Hans Koch, Martin Schutz, Marco Kappeli - Acceleration

Hans Koch, Martin Schutz, Marco Kappeli - Acceleration
Жанр: Modern Creative
Страна-производитель диска: Германия
Год издания диска: 1988
Издатель (лейбл): ECM Records
Номер по каталогу: ECM 1357 (833 473-2)
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 43:48
: ohadinu (hqshare)
: да
Треклист:
01. Shy Csardas (Koch) - 5:06
02. Im Delirium (Koch) - 2:54
03. Midori (Koch) - 8:50
04. Loisaida (Koch) - 1:57
05. Glas(s)no(s)t (Koch) - 6:10
06. Tatzelwurm (Koch) - 6:31
07. Nitrams Rock (Koch) - 4:27
08. Acceleration Controlee (Koch) - 5:57
09. GG-U-GG-U-RR-U-GG (Koch) - 1:56
Состав:
Hans Koch - clarinet, bass clarinet, tenor saxophone, soprano saxophone
Martin Schutz - bass, cello
Marco Kappeli - drums
Recorded at Tonstudio Bauer, Ludwigsburg in June 1987.

Лог создания рипа

Содержание индексной карты (.CUE)

Отчет CUETools

Об альбоме (сборнике)

The debut recording of classically trained Swiss clarinetist Hans Koch’s jazz trio with bassist/cellist Martin Schütz and drummer Marco Käppeli, Accélération is not a shy blip in the fascinating potpourri of ECM’s 80s period, by which time Koch’s formidable outfit had left its footprints in standard territories before branching out here with a set of nine originals. Into this, the shivering cello and pointillist rims of “Shy Csárdás” provide a fitting point of entry. Like an opera overture these sounds recede as quickly as they rise, making way for the clarineted protagonist whose introductory aria secures a tether of human folly to the romantic sentiments that follow. Koch’s forte sings as it moves and moves as it sings, finding an ecstatic dance “Im Delirium,” which gives us also the album’s first and last tenor line over a waltzing bass. “Midori” is a synaesthetic exercise, rustling through leaves and time with the obsession of hunger and divulging some fine moments from Schütz against a spate of frenetic drumming. That clarinet waves like the last thread to something familiar as it snaps into an ecstatic death throe. “Loisaida” casts a dreamy spotlight thereon and unspools a whirligig of a denouement in “Glas(s)no(s)t.” Of this, the engaging stichomythia between cello and soprano is but an appetizer to the screeching “Tatzelwurm,” itself a preamble to the bouquet of trio action that begins with “Nitrams Rock” and ends in the playful piece of swank that is “GG-U-GG-U-RR-U-GG.”
A personal favorite among ECM’s lesser-knowns.