Modest Trio

This set contains the complete works by Telemann in which the Viola da Gamba (or viol) has a prominent and soloistic role. The Viola da Gamba may be described as the predecessor of the modern Violoncello, and in its time it was a popular instrument much in use in instrumental music and as part of the Basso Continuo. Its slightly more modest volume compared with the cello is more than compensated by its specific timbre, with its vocal and sometimes melancholic qualities.

This Kiev concert is, no doubt, memorable for all those who was then at the concert hall – and, apart from them, all of their relatives and acquaintances, because the sensations then had to find at least some way out) Non-speaking about it was just dangerous, and impossible as well… And – that was speaking enthusiastically, selflessly, and partly – silently (because this music is still much greater than any words), with light in the eyes, warm shine on the face – right? I’m sure that I’m right. Between the hall and the scene, a mystery of incredible might and depth took place, that was Music that for some time melted the several hundreds of various, separate souls – into the joint, large, live heart. I think that on that evening there was enough love to prevent or stop some war in the world.

Carlo Ceriani Trio - Generation (2004) {Splasch CDH 922.2}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 207 Mb | MP3 @320 -> 108 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb | 5% repair rar
© 2004 Splasc(H) Records | CDH922.2
Jazz / Post Bop / Modern Creative / Progressive Jazz / Guitar

Oddly, there is no listing of instruments in the CD leaflet, but the core group is a trio of electric guitar, bass, and drums, with "guest" flutist Stefano Benini added on several numbers. This is a concept album, what leader Carlo Ceriani calls "a new reading" of "music of [his] generation." Ceriani contributed tunes of his own in addition to ones written by or associated with 1960s icons Jerry Garcia, the Grateful Dead, King Crimson, and others of that era. The guitarist generally takes all the pieces at a relaxed pace, treating them respectfully as jazz heads, focusing on the essence of the themes, and reminding us just how beautiful some of these classic rock melodies can be.

Throughout his career, Count Basie was modest about his own abilities as a pianist, and his success at streamlining his style to the bare essentials often made listeners underrate his playing talents. This 1974 session was a rarity, an opportunity for Basie to be featured in a trio setting (with bassist Ray Brown and drummer Louie Bellson), during which he provides enough variety to hold one's interest and enough technique to lead many to reassess his piano skills.