Indigo Mist: That The Days Go By And Never Come Again (CD)

Indigo Mist

That The Days Go By And Never Come Again

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Indigo Mist: That The Days Go By And Never Come Again, CD

lieferbar innerhalb 1-2 Wochen
(soweit verfügbar beim Lieferanten)

EUR 15,99*

Verlängerter Rückgabezeitraum bis 31. Januar 2025

Alle zur Rückgabe berechtigten Produkte, die zwischen dem 1. bis 31. Dezember 2024 gekauft wurden, können bis zum 31. Januar 2025 zurückgegeben werden.

Versandkosten

Label: RareNoise, 2014
Bestellnummer: 5514603
Erscheinungstermin: 11.8.2014

Weitere Ausgaben von That The Days Go By And Never Come Again

EUR 26,99* Indigo Mist: That The Days Go By And Never Come Again LP

*** Digipack

Album digital in HD (Werbung)

Product Information

Trumpeter-composer Cuong Vu has established himself as a distinctive voice on the new music/improvising scene for his adventurous work over the past 20 years with the likes of guitarist Bill Frisell, Pat Metheny and Laurie Anderson as well as his body of works as leader. Electro-acoustic composer and pianist Richard Karpen has earned accolades for his work in the classical field as well as for being a cutting edge sonic experimenter of the highest order. Joined by their faculty colleagues at the University of Washington, innovative bassist Luke Berman and Vu's longstanding bandmate, drummer Ted Poor, these two kindred spirits push the envelope in a myriad of provocative ways on That The Days Go By And Never Come Again, an extended suite that pays tribute to the indelible composing team of Duke Ellington and Billy Strayhorn in a most uncompromising fashion. As Karpen explains, "The piece was developed over many months and the computer technologies, which are very complicated from a computer application point of view, also took months of planning and software development at the Center for Digital Arts and Experimental Media at the University of Washington. We knew early on, based on Cuong's initial idea, that we would be basing this work on the music of Ellington and to some extent a conceptual reference to the music of Charles Mingus. With regard to Mingus, it's not any particular piece of his but the way in which musical ideas drift in and out of focus, into and out of what you might call usical realism' and usical surrealism.' That's something one hears also in Beethoven and it's a way of working with musical time and memory that has resonated with me from when I was a very young composer. I would also include great film artists such as Buñuel and Tarkovsky as continual inspirations for this kind of compositional approach that dares us to play so provocatively with the expectations of the audience using memory and archetypes as volatile and evocative artistic material. It has been a complete joy to explore this rich terrain collectively with Cuong and his bandmates all of whom are so brilliantly dedicated to their craft as musicians and have the vision and artistic instincts to be truly adventurous"