Download imovie for mac yosemite. Lightroom crack version download mac. Mathias Eick – Skala (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 41:39 minutes | 746 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © ECM Records
Recorded: December 2009 and January 2010 at Cabin Recorders, Bugges Room, and Pooka Studio, Oslo
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- Epilogue Personnel: Mathias Eick. Sign Up Now| Log In. Member Login. Mathias Eick Title Of Album: Skala Year Of Release: 2011.
Norwegian trumpeter Mathias Eick’s new album extends the concept and the panoramic sweep of his ECM debut “The Door” (recorded 2007). “It’s wider and bigger in all directions,” Eick says. “Skala” calls upon the services of more musicians – including, at times, two drummers – and there is more detail in the arrangements. Mathias Eick’s intensely melodic trumpet occupies the centre-stage in this album of self-penned tunes which will appeal to an audience beyond “Jazz”. Mac os catalina slow download. Against the powerful backdrops offered by his sleek, modern band, driven by two drummers, he delivers richly lyrical soliloquies.
Norwegian trumpeter Mathias Eick’s new album extends the concept and the panoramic sweep of his ECM debut “The Door” (recorded 2007). “It’s wider and bigger in all directions,” Eick says. “Skala” calls upon the services of more musicians – including, at times, two drummers – and there is more detail in the arrangements. What hasn’t changed is the emphasis on the lyrical soloist at the centre of the production. Eick’s elegant trumpet now has a larger space in which to sing.
“Skala” pools new and older compositions, all written by Mathias, and inspired, he says, by music from classical to pop. The title tune is one that the trumpeter says has been following him “for many years”, its network of inspirations including Sting’s 1993 song “Shape of My Heart”. “Edinburgh” was written in the Scottish city, but draws inspiration from Norwegian composer Edvard Grieg and the plaintive cry of Jan Garbarek’s sax. Eick describes “June” as “a light and peaceful song, a reminiscence of summer days”. The piece incorporates the harp of classical player Sidsel Walstad, currently of the Norwegian Broadcasting Orchestra.
“Oslo”, the album’s most propulsive tune, is a “song of the city. It’s a groove-directed piece.” It also “brings the idea of the two drummers into play. It sets them loose.” The piece also includes significant contributions from keyboardist Morten Qvenild, best known for his work with singer Susanna Wallumrød. “Joni” is, of course, for Joni Mitchell, whose work Eick has long admired. “Biermann” is named after the Oslo house that Eick rents, a place once owned by German merchant J. F. Biermann, back in the 19th century. “The Day After” references the 1970s, and is influenced by sources as diverse as the Jarrett/Garbarek ‘Belonging’ collaboration and the pounding rock piano of Elton John. “Epilogue” develops “from the simple idea of softness meeting raw energy”, as Mathias’s tender trumpet soliloquy gives way to typhoon-strength drumming from Torstein Lofthus.
“Oslo”, the album’s most propulsive tune, is a “song of the city. It’s a groove-directed piece.” It also “brings the idea of the two drummers into play. It sets them loose.” The piece also includes significant contributions from keyboardist Morten Qvenild, best known for his work with singer Susanna Wallumrød. “Joni” is, of course, for Joni Mitchell, whose work Eick has long admired. “Biermann” is named after the Oslo house that Eick rents, a place once owned by German merchant J. F. Biermann, back in the 19th century. “The Day After” references the 1970s, and is influenced by sources as diverse as the Jarrett/Garbarek ‘Belonging’ collaboration and the pounding rock piano of Elton John. “Epilogue” develops “from the simple idea of softness meeting raw energy”, as Mathias’s tender trumpet soliloquy gives way to typhoon-strength drumming from Torstein Lofthus.
Those who’ve caught Mathias Eick live, since the release of The Door (ECM, 2008), know that, as strong a first salvo as that debut was, it was no preparation for the power of the Norwegian trumpeter in performance. When his quartet performed at Mai Jazz 2008, with pianist Andreas Ulvo replacing The Door’s Jon Balke, it was patently clear that Eick was looking to bridge his intrinsically melodic concerns with the youthful energy of groups like Jaga Jazzist, with whom he’s been performing since inception. The Door surely was one of 2008’s best releases, but Skala trumps it by marrying its lyrical bent with a fierier delivery that, while not quite as hard-edged as performances like Natt Jazz 2010, comes much closer to realizing what Eick appears to have been hearing all along.
