Hypoglycemia Cinnamon

- Brain Dance Quintet (The Triton - January 27, 2011)

In recent years, Henri Texier multiplies the name of its formations while still keeping some of the same musicians. This "Brain Dance Quintet" is the "North-South Quintet", renamed on the occasion of this concert as part of the Brain Festival for research on neurodegenerative diseases. This quintet is actually the "Red Road Quartet, plus Bearzatti Francesco (the leader of the Quartet Tinissima saw two days ago ). This "Red Road Quartet" was itself sometimes called "Strada Quartet, as is the famous Strada Sextet, private and Corneloup Kornazov.

short, we Christophe Marguet on drums, sometimes less explosive, more concentrated, but still impressive, able to fire even with mallets. Henri Texier will do little in front, behind leader, offering small moments to Archer, a great play, and a small percussion instrument used on the strings. Manu Codjia is still volatile, liquid sounds here, burning, and we offer a solo electronic sound processing extraordinary inventiveness ("Tormentoso") before a very very rock song ("Mucho Calor"). The two blowers, Sébastien Texier and Francesco Bearzatti play more on the parallel on the complement, thus both on the clarinet, or both on saxophone. They exchange little lines like sax and trumpet can do. Faithful to the way in making Texier, they take solos one after another, spreading their ideas on large periods of time.



The concert features mostly songs from the album "Canto Negro" (sold in preview at the concert). Texier drew on his African inspiration, oscillates between energy and sadness (magnificent "Sueno Canto final). Some older chips ("Sacrifice") round the program.
All this gives excellent jazz, even if we could dream of more surprises, but the failure to have often seen this small group of musicians, a sense of their performance is "excellent as usual" .



Elsewhere: ptilou , Emmanuelle Vial

How To Make A Vw Dune Buggy

Crispell - Tinissima (Salle Jean Vilar - January 25, 2011)

First visit to this room at Arcueil, which is actually a converted movie theater. Marilyn Crispell

- Solo

Bent above the keyboard, face hidden by hair, it does not communicate with the public, focusing on his music. In a sequence ten minutes separated by short rests, it offers a mixture of three materials: the pointillist abstraction, finding rhythms, play with the silence of processions in which the two hands of a chase across keyboard, sometimes in stages, sometimes in opposition, but more joyful glee in furious frenzy, almost romantic melodies, accompaniment well classic.
This last part I like least, as these songs, which conclude almost every sequence, fail to move me. For cons, the intensity of energetic material is a great surprise, I thought Marilyn Crispell was more or less abandoned this ground in the period from "Braxton" on time "ECM". But
repetitive sequences, thus offering all the same ingredients in varying proportions, eventually tired and disappointed me a bit. Fortunately, the last a, a melody this time more exciting (maybe it written and not improvised?), Concludes with a perfect score.

Tinissima Quartet - Tina Modotti

After I saw this quartet present two months ago their second album on Malcolm X. Tonight, they return on the first, which was christened, dedicated to Tina Modotti, including photographs, superb, are projected above the band.



The group makes me feel much better tonight. Danilo Gallo, who is sicker, alternating between his aggressive and easily tampered with the electric bass guitar, and the more dynamic and warm bass. Zeno De Rossi no longer has to play disco era evoked forces, and offers a layer of rhythm that suits me better. Giovanni Falzone
remains sober in vocal effects, being confined almost to his trumpet. And Francesco Bearzatti always alternates between clarinet and alto saxophone. But between them, understanding and exchanges are more fruitful, perhaps because they are more familiar with these songs which they turn for much longer. Their duels in short phrases exchanged lively and adventurous, and we feel great pleasure that animates them all.
Suddenly, the gimmick "Masada Italian" works better, especially when the beak Bearzatti stridulate detached from his clarinet in acute modulated! They love their
treat for concert. This time, the poem funeral of Pablo Neruda which runs on a heavier music, beautiful tribute.



Elsewhere : Citizen Jazz, JazzMagazine
Spotify: Tinissima is not there, but if Crispell, here are two solo albums, Coltrane For dating from 1993 and Thumbnails 2008.

