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  • OUT NOW | NO&RD - ONE

    Olivier Mellano & Régïs Boulard limited 1st press in 300 limited edition audiophile quality CD GET YOUR COPY We at Dark Companion Records are thrilled to announce the first album for our Unifaun Productions label from the French avantgarde musicans Olivier Mellano and Régïs Boulard. We were introduced some years ago to Olivier by John Greaves and eventually collaborated for John’s Life Size production we did for Manticore Records and then Olivier, long time Greaves collaborator, starred in Annie Barbazza’s critically acclaimed Vive. Max was already a Mellano fan from his long time collaboration with Brendan Perry (Dead Can Dance) and his amazing work for Baum, where Olivier arranged with such beauty and grace Faure’s lieders. Olivier’s play on his old 1961 Fender Jazzmaster is really outstanding. It was natural for us to guest such an innovative musician in our artists log. And when Olivier introduced us to the propulsive genius of Regïs drums, it really blew our minds out! This album of pure new music is so full of references from Henry Kaiser, King Crimson, Fred Frith, Mars, Chrome, Mx-80 Sound and so on. No&Rd is the name of this dynamic duo and is taken from the two last letters of their surnames. We are so proud to have released it and more, far more is ready to come! Max Marchini, July 2021 «We’ve known each other for 15 years. And for 15 years, we’ve been talking about this duo. So, undoubtedly, as we knew it would be important, we’ve been waiting for the right time. We have nothing to prove, as we never prove anything, especially to each other. Therefore this is a music without concern, without fear, self-restraint or inhibition, which is what we have wished from the very beginning. Nor either improvised or composed, each tune arises from an instant buzzing, an intense complicity, a necessity, an euphoric urgency. We have learned to unlearn. Trust, a thirst for clarity, pleasure are our key words. Beauty does not scare us, looking for it does not discourage us.» NO&RD - GET YOUR COPY -

  • OUT NOW | PRISKA - LA SÉMANTIQUE DES RÊVES

    limited 1st press in 222 limited edition audiophile quality CD GET YOUR COPY Priska is a world apart. I think there is no one like her. She writes haunting melodies with a strong hook that linger in your mind. She is French born and lives in a small village on a river, lost in the north east of Italy, in the Alps. She is wild and sings heartfelt tunes, happy sad and very peculiar ones but she enchanted the likes of Paul Roland and Annie Barbazza and they will start collaborate in the next future. Priska's voice reminds me of Nico or Bridget St. John’s low pitch, and is spiced of amber and velvet. She haunted me from the first time I stumbled into her world by a weird, old fashioned, handwritten letter where she described so humbly her self produced first album. It was so unusual that I looked for her and eventually rang her and say hello. Webecame friends and I can tell you she is bittersweet exactly as her music that I hope will haunt you as well. This anthology welcomes Priska in the Dark Companion family. Max Marchini, July 2021 Tracklist Echi Santamarea Chère mademoiselle C’est mon rêve Indifeso Sans amour Le nouvel an L’embrasse Jesus mari Sisifo Il a dit Domenica Thelema Veleno La chouette Lydian theme for Piano If you’re right produced by Max Marchini - GET YOUR COPY -

  • So Long, Narada

    We are devastated. Our friend and label musican Burton Greene passed away on June 28, 2021. What a terrible week: Frederic Rzewski, Jon Hassell and Burton Greene, three giants of new music left us. With Burton, we planned a new album for next October and some gigs starting from Piacenza to promote it. We will do our best to issue this last masterpiece in the exact way Burton wanted it. Stay tuned since, as usual, first press will be limited edition and hand-numbered . Have a fantastic voyage, Narada Burton Greene. Your music will live forever. Max Marchini

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Pagine (28)

