All Is Always Now (Live) Fred Frith Trio

Album Info

Album Veröffentlichung:
2019

HRA-Veröffentlichung:
15.03.2019

Label: Intakt Records

Genre: Jazz

Subgenre: Contemporary Jazz

Das Album enthält Albumcover

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Formate & Preise

FormatPreisIm WarenkorbKaufen
FLAC 44.1 $ 17,90
  • 1Another Ship Moves In (Live)05:16
  • 2Identity Crisis (Live)11:42
  • 3A Complicated Path (Live)07:39
  • 4Strife and Soil (Live)09:30
  • 5Limited Strike (Live)06:11
  • 6Silver Lining (Live)03:07
  • 7Slipping (Live)16:33
  • 8World of Grief and Doubt (Live)06:55
  • 9Concussion Suit (Live)06:37
  • 10From the Backstretch (Live)06:32
  • 11Shrug at Truth (Live)15:26
  • 12Reasons to Dream (Live)08:15
  • 13What Gets Left Behind (Live)08:11
  • 14Like Animals (Live)10:53
  • 15A Measure of Solace (Live)10:42
  • 16Deter and Degrade (Live)08:56
  • 17Of Finest Silver (Live)03:29
  • 18Veils (Live)06:27
  • 19Held Again (Live)07:04
  • 20Flare (Live)19:26
  • 21Hero of the Space Age (Live)07:35
  • 22Devoted to a Failed Approach (Live)06:07
  • 23Evidence (Live)08:09
  • Total Runtime03:20:42

Info zu All Is Always Now (Live)

Fred Frith spielte zwischen 2006 und 2016 im New Yorker Jazzclub The Stone, dem einmaligen Künstlerraum für experimentelle Musik, achtzig Konzerte mit einigen der kreativsten Musikerinnen und Musikern der aktuellen Szene: Von Laurie Anderson über Pauline Oliveros, Sylvie Courvoisier, Evan Parker bis Nate Wooley.

23 Höhepunkte sind auf der 3-fach Album "Fred Frith Live at the Stone. All Is Always Now" versammelt. "Die Kraft der auftretenden Persönlichkeiten ist so stark, dass jedes Stück in seiner Einzigartigkeit fasziniert", sagt Fred Frith. Und die Mitmusikerin Theresa Wong schreibt: "Ich war beeindruckt von der Musikalität. Damit meine ich: Es gibt diese Präsenz von Liedern und Gesangsformen – die Musik kann harmonisch und melodisch sein, es gibt Geräusche, es gibt Rhythmus, Freude, Erkundung, Sinnlichkeit von Klängen, aber gleichzeitig ist immer eine Musikalität da, die sich für mich wie Songs anfühlt."

Fred Frith, guitar, bass, voice
Laurie Anderson, vocals, violin, keyboards
Amma Ateria, electronics, samples
Sylvie Courvoisier, piano
Nava Dunkelman, percussion
Shelley Hirsch, vocals
Jason Hoopes, bass
Annie Lewandowski, vocals
Jessica Lurie, flute, saxophone
Miya Masaoka, koto
Ikue Mori, drums, percussion, electronics
Else Olsen Storesund, piano
Evan Parker, tenor saxophone, sopran saxophone
Gyan Riley, guitar
Sudhu Tewari, sound treatment
Clara Weil, vocals
Theresa Wong, cello
Nate Wooley, trumpet

Recorded between 2006 and 2016 at the Stone, New York, USA. All material mixed and / or otherwise sonically enhanced at Jankowski Soundfabrik, Esslingen on February 27, 28 and March 1, 2018.




Fred Frith
Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.

In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.

The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.

He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.

His film soundtracks (for award-winning films like Thomas Riedelsheimer’s Rivers and Tides and Touch the Sound, Peter Mettler’s Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow’s Thirst, to name a few) won him a lifetime achievement award from Prague’s “Music on Film, Film on Music” Festival (MOFFOM) in 2007. The following year he received Italy’s Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life’s work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.

Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland.

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