The Limbo Ensemble 2011

The Limbo Ensemble / Plebiscitu

Жанр: Modern Classical, Electroacoustic, Experimental
Страна-производитель диска (релиза): Poland
Год издания: 2011
Издатель (лейбл): AudioTong
Номер по каталогу: ATCD21.2011 (для CD)
Страна исполнителя (группы): Portugal / other
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: (lossy + lossless)
Продолжительность: 59:11
: нет
Треклист:

01. Amazing cut finger 08:53

02. The forgotten echo 06:43

03. Let us fall in temptation 08:02

04. The naked ballerina 09:30

05. A cramp in the toe 05:52

06. The orchard 06:20

07. Cherry pits 07:50

08. The black book of rejected souls 05:58
Released August 11, 2011Arranged and produced by Paulo Chagasover individual improvisations from 9 musicians

От себя
Интересный эксперимент португальского музыканта Paulo Chagas, вдохновленного идеями российско-украинского композитора Thomas de Hartmann (Фома Александрович Гартман), который получил музыкальное образование в Московской и Санкт-Петербуржской консерваториях и был, в свою очередь, учеником и сподвижником Георгия Гурджиева. Chagas собрал сольные записи восьми музыкантов из разных стран мира и, накладывая их друг на друга и добавляя свою музыку, получил 8 'импровизационных' композиций, названных им 'Plebescitu'
P.S. Такой способ написания музыки (весьма интересной и креативной) отчасти объясняет почему альбом не проходит проверку auCDtect - Бог его знает, что там были за сэмплы.) В любом случае это не 'пережатка', а такой вот оригинал

Об альбоме

Liner notes
The Ukrainian composer Thomas von Hartmann (1885-1956) - contemporary of Schoenberg, Kandinsky and Nijinsky - wrote in his essay 'On Anarchy in Music': 'While the inner voice does not revolt, everything is permitted. In all the arts, especially music, any method born from an inner need is correct.'
Hartmann was refering in particular to improvisation: 'What the composer wants to express is what the intention is at the time of your intuition.' With this sentence, he could not imagine the doors he was opening. If, at that time, this was understood as an invitation to adapt music writing to spontaneity, perhaps by replacing it with an immediate praxis, it certainly can also be understood in the context of other types of combination of the intuitive with the 'composed' and even, why not, in order to compose what was intuited.
In that concept, 'Plebiscitu' from Limbo Ensemble, is a work with a hartmannian range. Portuguese multi-instrumentalist Paulo Chagas collected recordings of improvisations by nine musicians from different countries (Australia, United States, Brazil, France, Sweden and Portugal), including Massimo Magee (trumpet), Fernando Simões (trombone, objects), Karl Waugh (violin, electric violin), Quincas Moreira, Travis Johnson (both cello), Thomas Olson, Paulo Duarte (both on guitar) and Bruno Duplant (bass, percussion) to make his own arrangements with different combinations of the participants. This after adding himself on sopranino and bass clarinets, flute, oboe, soprano saxophone, fieldrecordings, electronics and shortwaves...
The working process followed a goal: 'To create a collective limbo in which each language is sufficiently ambiguous and at the same time customized to cover diverse moods, but within a certain aesthetic coherence,' to use Chagas' words.
If there have been similar practices in his country (Nuno Rebelo’s “Azul Esmeralda” and Miguel Feraso Cabral’s “Nevermet Ensemble”), Paulo Chagas went to get their references to one of the previous experiments he shared with Duplant, Phil Hargreaves and others for the yet unpublished album 'Branching Voices'.
'The experimental methodology applied pleased me so much that motivated me to create something even more consistent with the jump-cut technique. So I sent invitations to a number of musicians friends asking for their solo improvisations, in order to constitute the raw material of the 'compositions' that I wanted to do. Over four months of an exhausting (and sometimes discouraging) work, I realized that I reached the final versions of the eight movements that build this suite of electroacoustic chamber music, which I called 'Plebiscitu' '- explains the musician.
It's what we found here, proving once again that 'any combination of sounds, any sequence of tonal combinations, is possible' (Hartmann). In this case, the material that has been recorded individually by the various improvisers was ground and mixed in studio with the slower times (deductive) of a laboratory manipulation, resulting in a collective music achieved by virtual means.
Is it also improvised music? Well, yes and no. In fact, it does not matter. There are no limits to creativity: 'Everything develops and is subject to certain changes', as Thomas von Hartmann argued in favor of anarchy in music.
Rui Eduardo Paes(music critic and essayist)