That Eick is credited as co-producer, for a second time, is demonstrative of ECM label head/producer Manfred Eicher’s rare confidence in sharing that critical role. Download mac operating system for laptop. As a member of guitarist Jacob Young’s sublime quintet on Evening Falls (2004), and Finnish pianist/harpist Iro Haarla’s quintet on Northbound (2005) and the equally stunning Vespers (2011), Eick’s distinctive, Kenny Wheeler- esque thematic sensibility, coupled with a painstaking attention to timbre, has made him someone to watch. In the context of his own work, he continues to favor substance over style, and while the music of Skala is even more structured than that on The Door, when Eick does solo, it’s with an economical precision that weaves through grooves and changes with equal aplomb.
A more ambitious follow-up, Skala features, at its core, Eick’s double-drum quintet, though the trumpeter doesn’t shy away from reconfiguring his group as the music demands. “June” is largely a duo feature for Eick and Ulvo—who, unlike live performance, stays with grand piano throughout the album—until Sidsel Walstad’s harp enters to expand the soundscape of this elegant, poignant song. In The Country’s Morten Qvenild guests on the gently grooving title track (also featuring the equally note-conscious Tore Brunborg on one of two tenor sax spots), and the episodic “Oslo”—where Eick’s looping creates a soft, Frippertronics-like intro, but soon leads to a fiery, riff-driven pulse from Ulvo and bassist Audun Erlien, driven by Gard Nilssen and Torstein Lofthus’ powerhouse drumming, It’s no surprise that the compositional detail resembles Jaga Jazzist, but Eick’s music is less dense, though his vibes on the arpeggio-driven “Joni” and the propulsive “Epilogue”—where he also plays double-bass, in a virtual quintet with just Ulvo and Lofthus—does reference JJ’s percussive-driven sound.
The Door was intentionally an acoustic record; despite Balke’s Rhodes and Erlien’s electric bass, Eick avoided the use of effects on his horn, and overdubbing was minimal. Here, however, Eick’s tasteful use of looping and pitch shifting expands his own palette, and a stronger reliance on simple backbeats on tunes like the balladic “Biermann” and the four-on-the-floor of “Day After” make Skala a more accurate representation Eick’s position and direction. A quantum leap, Skala’s combination of melody-driven material and effortlessly tasteful contributions from a larger cast of characters confidently delivers on the promises made by The Door’s compelling statement of intent. –John Kelman, All About Jazz
That Eick is credited as co-producer, for a second time, is demonstrative of ECM label head/producer Manfred Eicher’s rare confidence in sharing that critical role. Download mac operating system for laptop. As a member of guitarist Jacob Young’s sublime quintet on Evening Falls (2004), and Finnish pianist/harpist Iro Haarla’s quintet on Northbound (2005) and the equally stunning Vespers (2011), Eick’s distinctive, Kenny Wheeler- esque thematic sensibility, coupled with a painstaking attention to timbre, has made him someone to watch. In the context of his own work, he continues to favor substance over style, and while the music of Skala is even more structured than that on The Door, when Eick does solo, it’s with an economical precision that weaves through grooves and changes with equal aplomb.
A more ambitious follow-up, Skala features, at its core, Eick’s double-drum quintet, though the trumpeter doesn’t shy away from reconfiguring his group as the music demands. “June” is largely a duo feature for Eick and Ulvo—who, unlike live performance, stays with grand piano throughout the album—until Sidsel Walstad’s harp enters to expand the soundscape of this elegant, poignant song. In The Country’s Morten Qvenild guests on the gently grooving title track (also featuring the equally note-conscious Tore Brunborg on one of two tenor sax spots), and the episodic “Oslo”—where Eick’s looping creates a soft, Frippertronics-like intro, but soon leads to a fiery, riff-driven pulse from Ulvo and bassist Audun Erlien, driven by Gard Nilssen and Torstein Lofthus’ powerhouse drumming, It’s no surprise that the compositional detail resembles Jaga Jazzist, but Eick’s music is less dense, though his vibes on the arpeggio-driven “Joni” and the propulsive “Epilogue”—where he also plays double-bass, in a virtual quintet with just Ulvo and Lofthus—does reference JJ’s percussive-driven sound.