  • Dark Companion | Artists

    The Artists Annie Barbazza RELEASES UPE001: Annie's Playlist 1 UPE003: Annie's Playlist 2 DC013: Vive ​ appears also in DC003 | UP002 | UP004 | UPE002 JEANETTE SOLLÈN RELEASES DC007: Ripe When Yields To Gentle Pressure RON GEESIN RELEASES DC010: ExpoZoom Keith TIPPETT RELEASES DC001: Mujician Solo IV - live in Piacenza DC006: A Mid Autumn Night's Dream MICHAEL TANNER RELEASES DCE001: Michael Tanner & Alison Cotton appear also in DC005 | DC013 PAolo Tofani RELEASES DC002: Real Essence DC006: A Mid Autumn Night's Dream ​ appears also in UP002 | DC013 UNTITLED NOISE RELEASES DC011: Perpetual Possibility (w/Lino Capra Vaccina) BOXHEAD ENSEMBLE to be released: Armenia John Greaves RELEASES DC003: Piacenza DCE003: Passage Du Nord Ouest DCTMS001: Songs [reissue] ​ appears also in DC013 JUGALBANDI TRIO RELEASES UP005: Confluence LIno Capra Vaccina RELEASES DC004: Arcaico Armonico DC005: Metafisiche Del Suono DC006: A Mid Autumn Night's Dream DC011: Perpetual Possibility ( w/Untitled Noise) DCE002: Rifrazioni Mistiche - SOLD OUT ​ appears also in DC013 NORTH SEA RADIO ORCHESTRA RELEASES DC012: FOLLY BOLOLEY Songs from Robert Wyatt's Rock Bottom PAUL ROLAND RELEASES UP002: White Zombie UP003: Grimmer Than Grimm UP004: 1313 Mocking Bird Lane UPE002: Mambo Jo [single] BOOK: Selected lyrics & more - SOLD OUT ​ appears also in DC013 Vincenzo Ramaglia RELEASES DC008: Atomic City Flyte Reaction RELEASES UP001: Magnetophon Distances appears also in UP003 | UP004 NARADA BURTON GREENE to be released: A Cooperative Music In Isolation JULIE TIPPETTS RELEASES DC006: A Mid Autumn Night's Dream MARKUS STOCKHAUSEN & ALIREZA MORTAZAVI RELEASES DC009: Hamdelaneh - Intimate Dialogues ​ OLIVIER MELLANO & RÉGÏS Boulard NO & RD to be released: One PRISKA UPE005: La Sèmantique Des Rêves