Chromatography Of Plant Pigments Lab Write Up

Ea Sola - Air Lines (Theatre des Abbesses - January 19, 2011)

"This is a performance more than a" show "the booklet warns. In fact, Sola is presented by the roles of "design, set design, video, lighting and interpretation", a list which contains neither dance or choreography.

representation can be divided into two parts. The first is the most interesting. The scenery there is an important role. Fans raise plastic films in raging waves, and oppose the advance of Sola, who literally has to fight against all odds and attempts to reach a mast which flies a banner promising rest perhaps, it changes repeatedly, Europe, USA, China, decorated with stars.
On screen backdrop parade of names of other countries, other flags. And excerpts from a documentary on refugees Martyrs of the Gulf of Aden. On which she shoots a rifle suckers, I do not really know why ...
It disappears under the waves at times tumultuous, offered to the wind collapses but is recovering.

The second part presents a little dance. But there is a disturbing gap between the violence of what she wants to evoke, refugees chased from one country to another ("bursting with rage, he became an outlaw, turned terrorist", no less!) , and gentle movements and poses, which work to provide a calming, but there was enough before rage or rebellion.

Tattoo Has White Spots

P. 305. Suite??

If you want to walk to a result of this blog ...

(Photo JPO / DR).

Mo (t) 2 saïques

through this link: click here !


.

Is Piriformis Syndrome A Permanent

Joelle Leandre, Vincent Courtois (Le Triton - 14 January 2010) Poppe

A bass and a cello duet, it's not so common. This meeting takes place under the "flames 60 " Joëlle Leandre, a series 60 concerts held to celebrate its 60 years.



is the first time that these two are onstage together, and as she arrived very late, there was almost no preparation. But she has sufficient background in improvisation, and he in special off-road, to be able to start well, and we offer the very good music. Question
energy, she is leading. A flow of magma breaks almost harmonic, rhythmic flare of, with floating melodies, it captures, expresses accompanies. They are careful not to step on toes, looking for the complement, not imitation, even if the echoes later recovery of an idea, a sound, a type of gambling are permitted. He finds little bit more room, and she leaves him little by little over the floor, even if you can not talk about balance (trade but, yes, it is neither dictatorial nor refractory to listen, especially just overflowing with music, and very accustomed to improvisation in all genres).




The concert is organized into sequences of about twenty minutes, more or less concluded with an episode where Leander begins to sing, chant shamanic priestess, Parody endless dirge of a dramatic opera heroine (with impressive showmanship, sickness, fall, collapse, agony and slow resurrection), or scat crazy for words and syllables ("salopiauds, all that" ).

There will be a lot more bow than I thought, a priori, sometimes used in reverse, wood rubbing the strings with percussion passages, or using parts of unusual instruments, spades, ropes ties, etc.. ; Courtois use two bows for a moment, but overall, rubbing the strings with horsehair (which will be very tired!) And plucking the strings with the other hand will remain the privileged mode. This was enough to sometimes be heard as an instrument electrified (a game while double rope), sometimes close to an old (in screeching sounds and repetitive). All with great humor, energy, and fun.

At the end, Courtois begins to disassemble his cello, playing without the pike (resonance worst!), Then releasing a rope, dropping a key. After that, it's on, there will be no additional ba!

Spotify: Joelle Leandre - Live In Israel , Vincent Courtois Afane + Ze Jam - Man Airplane , Jean-Pierre and Marie Mouhaud - Check (a record that mixed contemporary improvisations and baroque pieces for viola da gamba and basso continuo)
Elsewhere: a set of photos in Flickr

Can You Buy Alcohol With An Interim License

Stravinsky (Music City - January 12, 2010) Michel Portal

Igor Stravinsky - Octet

The book quotes from article written by Stravinsky in 1924: My

Octet is a musical object. [...] My Octet is not a work using "emotion", but a musical composition based on musical elements that are sufficient unto themselves.

