Gebhard Ullmann & Andreas Willers - Suite Noire - 1992

Gebhard Ullmann Andreas Willers / Suite Noire
Жанр: Modern Creative, Contemporary Jazz
Носитель: CD
Страна-производитель диска: Germany
Год издания: 1992
Издатель (лейбл): NABEL
Номер по каталогу: NABEL 4649
Страна: Germany, US
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 48:40
: свой фирменный диск
:
Треклист:
1. Tapping The Foot, Tapping The Brain 3:30
2. Lonely Woman / Double Density 10:31
3. Autumn Monday 3:18
4. Suite Noire 12:28
- Low - liness
- Ein Denkmal fur Rosa und Karl
- Sudan Airways Loop
- Solo
- La Prima Vera
- Twelve Tone Stomp
5. Departure 4:34
6. Tuba 1:00
7. Blaues Lied 5:55
8. L'Aura 7:01

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Содержание индексной карты (.CUE)

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Album Info AMG Review

(G. Ullmann) - 1,7
(Coleman) - 2a
(G. Ullmann/A. Willers) - 2b,8
(A. Willers) - 3,5
(A. Willers/G. Ullmann) - 4
(B. Stewart/G. Ullmann/A. Willers) - 6
Recorded January 1990 at Sound on Sound Studios, NYC
Engineer: Peter Beckerman
Additional recording and mixing August 1990 at Tonstudio Bauer, Ludwigsburg
Engineer: Johannes Wohlleben
CD Mastering: Peter Avar
Cover design by NABEL
Fotos by Hyou Vielz and Detlev Schilke
Produced by NABEL and WDR Cologne
On Playful, the first outing by Willers and Ullmann, the duo used themselves as an orchestra by overdubbing endlessly to achieve the desired sound effects. The result was intriguing if somewhat predictable by record's end. On this set they've added drummer Smitty Smith and, on selected tracks, tuba giant Bob Stewart, formerly of Lester Bowie's Brass Fantasy. Here, on a host of originals and a cover of Ornette Coleman's Lonely Woman, the pair use, despite having twice as many musicians, even more overdubs to achieve this sort of virtual big band they so wish for. Musically there can be very little complaint about Willers and Ullmann. They are deft, innovative and precise players who can both read and improvise with the best of them. Sonically, however, despite the gorgeous warm tones of Stewart on the title track (which is in six sections) and Smith's powerful enigmatic drumming, the result ends up to be pretty much the same as the last time. The reason is a simple one, in overdubbing themselves in various harmonic situations and in myriad melodic and rhythmic constructs, the voices, no matter how many of them there are, are the same voices. There is no real tonal variation on the way Ullmann plays his set horn lines in the arrangements. And no matter how much tape manipulation one cares to do, Willers guitar style is telltale. The writing is very fine and well organized, and touches upon many different developments in 20th century music from 12 tone to Hendrix, but in the similarities of voice and phrase, there is only so much that can be revealed.

Состав

Gebhard Ullmann: tenor-, sopranosaxophones, bassclarinets, concert-, alto-, bassflutes
Andreas Willers: electric and acoustic guitars, guitar synthesizer
with
Marvin Smitty Smith: drums and percussion on 2 5, percussion sample on track 1
Bob Stewart: tuba on 4 6