freejazzblog
By StefThe album comes in a strange rectangular format, with working class girls from bygone days, all with their similarity yet different stories, staring at you, with sympathy, somehow capturing the essence of the music. The music is strange too, edited improvised music by nine musicians from around the world in a suite of chamber music, over which Paolo Chagas, the editor, plays his instruments : sopranino clarinet, flutes, field recordings, bass clarinet, short waves, electronics, soprano saxophone and oboe.
The other musicians are Karl Waugh on violin, Quincas Moreira on cello, Bruno Duplant on doublebass, Massimo Magee on trumpet, Thomas Olsson on electric guitar, Travis Johnson on cello, Paulo Duarte on electric guitar, and Fernando Simões on trombone and objects.
You hear at most five musicians at the same time, and even then the result is absolutely minimal, with bits of sound carefully sprinkled around to create something new, something surprising, something refreshing, something gripping. Paolo Chagas uses the musical vision of Ukrainian composer Thomas von Hartmann (1885-1956), a contemporary of Schoenberg, Kandinsky and Nijinsky, who wrote in his essay 'On Anarchy in Music': 'While the inner voice does not revolt, everything is permitted. In all the arts, especially music, any method born from an inner need is correct.'
It is equally no surprise that elements of classical music (violin, cello) as present as jazz (bass, trombone, trumpet) and modern music (eletronics, field recordings), or even with rock elements coming from the strange dry guitar sounds of Paulo Duarte.
The careful selection and manipulation, the crafty re-orchestration of improvised pieces by Chagas results in a very coherent sound: human and emotional as the result of the improvisation, fragile and finished because of the editing.
It does require open ears at moments, but the Limbo Ensemble offers a fascinating and surprising listening experience.
Highly recommended!

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Состав
Paulo Chagas (sopranino clarinet, flutes, bass clarinet, soprano saxophone, oboe, field recordings, electronics, short waves, arranged and produced)
Massimo Magee (trumpet)
Fernando Simões (trombone, objects)
Karl Waugh (violin, electric violin)
Quincas Moreira, Travis Johnson (both cello)
Thomas Olsson, Paulo Duarte (both electric guitar)
Bruno Duplant (doublebass, percussion)

Состав (потреково)

01. Amazing cut finger
Paulo Chagas - sopranino clarinet
Karl Waugh - violin
Quincas Moreira - cello
Bruno Duplant - doublebass

02. The forgotten echo
Paulo Chagas - flutes, field recordings, electronics
Massimo Magee - trumpet
Karl Waugh - violin
Bruno Duplant - doublebass

03. Let us fall in temptation
Paulo Chagas - bass clarinet, short waves
Massimo Magee - trumpet
Thomas Olsson - electric guitar
Travis Johnson - cello

04. The naked ballerina
Paulo Chagas - soprano saxophone
Karl Waugh - electric violin
Quincas Moreira - cello
Paulo Duarte - electric guitar

05. A cramp in the toe
Paulo Chagas - flute
Massimo Magee - trumpet
Fernando Simões - trombone, objects
Paulo Duarte - electric guitar
Travis Johnson - cello
Bruno Duplant - doublebass

06. The orchard
Paulo Chagas - sopranino clarinet
Massimo Magee - trumpet
Karl Waugh - violin
Paulo Duarte - electric guitar
Bruno