The Door was intentionally an acoustic record; despite Balke’s Rhodes and Erlien’s electric bass, Eick avoided the use of effects on his horn, and overdubbing was minimal. Here, however, Eick’s tasteful use of looping and pitch shifting expands his own palette, and a stronger reliance on simple backbeats on tunes like the balladic “Biermann” and the four-on-the-floor of “Day After” make Skala a more accurate representation Eick’s position and direction. A quantum leap, Skala’s combination of melody-driven material and effortlessly tasteful contributions from a larger cast of characters confidently delivers on the promises made by The Door’s compelling statement of intent. –John Kelman, All About Jazz
Tracklist:
1 Skala 6:14
2 Edinburgh 5:04
3 June 4:14
4 Oslo 5:27
5 Joni 5:52
6 Biermann 6:07
7 Day After 4:52
8 Epilogue 3:20
1 Skala 6:14
2 Edinburgh 5:04
3 June 4:14
4 Oslo 5:27
5 Joni 5:52
6 Biermann 6:07
7 Day After 4:52
8 Epilogue 3:20
Personnel:
Mathias Eick, trumpet, vibraphone, guitar, bass
Tore Brunborg, tenor saxophone
Andreas Ulvo, piano
Morten Qvenild, keyboards
Audun Erlien, electric bass
Torstein Lofthus, Gard Nilssen, drums
Sidsel Walstad, harp
Mathias Eick, trumpet, vibraphone, guitar, bass
Tore Brunborg, tenor saxophone
Andreas Ulvo, piano
Morten Qvenild, keyboards
Audun Erlien, electric bass
Torstein Lofthus, Gard Nilssen, drums
Sidsel Walstad, harp
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By KARL ACKERMANN
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On his previous ECM release, Midwest (2015), trumpeter and composer, Mathias Eick plotted the course of his Norwegian ancestors to the heartland of America. Drawn from his own travels as well, Eick applies personal experiences and family lore once again on Ravensburg, named for the German town of his grandmother. Here the journey is closer to home and considers Eick's roots in Germany as well as Norway. The inspirations—as the song titles indicate—are family, friends and other close relationships whose memories endure. Sign in to view read count
The composition of the group is similar to Midwest in terms of instrumentation, if not personnel. Only percussionist
Helge Norbakken
'>Helge Norbakken remains from the previous quintet. Norbakken has worked with Eick since his ECM leader debut The Door, in 2008. His drum kit is unique: a low-tuned rototom—a drum with no shell and a variable pitch—home-made cymbals, African drums, brushwood bundles and more. The Ravensburg group expands to a sextet with the addition of a second drummer, Torstein Lofthus, who has progressive rock and jazz backgrounds and appeared on Eick's Skala (ECM, 2011) along with bassist Audun Erlien and pianist Andreas Ulvo. Violinist Håkon Aase is new to Eick's sphere but not to ECM, having played with Thomas Strønen's Time Is A Blind Guide. The striking melancholy of 'Family' opens with Ulvo's placid piano and gives way to Eick's breathy trumpet—somewhat reminiscent of
![Eick Eick](/uploads/1/3/3/2/133280827/920971856.jpg)
Nils Petter Molvaer
b.1960
trumpet
'>Nils Petter Molvaer. A bit more buoyant—but still with an underlying sadness—is 'Children' where Aase's violin produces a folky air and Eick contributes wordless vocalizing. 'Friends' begins starkly—Ulvo and Eick then moderating the pace—and along with Norbakken, adding an element of abstraction. 'August' and 'For My Grandmothers' are appealing and discreet, both featuring excellent piano and trumpet solos. 'Girlfriend' has a suite-like quality about it and contains an exceptional solo from Aase. While there are noteworthy individual contributions throughout, the emphasis is on group dynamics and it is here that Eick's vision plays out in vivid color. b.1960
trumpet
Eick's compositions have an overall darkness about them though their sophistication and accents, the punctuation of bass and percussion, makes for a highly listenable blend of emotions, without jolting fluctuations. As with Midwest the music on Ravensburg is deeply atmospheric. When the violin is clearly present, it adds beautiful touches; the drummers (which of the two is sometimes difficult to discern) add a complexity that is in sharp contrast to the central mood, but always additive. Ravensburg is rich, welcoming and should be heard in full to be appreciated.
Mathias Eick Skala Rar
Track Listing: Family; Children; Friends; August; Parents; Girlfriend; Ravensburg; For My Grandmothers.
https://tempnola.hatenablog.com/entry/2020/11/23/020259. Personnel: Mathias Eick: trumpet, voice; Håkon Aase: violin; Andreas Ulvo: piano; Audun Erlien: electric bass; Torstein Lofthus: drums; Helge Andreas Norbakken: drums, percussion.
Title: Ravensburg | Year Released: 2018 | Record Label: ECM Records