Entity 2012

Earle Brown’s involvement with the fine arts led him to reject previously fixed ideas of musical form and supposedly sacrosanct rules of composition in the early 1950s. His graphic notations, which are primarily oriented toward Jackson Pollock’s painting procedures, guarantee the opening of time and space which leads to the liberation of the sound and the expansion of the meaning of form. “[…] mobility of the sound elements within the work and the graphic provocation of an intense collaboration throughout the composer-notation-performance process – were for me the most fascinating new possibility for ‘sound objects’ as they had been for sculpture and painting.” (Earle Brown)

Dutch/Belgian group Gare du Nord was formed in 2001 by Ferdy Lancee and Barend Fransen. Signed to Play It Again Sam, the lounge-oriented style synthesists released several albums during their first few years, beginning with 2002's In Search of Excellolounge and concluding with Sex 'n' Jazz. They aligned with Blue Note, beginning with 2007's Jazz in the City, which was heavy on interpretations of the label's '60s and '70s output (from Duke Pearson's "The Phantom" to Ronnie Foster's "Mystic Brew"). The same year, Italian singer Dorona Alberti (KMFDM) was added to the lineup and featured prominently. In 2001, Gare du Nord established a performing version of the group, fronted by Alberti, while a studio-based entity remained driven by Lancee and Fransen. The Blue Note association resulted in additional releases such as 2011's Lilywhite Soul and 2012's live release Lifesexy.

This is the recording studio version of the concert Patricia Kaas gave at Carnegie Hall in tribute to the 50th anniversary of Edith Piaf's passing. She is backed by the Royal Philharmonic Orchestra, a small studio band – accordion, bass, guitar, Theremin, keyboards – and even a chorus under the direction of Abel Korzeniowski, who also arranged the material and produced the album. The live performance, while a commercial success, had its share of critics, including Piaf purists, who were quick to note that Kaas doesn't possess the vocal range of her subject. Kaas fans found the size and power of the orchestra too daunting for her to overcome.