  • Dark Companion | Records - DC001

    Keith Tippett Mujician Solo IV - Live In Piacenza Buy CD DC001 999 copies Tracklist: 01. Piacenza Listen to Mujician Solo IV - Live In Piacenza by Keith Tippett on: Spotify Bandcamp Credits Keith Tippett: Steinway Grand Piano about Keith Tippett Keith Tippett is one of the most important European jazz musicians in the last 40 years. The extent of his work is vast, as a soloist, composer, arranger,collective improviser and band leader. For me, he is the undisputed father-figure of postmodern jazz piano this side of the Atlantic. The only slight problematic hick-up in such a statement is the word ‘jazz’. Here I am using the j-word to describe a music extending way, way, way outside and beyond the bounds of music rooted in the great American moment. We are not dealing with the blue of blues, rather with a cut of colour abstracted through a prism of pluralities. Keith Tippett has created and fashioned a form of spontaneous compositionthat the definitive Penguin Guide to Jazz on CD (Cook/Morton), referring to the original three 1980’s Mujician recordings on the FMP label, called “amongthe most self-consistent and beautiful solo improvisations of the decade and asignificant reprogramming of the language of piano.” The road to Piacenza and the recording of ‘Mujician Solo IV’ did not actually begin with the solo Mujician trilogy, nor did it end with them. The first solo KeithTippett recording, ‘The Unlonely Raindancer’, was produced during a 1979 Netherlands tour, two years prior to ‘Mujician I’. Following the classic ‘MujicianIII (August Air)’ in 1986, solo recordings began to take on individual names. By1988 the title ‘Mujician’ had begun to be used by the groundbreaking quartetKeith Tippett established with sax player Paul Dunmall, bassist Paul Rogers andthe ex-Tubby Hayes drummer Tony Levin. This unique band continued to record and evolve over the next two decades until Tony Levin’s death in 2011. During the 1990’s Keith Tippett made three key solo recordings,‘The Dartington Concert’ (1990), ‘Une Croix Dans L’Ocean’ (1994), and until now, my all time favourite,‘Friday the 13th’ (1997). Recorded in Japan byNippon Rediffusion, the sheer size of the sound and delivery of the chromatics coming off, what amounts to an acoustic hammered harp under constant manipulation by the pianist from within the chamber of the grand piano, signals a culmination of what this great exploratory inventor of musics was seeking from these three solo recitals. In my opinion, the unlucky-for-some-‘Friday’ is a profound moment in a career that has touched the Dharma more than once. Yet ‘Friday the 13th’ is fifteen years away from this new January 2012 performance - ‘Mujician Solo IV Live In Piacenza’, recorded at the Conservatorio, Nicolini in Italy. The Japaneserecording clearly contains the antecedents for what was to happen in Italy over a decade later; an outpouring of the impromptu that is so utterly concentrated, tension and release spring back and forth not only between Tippett and his chosen instrument but also between the audience and the performer. ‘Mujician Solo IV’ is the work of a mature maestro at the height of his powers, expressed both in the depth of his playing and in his ability to establish an almost soulful connectionwith the people who came to listen. The soul is wherever you may find it. Throughout ‘Mujician Solo IV’ there are many identifiable Keith Tippett signature-signs. Call themtrademarks, track trails, messages, imprints, autographs of arrival and departure. Thecreative process inscribed and instantly categorised by the musician/mujician as surelyas DNA; a honing process of an art form designed over four decades. A barely shaken maraca but shaken nonetheless, a child’s musical box running out of time. No voltage of electricity, simply pebbles and woodblocks placed to literally dance on wires with all the precision of a man who has tracked his own trail across the continent of music. Through rapid ostinati, like the cloudburst from a storm, via melodies so light it is impossible that they live on paper, he continues to follow the runes of his own making. This piano is not prepared, not ‘Caged’, it is an open, purposeful place. However something else ispresent at this Piacenza concert, something which absolutely nails the importance ofthis new release. ‘Mujician Solo IV’ is not simply a restating of all those known qualities and attributes. This special solo recording is the current thesis; and it is an organic masterpiece. It contains all the implications of the years between the original three solo ‘Mujician’ recordings through to the present. During that period I have attended numerous Keith Tippett concerts, none of which ever surfaced on disk. Max Marchinihad the good sense to record the Piacenza Conservatorio performance. This is Keith Tippett at 64, hugely influential yet still a mysterious figure; alone, noneof his compatriots past or present stand beside him. He is a man facing the implications of his own singular gifts, touching the pitch of night as well as daylight abroad. Fifteenyears previously in his solo recital in Japan he had quoted from his own composition‘Dedicated To Mingus’, seven years before that at the end of his solo gig in DartingtonhehadliterallysunganelegytohisoldfriendDuduPukwanaintothebowelsofapiano once owned by the Polish composer Paderewski. In Piacenza 2012 all that is behind him. At one point, roughly two thirds of the way through ‘Mujician Solo IV’, Keith Tippettdraws from an even deeper well. Before Charles Mingus, before Dudu Pukwana, beforehis own daughter Inca, who as a child had come up with the word ‘Mujician’ to describeher father, before Kenny Ball’s trumpet blew ‘Midnight In Moscow’ on the wireless in the family home in Bristol, before all the rest of the rest, was the ‘Londonderry Air’. It is as if the years suddenly shift back to the beginning of things. And at Piacenza that shreddedstrand of melody rises like a wave from the sea of consciousness only to recede as time takes time away. In 1998 when I wrote the liner notes for the ‘Mujician I & II’ CD re-release, I describedthe function of the Tippett piano as: “Tuned percussion to describe the possibilities of not just the now, but that long evolving look into eternity.” Truly, as I write these linernotes and listen to my old friend’s new solo recording from 2012 I am yet again touched by the gravitas of his ‘execution’. The word has more than one meaning. Keith Tippett chooses life. ​ Written by Steve Day, 2015: www.stevedaywordsandmusic.co.uk REVIEWS: ALL ABOUT JAZZ (Bazzurro) | ALL ABOUT JAZZ (Heining) | ALTROCK | BLOGSPOT | BLOWUP | BRISTOL 24/7 | MUSICA JAZZ | DOWNTOWN MG | ROCKERILLA | THE GUARDIAN | THEJAZZBREAKFAST

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