Saturn Cycle

構成数 : 1枚
合計収録時間 : 01:09:02
Full performer name: Georg Graewe/Ernst Reijseger/Gerry Hemingway. Personnel: Georg Graewe (piano); Ernst Reijseger (cello); Gerry Hemingway (drums, percussion). Personnel: Ernst Reijseger (cello); Gerry Hemingway (drums, percussion); Georg Graewe (piano). Liner Note Author: Russ Summers. Recording information: LOFT, Koln, Germany (11/13/1994). Photographer: Francesca Patella. This free improvising trio sets sail for territory both celestial and terrestrial on this recording done in Koln, Germany at the Loft. Graewe's piano is quite tonal throughout, loose and free while retaining a non-noisy phraseology. Reijseger's world class cello improvising takes on many timbres, from deep bowed legato depths to soaring overtones and scrapings. Hemingway's large and small percussion trappings are the glue that holds the three together -- his is an uncanny style and ability to intently listen and respond, frequently cajoling his teammates to thrust themselves further into the fray. The CD starts with "La Bonne Vitesse, Approximations I/II." The former is 16 minutes of developed exploration and interplay, with discernable 4/4 beats supporting chattering counterpoint, each member feeding off one another; the latter song takes a more serene approach, with Reijseger's swooping cello taking the center of attention. "Fortyfications" has dark piano shadings leading to a definite walking swing movement, then revving way up, leading to a pensive cello solo and sparse coda. "Future Reference" incorporates several snippets of improv scattered over broad terrain. The title cut is over 20 minutes long, beginning with scratchy cello, darting piano, and inquisitive percussion. The bulk of the middle section is a hard bopping, anxious, power-laden, swinging shuffle. "Perturbation" is not so annoying as the title suggests. Instead, Hemingway's multisyllabic percussion drives the piece, while Graewe's piano sticks in a jab here and there. This will appeal to advanced listeners not swayed by pop function or straight jazz purism, but there are many elements of tonal centrism that makes this recording quite revelatory. Reijseger is particularly brilliant. ~ Michael G. Nastos
録音 : ステレオ (Studio)