The gentle humor is it an emotion, or a musical instrument? It abounds in this room varying atmospheres, debonair walking, circus fanfare liveliness to quiet, impromptu dialogues, such as improvised, all this bright and charming, of course impeccably interpreted by the CIS led by Mälkki.

Enno Poppe - Markt

A CIS enlisted the Paris Conservatoire Orchestra. At the first listening Poppe, I had identified as forward composer. But I'm pretty disappointed, I think. In this piece, I like the concept, zoom in three stages in a relational structure that appears chaotic at first glance (chopped bits of musical cells and fragmented), then where are distinguished from reports and guidelines (the most interesting part, between mysteries and clear explanations), then when everything becomes understandable. This last part, the longest, unfortunately becomes boring quickly, with a melody endlessly repeated pulpit lectern, and percussion in the background blurring the tempo and attacking the orchestra without originality. A big bof.

Igor Stravinsky - The Rite of Spring

Susanna Mälkki very familiar with the boundaries of the Great Hall of the City of Music, which enables it to contain just right the potential destructive power of the orchestra spread before her, that taking the scene is not willing to level with the public. She also maintains an outfit perfect rhythm. The enthusiasm of young musicians mentored by veterans of the CIS does the rest: an interpretation full of energy but not too much, which sparkles with detail, without ever the general line is forgotten, and that flows from a source across.

Elsewhere: ConcertoNet
Spotify: Esa-Pekka Salonen - Stravinsky: Pulcinella; Ragtime; Fox; Octet (for the Rite, you already know, I put the link to a reconstruction of the evening Creation )

Milena Melva Y Nadine

Sextet (Salle Pleyel - January 9, 2011)

Sextet The advantage of the vast stage of the Salle Pleyel to deploy broadly, the guitarist Lionel Loueke on one side, the pianist Bojan Z on the other, the bassist Scott Colley and drummer Jack DeJohnette a little behind, and the center occupied by the trumpeter Ambrose Akinmusire and clarinetist (and sometimes saxophone, bandoneon not tonight) Michel Portal.



It starts with Loueke's guitar, his dry, close to the kora and pace of mouth, and DeJohnette completes the frieze subtle percussive and joyous. Fairly quickly after chorus of all, some players are silent, and we are entitled to a beautiful piano trio-bass-drums. There will be more than one beautiful duet clarinet-guitar. And solos, of course. Talents are sufficiently numerous on the scene so that multiple configurations are possible, and they will be well exploited.
I do not know why the game tonight does Jack DeJohnette me neither hot nor cold, his solos seem uninspired, I do not feel any particular thrill to listen. It provides a flawless rhythmic layer, but no mystery for my liking.
I find more pleasure in the solos by Scott Colley (deep, ineradicable) is saying!
Bojan Z is discrete, mostly in support, piano more than electronic keyboards, and more agreements in clusters, away from his jazz-rock explorations in his own group. We can see that he has kept the same class when it is absolutely more to speak, even in this record that more African balkan.
invoked Africa among others by the guitarist Lionel Loueke, also at times very quiet, and then swinging between classical and electronic sounds tell others much drier and percussive.
And next to the master work of Michel Portal, always lyrical, generous, juggling between different hips, the revelation of the evening is the trumpeter Ambrose Akinmusire, sparkling a bit tense at first solo, as frustrated at not reaching the high notes blow it seems to seek, and thoroughly relaxed, sober stage presence, and play bright, clear, exciting.
As I am in the middle of the third, very close to the scene, therefore, the two blowers eat just the sound of the pianist and guitarist. Listening on ArteLiveWeb gives me blow impressions rather different from those experienced in the evening!

After initial a. Normally, musicians grow Portal on stage and then abandon it, and he submits to the exercise of the solo, a classic view of the reactions room, and absolutely gorgeous.



Elsewhere: Klariscope , Native Dancer-

Spotify: Michel Portal - Bailador , Ambrose Akinmusire - Prelude ... To Cora , Lionel Loueke - Mwaliko

Custom I Love Boobies Bracelet

Dissonances - Soviet Music (Cité de la Musique - January 7, 2011) Planning

Again, a suspicious package line 5 causes an early gig in a room a bit empty, which will be well filled when the doors open at the end of the first piece .

