99.00 PLN

2 CD:

Nr kat.: CG148
Label  : Crypto Gramophone

Żaden, najdłuższy, ale jednak fragment tej niezwykłej kompozycji nie da nawet namiastki klimatu, jaki ten projekt jest w stanie wywołać. Muzyczne doświadczenie człowieka, mierzone eopokami i latami świetlnymi, kulturami i filozofiami. Nad całością unosi się buddyjski pokój i afirmacja życia. Co też ludziom w głowach gra.... Płyta nie do opisania. ********* A native of Los Angeles, drummer-percussionist-composer Alex Cline has been a mainstay on the creative music scene in that city for almost forty years. Known for his contributions to the music of such artists as Julius Hemphill, Vinny Golia, Richard Grossman, John Carter, Bobby Bradford, Henry Grimes, Don Preston, Joseph Jarman, Tim Berne, Arthur Blythe, Jeff Gauthier, Horace Tapscott, David Binney, Ross Hammond, Charlie Haden, and Hafez Modirzadeh, to name but a few, he has also worked for many years as a bandleader-composer, having released seven albums under his own name as well as many more collaborative projects (on the ECM, 9 Winds, and Cryptogramophone labels), the most recent being For People in Sorrow, a CD/DVD release of his arrangement of the classic Roscoe Mitchell composition presented in Mitchell’s honor and recorded live at the 2011 Angel City Jazz Festival with an all-star eleven-piece ensemble. In 2015 Cline received a grant to compose what turned out to be a full-concert-length original work, Oceans of Vows, with the fourteen-piece Flower Garland Orchestra, and presented it at that year’s Angel City Jazz Festival before recording the entire piece in the studio—the release date is set for March 10, 2017. Included among the members of the orchestra is his frequent collaborator over the years, his twin brother and renowned guitarist, Nels Cline. A few of Cline’s recent musical encounters have been with Satoko Fujii, Peter Kuhn, Areni Agbabian, Phillip Greenlief, Scot Ray, George McMullen, Dwight Trible, and Miguel Atwood-Ferguson. Among the many dance artists with whom Cline’s music has been heard are Oguri/Lightning Shadow, Margaret Schuette, and Cloud Gate Dance Theatre of Taiwan. He also curates the monthly Sunday evening concerts series of unusual music for Open Gate Theatre in the Eagle Rock neighborhood of Los Angeles. ************* By JOHN KELMAN March 23, 2017 Sign in to view read count Alex Cline's Flower Garland Orchestra: Alex Cline's Flower Garland Orchestra: Oceans of Vows Despite being a key participant in the "Left Coast" scene of more avant-leaning music from the American west coast—in particular, part of the Cryptogramophone imprint that, while less active than in its "glory days" during the first years of the new millennium—Alex Cline releases so infrequently as a leader that any new music from the percussionist/composer is worthy of attention. That he has flown so far under the radar, in recent years, that his last Cryptogramophone release, 2013's For People In Sorrow, was largely (and unfairly) overlooked. Thankfully, that's not the case with Oceans of Vows, a sumptuous two-disc set that documents a two-hour suite of music—two parts, each consisting of five movements—inspired by and revolving around several Buddhist texts and poetry, the result of a grant awarded to Cline in early 2015, culminating in its premiere at California State University, Northridge's Plaza del Sol Concert Hall in October the same year, followed by two days of recording in the studio. When it's a major work such as this—and with a fourteen-piece ensemble that, amongst others, includes guitarists GE Stinson and the percussionist's twin brother, Nels Cline, alongside violinists Miguel Atwood-Ferguson and Cryptogramophone label head Jeff Gauthier, percussionist Brad Dutz, keyboardist Wayne Peet, flautist Will Salmon and bassist/keyboardist Scott Walton—it's too easy to fall back on descriptors like "sweeping," "bold," "ambitious" and "epic." While, in some ways, every one of these words can be used to describe parts of Oceans of Vows, in many ways such grand words deflect from others that are far more appropriate. Given Buddhism's selfless ambitions—and, as Cline's own liners describe, the percussionist's "musical settings of small excerpts from the voluminous Buddhist scripture known as the Avatamsaka Sutra or Flower Garland Discourse, combined with four-plus thematically related poems by my spiritual teacher, the Vietnamese Zen Buddhist master Thich Nhat Hanh"—it seems almost contrary to the faith's fundamental tenets to use such potentially broad, self-indulgent terms. fr recenzji