Fitchew (fitchew) wrote in ru_ecm,

Tomasz Stanko - Balladyna (1976)

Исполнитель:Tomasz Stanko
Название альбома:Balladyna
Год выпуска:1976
Стиль:Jazz: Avant-Garde Jazz, Free Jazz

Artist: Tomasz Stanko
Album: Balladyna
Recording Date: Dec 1975
Release Date: 1976
Label: ECM, 1071
Genre: Jazz: Avant-Garde Jazz, Neo-Bop, Free Jazz, Modern Creative

1. First Song
2. Tale
3. Num
4. Duet
5. Balladyna
6. Last Song
7. Nenaliina

Tomasz Stanko: trumpet
Tomasz Szukalski: tenor and soprano saxophones
Dave Holland: bass
Edward Vesala: drums

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Tomasz Stanko: Balladyna (ECM 1071, 1976)
On this strong 1976 date, Tomasz Stanko's rich, forlorn trumpet sound is placed in a more rhythmic jazz setting than usual. Joined by the forceful, Dewey Redman-styled tenor sax of Tomasz Szukalski, solidly supported by the propulsive rhythm section of bassist Dave Holland and drummer Edward Vesala, Stanko plays with unusual urgency and fire on a number of original pieces. The Ornette Coleman influence is pervasive, especially in the melodic contours of the tunes, and in the interplay of Stanko and Szukalski. Stanko's fat, pliable tone and abstract ideas are as perfectly suited to these midtempo excursions as they are to his more somber reflections, which take up most of the last piece, "Nenaliina." The brooding melancholy of this piece exemplifies, perhaps, the more stereotypical "ECM sound" that would later become the label's trademark, but on this earlier date, Balladyna captures the qualities and strengths of thoughtful, hard-swinging European jazz for which the label is also renowned. --Wally Shoup

Jazz trumpeter Tomasz Stanko began his tenure as a major force in European free jazz in the early '60s with the formation of the quartet Jazz Darins in 1962 with Adam Makowicz. From 1963 to 1967 he played with Krzysztof Komeda in a group that revolutionized European jazz and made an impact across the Atlantic as well. Stanko also put in time with Andrzej Trzaskowski in the mid-'60s before leading his own quintet from 1968 to 1973. The Tomasz Stanko Quintet, which included Muniak and Zbigniew Seifert, garnered considerable critical acclaim, especially for their tribute to Komeda entitled Music for K. The early '70s brought collaborations with a number of avant-garde and creative jazz artists, including the Globe Unity Orchestra, Michal Urbaniak, Cecil Taylor, and Gary Peacock. From 1974 to 1978, Stanko played in a quartet with Edward Vesala, then returned to performing as a leader and soloist. The '80s brought Stanko collaborations with Chico Freeman in Freeman's group Heavy Life, as well as work with James Spaulding, Jack DeJohnette, and Rufus Reid. He was also briefly part of Cecil Taylor's big band in 1984. Shortly afterward, he formed another ensemble, Freelectronic. The '90s brought an alliance with ECM, which issued some of Stanko's most acclaimed work, including another lush, gorgeous tribute to Komeda, 1997's Litania, which was heavy with that composer's film work. The follow-up on ECM, 2000's From the Green Hill, drew from many of the same emotional and historic sources as Komeda's work, but this time the compositions were Stanko's. In 2002, Stanko's contributions to European jazz were honored when he was issued the very first European Prize, which was intended to honor outstanding European jazz musicians. During the final round of voting from 21 critics from as many countries, Stanko won ten votes, narrowly topping the runner-up, Dutch piano player Misha Mengelberg. That same year Soul of Things was released on ECM, followed by Suspended Night in 2004, also on ECM. Too Pee appeared in 2006, as did Chameleon and Lontano. /Thom Jurek, All Music Guide/

  • А что с сообществом?

    Пол года нет ничего нового. Жаль если умрет...

  • (no subject)

    Меньше, чем через час, в Таллине начинается трёхдневный мини-ECM-фест. Завтра встреча с Манфредом Айхером. Может, у кого-то есть вопросы к нему?

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