Valentin Silvestrov - String Quartet No. 1

strange room, as timeless. Historical time, initially, with the full tonal melody that goes wrong, from the whisper in a noisy, then leaves, torn between the ages difficult to date. Written in 1974, she did not place in a musical, digs its own style. Timeless narrative, too. Slow almost imperturbable something static, contemplative, even when the pace accelerates, it in a reservoir tending towards the abstract, with original structures, duplicate pairs, making the violins that punctuate a rather bewitching viola-cello duet, for example. A beautiful discovery.

Dmitri Shostakovich - Chamber Symphony Op. 110a

Finally, it is preferable to give him that title, rather than say it is the transcription for string orchestra quartet No. 8. Because the face is much different. Less poignant (the limit of endurance, both the dose of desperation is strong in this quartet!), And more material Symphony, where we more easily recognize the quotations, whether from the symphonies of Shostakovich himself, or other composers. The DSCH ubiquitous digest all this, and unifies the way, in self-portrait written as an epitaph. But this transformation orchestral works less well on the slow passages, where the bowing in unison shrill sound unnecessarily spectacular when the text is to destitution and introspection deadly. Interesting but less important than the original version.

Alfred Schnittke - Concerto Grosso No. 1 for Piano acute

prepared and playing a melody Metallic and severe left in natural and punctuating percussion resonant, then the strings are waking up gradually and emerge the two solo violins. This time, David Grimal stands, accompanied by Hans Peter Hofmann, who in the middle of the toccata breaks a string. Grimal jokes with the audience while Hofmann repairs at full speed. I find humor in this concerto by Schnittke creaky, but the whole does not turn me on, without my knowing if this is implemented by the dissonance that is not accurate, or whether it is music that would be too timid in its audacity, which offers such a breathless chase between the two violins finally fairly standard, but cluttered with drifts more avant-garde without achieving consistency. Other concerti grossi (the fifth example) have me hooked and otherwise conveyed.

Spotify: Rosamunde Quartett - Silvestrov: Leggiero, Pesante , Constantine Orbelian - Shostakovich: Chamber Symphony / Schnittke: Piano Concerto , Chamber Orchestra of Europe & Heinrich Schiff - Schnittke: Concerto Grosso No.1

What To Do To Fix Crowded Teeth

January-February 2011

A program not too busy, which I hope will return to Triton (eg 14/01, 27/01 , 03.02 , 2.10 ...).

• Date - Place - Name
• 07/01/2011 - CoM - Dissonances
• 09/01/2011 - Ple - Michel Portal Sextet
• 12/01/2011 - CoM - Stravinsky / Poppe
  
• 19/01/2011 - Abs - Sola
• 29/01/2011 - CoM - Soloists EIC
• 06/20/2011 - TdV - AT De Keersmaeker
• 11/02/2011 - CoM - Carter Anderson Saariaho
  
• 17/02/2011 - CoM - Superman Cine-Mix
• 23/02/2011 - TdV - Ballet de l'Opera de Lyon
• 25/02/2011 - CoM - EIC / Synergy Vocals

What Happened To Vito On Bam

Cinema 2010

Clearly, I turn now barely above the 30 films per year, away from 50 and more years ago (73 in 2003 , damn!).

Tetro ; A Serious Man ; Refuge ; Sherlock Holmes ; Warrior Silent +; Shutter Island +; The Ghost Writer ; + Soul Kitchen; Alice in Wonderland -; Guests of my father ; Mammuth ; Iron Man 2 - ; Life During Wartime +; Kick Ass +; In his eyes -; The A-; Tour ; Toy Story 3 +; Inception ; A poison ; Poetry +; Salt -; Men and Gods ; The Town ; Me Despicable -; You'll meet a handsome, dark stranger ; The Social Network +; Deep in the woods +; Biutiful ; Potiche ; The name of the people +