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(Tango Nuevo, Gypsy, Chamber, Klezmer) 3 Leg Torso - Astor in Paris - 2003, FLAC (tracks), lossless

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3 Leg Torso / Astor in Paris
Жанр: Tango Nuevo, Gypsy, Chamber, Klezmer
Год издания: 2003
Страна: USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 0:50:46
Источник (релизер): Damankas
Наличие сканов в содержимом раздачи: нет
Треклист:
01. Ba Doum (4:36)
02. Astor in Paris (5:18)
03. Zemer Attic/Tanz Tanz Yiddelach (4:46)
04. Frog......Secret Agent (5:37)
05. Giant Stomp (4:39)
06. Bill's Last Adventure (7:09)
07. Elliot's Dream (2:44)
08. My Level Water (5:14)
09. Le Beau's Hole (1:08)
10. B&G's (3:41)
11. Danza Lucumi (5:55)

Код:

X Lossless Decoder version 20120609 (141.0)
XLD extraction logfile from 2012-08-01 10:19:06 -0700
3 Leg Torso / Astor In Paris
Used drive : HL-DT-ST DVDRW  GS31N (revision TA17)
Ripper mode             : XLD Secure Ripper
Disable audio cache     : OK for the drive with a cache less than 1375KiB
Make use of C2 pointers : NO
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Gap status              : Analyzed, Appended
TOC of the extracted CD
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End of status report

Код:

-----------------------
DON'T MODIFY THIS FILE
-----------------------
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Код:

отсутствует (

3 Leg Torso have been in operation for about seven years. In that time their structure has steadily evolved from its original cabaret trio format, into a small chamber orchestra- with an array of versatile musicians, playing an assortment of instruments, creating uniquely exotic works, whose roots now range from Eastern European folk music, gypsy, klezmer, tango and various jazz and classical references to even country and blues.
The primary force in 3 Leg Torso is accordionist Courtney Von Drehle, whose work in local bands such as the Tone Dogs (a group which featured legendary bassist Fred Chalenor and legendary odd person Amy Denio) goes back nearly fifteen years. Courtney was awarded a fellowship to the Sundance Composers Lab earlier this year. There he studied and worked with renowned film and documentary composers. 3LT have already had their work appear in films and commercials, so Von Drehle’s studies will only further enhance those opportunities, to be sure.
Violinist Bela Balogh has played with a number of local bands, including the late great Willies, and an experimental band, Lobe, in which he first worked with Von Drehle. Exploring his Hungarian heritage, Balogh is largely responsible for the ethnic Eastern European bent in much of 3LT’s music.
Their original third partner cellist Gabe Leavitt joins the group on several tracks here, alternating with John Hubbard in the cello chair. In addition, regular members, percussionist Gary Irvine, xylophone marimba player Rob Lewis (who also adds percussionist) and acoustic bassist Skip Elliott Bowman help to fill out the sound with richness and depth, drawing from diverse and divergent sources.
As with Pink Martini, a band with which they have much in common, 3LT have been profiled on National Public Radio’s popular “All Things Considered” program; and have performed with numerous symphony orchestras, at some very prestigious venues. As with Pink Martini, it has been a long time between their first and second albums. In the case of 3LT, it’s been about five years or so between their first album and this one.
Here, the “Astor” in the title refers to 20th century composer and musician Astor Piazzolla, an Argentian, whose striking compositions , generally played on a bandoneon (often known as a “square-headed accordion,” and an instrument popularized by fellow Argentinian, Alejando Barletta). In concert chiefly with violin, but often with other instruments- Piazzolla’s music re-invigorated the tango dance form. In addition, his revolutionary approach to composition, utilizing the fusion of a variety of classical, jazz and various ethnic folk idioms, affected a profound influence upon several generations of composers and musicians who followed after him.
Beyond that, 3LT’s work alludes to the works of an array of other composers and musicians, known and/or arcane, including Django Reinhardt and Stephane Grapelli, Raymond Scott, Andre Popp, Spike Jones, Hector Berlioz, Heitor Villa-Lobos, Manuel De Falla and Ernesto Lecuona, to name but a few. And that’s pretty much the starting point for the eleven instrumental pieces presented here (nine of which are original).
The first cut, “Ba Doum” is a halting number, with Von Drehle and Balogh alternating parts. The general effect is if a blues-based theme along the lines of Gershwin’s “Summertime” were being filtered through Gounod’s “Funeral March of a Marionette” (which was used as the theme music for the Alfred Hitchcock Hour).
The title track is a madcap number, which alternates between 6/8 and 12/8 time signatures, while Von Drehle, Balogh and Bowman trade off solos. Balogh’s mandolin-like accompaniment, strumming the strings of his violin is especially effective. As the piece develops, the Piazzolla references become more distinct, as the crazy waltz comes to a close. The klezmer aspect is fully explored in “Zemer Attic/Tanz Tanz Yiddelach,” which is also infused with a certain Middle Eastern flavor as well.
Balogh’s pizzicato arpeggios play against Bowman’s fast walking bass, behind the dramatic intonations of the Von Drehle’s accordion through the intriguing melody of “Frog…Secret Agent.” The crazy chase of “Giant Stomp” sounds like the kind of wild cartoon music Raymond Scott or Andre Popp came up with in the ‘40s and ‘50s. Exceptionally well executed, a series of intricate melodies are shared between Von Drehle on accordion, Balogh on violin and Lewis on xylophone.
With “Bills Last Adventure” Von Drehle and Balog incorporate classic country western harmonies into that charming little waltz. A curious change of pace. And “Elliot’s Dream” might serve as a fitting elegy for Elliot Smith, who stupidly took his own life last month. A funereal ballad, punctuated by the wonderful interplay between Von Drehle’s organ-like tones, Lewis’ vibes, evoking a celeste, and Balog’s mournful violin. Elegantly solemn.
Guest Paul Mazzio lends spectacular trumpet phrasings to the escapades of “My Level Water,” which, in places, calls to mind Piazzolla’s “Hora Zero,” and in others, Ellingtons’ “East St.Louis Toodle-oo.” An intoxicating blend to be sure. “Le Beau’s Hole” is a frenetic, Keystone Cops-like romp, lasting just over sixty seconds. “B & G’s” combines elements of Spanish and gypsy music.
That feel is continued on Lacuona’s “Danza Lucumi.” Lecuona, probably most famous for the pieces “Malaguena” and “Andalucia” (which later became the song “The Breeze And I”) is here interpreted through a playful, dreamy treatment; one that acts as the perfect denouement to an imaginative set of perfectly executed arrangements.
3 Leg Torso’s music is so unusual and so expertly played that it seems to exist completely outside of time and space, in some other dimension: a melodious anomaly. Each member’s virtuosity lends itself to a steadfastly cohesive presentation- one which falls well beyond the boundaries of contemporary musical tastes and sensibilities, spinning obliquely in a dimension entirely unto itself. In that regard, their music can be neither compared nor contrasted, but simply admired.http://www.twolouiesmagazine.com/?page_id=508

Courtney Von Drehle - Accordion
Gabe Leavitt - Cello
Béla Balogh - Violin
Paul Mazzio - Trumpet
Johnny Ray Hubbard - Cello
Joe Janiga - Drums
Rob Lewis - Bongos, Doumbek, Drums, Guiro, Marimba, Percussion, Suspended Cymbals, Tambourine, Vibraphone, Wood Block, Xylophone

3 Leg Torso’s music is so unusual and so expertly played that it seems to exist completely outside of time and space, in some other dimension: a melodious anomaly

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