Petter Eldh - Bass, Christian Lillinger - Drums, Christopher Dell - Vibraphone, Otis Sandsjö - Tenor, Philipp Gropper - Tenor, Hanna Paulsberg - Tenor, Marcelo Gabard Pazos - Alto, Wanja Slavin - Alto, Francis Fuego - Synth. 
Taken from "Love Declared Disaster Averted" GAL001
7" vinyl, release 17th feb 2014

PETTER ELDH - LOVE DECLARED DISASTER AVERTED

After a Road to Damascus moment watching Sister Act 2: Back In The Habit, I realised that the answer to most things is simply to sing - and to enjoy the singing of others. This month's NTS mix celebrates the sound of the voice in protest and praise, at work and at play.

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The St Francis Choir (feat. Lauryn Hill & Ryan Toby) - Joyful, Joyful
The Ace of Cups - Music
Deben Bhattacharya - Sowing Song By Women (Deoki Rai / Asha Rai / Chandra Chhetri / Krishnakumari Chhetri)
Tikar Woman - Grinding Song
The +2’s - Ya Ya Ya
Gilberto Gil - João Sabino
Edu Lobo - Oremus
Nina Simone - Come Ye
The Byrd Ensemble & Markdavin Obenza - Berlin Mass, Credo (Arvo Pärt)
Keith Tippett's Centipede - Septober Energy: Part 1
Abbey Lincoln - Caged Bird
Hugh Masekela - Ingoo Pow-Pow (Children's Song)
Carmen McRae - Music

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Jazz Dis-junction - The Singing Will Never Be Done [NTS Radio, 2015-01-14]

A deep, vivid, memory of something you have never experienced, yet, you’re certain of its legitimacy. Its content, often banal, intrudes on our thoughts during the the strangest and most unpredictable of times. A bowl of ice; a lamp burning out; the tail of a bird stuffed in your mouth; such memories, we can feel, are charged with…something.

And what about music? How often does a similar act of unintentional musical ‘graffiti’ occur in our own memories, and who is the perpetrator? Or are we ourselves the perpetrators, but its just that we remember incorrectly? Can we even ‘wrongly’ remember, or does our unconscious know better, veering toward something else that we can’t understand in the moment, leaving a trail of crumbs for us to follow, to somewhere? 

The first moment that came to me when setting out on this journey, was a huge dominant thirteenth chord, screaming and shuddering, slamming its way like a train into a scherzo, but weighted down, almost drowning and oversaturated with Pollock-like splashes of colour, the orchestra gradually building into a frenzy, then relaxing, maybe taking a bath, trying to clean itself, with singing whales in the tub. I don’t know when, where, or why this particular moment was born, or even what it means, but certainly, by making it and those like it manifest, surely I can gain even a partial understanding of something that’s underneath. 

The title also points to something else: a half-nod to the musically lush film soundscapes from the ‘50s and ‘60’s: undoubtedly subliminal sources of raw material containing moments which, though not explicitly perceived, bear an uncanny familiarity to something deeply felt.  

Live recording from the Doelen, Rotterdam with the Dutch Student Orchestra. Bas Wiegers, conductor, Lena Lefringhausen, solo violin.         


Screen Memories

meccanismo.

C'è un giardino chiaro (2011) 
ICP ENSEMBLE - Neil Georgeson piano, Anna Cashell, Natalie Klouda violins, 
Mark Braithwaite viola, David Lale cello, Philippe Nahon conductor

Recorded live 10.12.2011 in Canterbury by Patrick Nunn for Sounds New/ International Composer Pyramid
info: http://giulianobracci.com/?page_id=1533

C'è un giardino chiaro

Kaja Draksler Octet
Live at the Bimhuis, May 2018
recorded by Marc Schots
sound by Ron Ruiten

Danas, jučer, sutra (K.Draksler)
text by Robert Frost (A Passing Glimpse)

Laura Polence, Björk Níelsdóttir- voice
Ada Rave- saxophone
Ab Baars- clarinet
George Dumitriu- viola
Kaja Draksler- piano
Lennart Heyndels- double bass
Onno Govaert- drums

photo by Andro Manzoni

Kaja Draksler Octet: Danas Jucer Sutra

kajadraksler

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