ?Behind The Myth?
Arcado is unique among string ensembles: it is the only string group to perform its own original material exclusively. What is so special about this material and Arcado′s execution is aptly described by Peter Niklas Wilson in NEUE ZEITSCHRIFT FüR MUSIK: The music of Arcado is not about "proving" that a string group can swing, or about bringing a domestical jazz flair to the concert hall. It is highly original, modern chamber music, compositionally stringent, yet with room for flights of improvisation. And, this I consider most important: The three New Yorkers boast both the classical cultured tone quality and improvisatory imagination necessary to make this demanding concept happen.
The style of Arcado is a synthesis of the musical experiences of its members Mark Dresser, contrabass, Mark Feldman, violin, and Hank Roberts, cello. All three have a musical biography as varied as it is probably only possible in the USA, where the boundaries between different musical communities are comparatively more permeable than elsewhere.
Mark Dresser received his education as a classical contrabassist in San Diego and Rome, Italy, and was a member of the San Diego Symphony Orchestra. In recent years he has worked predominantly with avantgarde jazz musicians like Anthony Braxton, John Zorn ('Spy vs. Spy') and Tim Berne, half of whose 1989 sextet Arcado constituted (see Tim Berne's Fractured Fairy Tales, JMT 919 030-2, also Pace Yourself, JMT 919 040-2, released in 1991).
The musical biographies of Mark Feldman and Hank Roberts are even more diverse: Mark Feldman is not only as at home in jazz (New And Used, Anthony Davis, John Abercrombie, Marty Ehrlich) as in classical music (Chicago Philharmonic Orchestra, Nashville Symphony Orchestra) but equally on Broadway, in pop (Sly and Robbie, Africa Bambaata, Bootsy Collins, Bill Laswell) and country (Willie Nelson, George Jones, Loretta Lynn).
Hank Roberts had familiarized himself quite deeply with the classical cello repertoire and -technique before switching over to jazz and creating his idiosyncratic way of handling his instrument. International jazz critics hava acknowledged his remarkable work with his group Black Pastels ( see Black Pastels, JMT 919 016-2), with the cooperative trio Miniature (see Miniature, JMT 919 022-2; with Tim Berne and Joey Baron), with Bill Frisell, Tim Berne and of course Arcado, by voting him top instrumentalist in his category (misc. instruments, TDWR) the second time in a row. Lately Hank's work, especially with his new band Birds Of Prey (see Hank Roberts And Birds Of Prey, JMT 919 036-2), has displayed more and more of his rock and soul roots - as a teenager in Indiana he used to play in rock bands.
All these influences come together in the music of Arcado. THE NEW YORK TIMES commented Arcado′s characteristic amalgam of styles as it was documented in their first album Arcado (JMT919 028-2 ): The group's members.... sift through the best elements of European classical music, pop and jazz and bring them to a rapprochement that sounds new. To this end, the musicians, virtuosos at traditional techniques, also use percussive scrapings, high singing harmonics, slapping pizzicatos and other unusual sounds to fill in their group texture.
Arcado was founded in New York in the mid-eighties by Mark Dresser, Mark Feldman and Hank Roberts. Mark Dresser: We worked hard for a long while to
create our own music. Particularly during the last year or so we have made much progress, we feel. The music on Behind The Myth turned out denser, more fully developed compositionally than our first recording. Of course we keep gaining experience in writing music for the group and are getting better and better aquainted with each other musically.
Behind The Myth was recorded in Germany, at Ludwigsburg's famed Bauer Studios, during a European tour in March/April 1990. In the summer before, the trio had toured Europe for the first time and left a very strong impression. Their performance at the Willisau Festival was hailed as "a bright ray of hope in a sea of directionless floundering" (DER BUND) and as "a signpost for the nineties" (BERLINER ZEITUNG).
Working together so closely for several weeks was the best possible peparation for the recording session. And the way our audiences seemed to enjoy what we were doing encouraged us enormously. We worked constantly on our new material, experimenting, filing. The more we got into our stride, the more relaxed and free our performances got, Mark Dresser states. In my opinion we have developed a pronounced identity as a group, while at the same time each of us brings his individual qualities and propensities as a composer/improviser/instrumentalist to the music. For one thing, each of the three group members has contributed two compositions toward the new recording.
Behind The Myth constitutes an advancement on the concept of the previous production Arcado: A balanced blend of carefully crafted composed structures and imaginative improviations that interfuse imperceptibly. Manyfaceted, suspenseful, expressive chamber music, performed with bravura. And Mark Dresser, Mark Feldman, and Hank Roberts intend to keep on growing. They have big plans for the future: they are looking forward to a production with the Cologne Radio Symphony Orchestra in conjunction with WDR Radio in the summer of 1991.
- Original Press Text written in 1990
http://www.winterand
曲目
1. Ediface [Mark Dresser]
2. Waterburg Trio [Hank Roberts]
3. Thematica [Mark Dresser]
4. Behind The Myth [Mark Feldman]
5. Kerney [Mark Feldman]
6. Somewhere [Hank Roberts]
