Note di gonna (quando il jazz lo suona lei) (Italian Edition)


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They were to spend 3 days immersed to arrange, play and record music requiring highly demanding effort. The challenges of so diverse people sitting in the same room for playing such demanding music were the highest. We are a good kitchen team! The line-up is built around composer and piano player Tim Root , who is always there through all the recording. Last but not least the rhythm section, elongated at two basses, Julie Slick and Marco Machera , plus Alessandro Inolti at drum stole, the last three representing EchoTest band in full force.

The idea was to take the kinds of interactions and structures about working together in large ensembles and to apply them to the six compositions that Tim had been working on. I pulled some headphones and I listened to the pieces. As each one flew by, I walked up more and more to the idea how insane it would be to trying get any humans to play this music. How amazing it would be if we got some world class players, who might just take a leap of faith, take on the insanity of this music and make it happen together in a compact super-accelerated format by living together, rehearsing together, recording together.

The two became the men setting the purposes, taking care of the selection of the members and the glue of the team.

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He took this group of people, most whom had not met. I knew four or five people, but none knew everyone. We took this group of people who had never played together and Steve immediately established the right ground rules that would allow us to remove all the tension. This made everything possible.


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This is his magic. I think more than anything else Steve is a fantastic musician, a great friend and all the other great things he does, but as a facilitator of collaboration he is just without peer. He just opened up everybody. This was very hard what we were trying to do. The music is challenging we had a very short timeframe. You had to set your ego aside and just figure it out, do the work and we worked very long days.

We were exhausted by the time it was over. We became a family so quickly. Putting together an heterogeneous band was quite the strength and not the weakness of the project. So we are already arranging the tour and we have Alessandro playing drums for that. And when it turned out that Marco Machera was available to support the project recording as he was in Seattle as well, they wanted him in as well.

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Axe from the Frozen Sea Within is a perfect showcase of what this ensemble can do when stepping on the throttle. The band at full beats two thundering major chords placed at a distance of an unexpected third minor and enriched by powerful augmented 5ths and added on occasional 4ths on the bass, until it modulates twice up a third in a peaceful mood.

It all prepares for the unison proggy theme in 7 played by piano first and then by all instruments. They alternate playing this theme in multiple variations on the lower and higher register as it progresses in a minor cadence. The rising tension erupts in a complicate theme full of big leaps through complicated intervals that almost brings my memory in with the funky efforts by Italian ensemble Slivovitz.

When I came across the quote, it resonated to me, because what I think I found out in this album is my voice, finally. Tim Root might be unknown for progressive rock fans, mostly because he is holding a wealth of experience in the composing, conducting and sound designing for classical music first.

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I went to college in Both albums affected me as a musicians. Constance and the Waiting is an overcomposed multilayered effort, which might hardly be brought as an example of the current status of improvisation. Still improvisation was kind of the ghost in the room during the sessions. And then you got the discipline of Discipline [featuring Robert Fripp].

Both things really affected me at exact the right time. I wanted to put a group of players able to play both. To play all this free improvisatory music that Fred Frith was writing and play all this disciplined music that Fripp was doing. There are two different schools of improvisation for these players [Troot players] as well, and the group is really split down the middle.

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We would just sit and play completely free. Steve talks a lot about improvisation that sounded like written music and written music that sounds like improvisations. I am playing with that idea as well. Layered on the top of that, the improvisation came more from knowing I had players who knew how to listen carefully and determine the right part, because the arrangements were figured out organically as a group.

I was 14 yrs old. He [Emerson] plays for 3 hrs long and he makes two mistakes! How do you do that? Keith was from another planet. The fierce and exploding scales up and down at start of Dance Elena are the perfect tribute to the Emerson, Lake and Palmer. Root exploits such an urgent groove on each key of the piano that he seems to quote closely the inner sense of driving that Emerson was imprinting at each note he played. Two rounds on a crazy roller coaster in the same theme, the second time the melody transposed an half step higher and then modulating up, as Tim Root analyzes.


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The main theme of this track goes long by in the past, more precisely composed 17 years ago. Portale Televisione. Categorie nascoste: Voci con modulo citazione e parametro pagina P letta da Wikidata P letta da Wikidata P letta da Wikidata. Menu di navigazione Strumenti personali Accesso non effettuato discussioni contributi registrati entra.

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AllMusic [4]. The Guardian [5]. Onda Rock [1]. Angelo Badalamenti , David Lynch. Dark ambient [16] Easy listening [16] Musica sperimentale [16] Cool jazz [16].

Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)
Note di gonna (quando il jazz lo suona lei) (Italian Edition) Note di gonna (quando il jazz lo suona lei) (Italian Edition)

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