As early as 1976, Nat Hentoff wrote: "Once in a great while, a musician emerges with such authority and such seemingly effortless originality that his place in the front ranks of his instrument is unquestioned." Hentoff was not speaking of promise or potential, but actual performance, and forty-two years later, with My Faith, My Life, bassist David Friesen has added immeasurably to his stature. With its two CD suites complementing each other so fully, it's an epochal achievement - a testament to the offers of faith, matched with a purposeful life. Disc One is a 13-piece solo performance on his Hemage Bass, which calls attention to the intimacy and immediacy of his compositions. The solo piano of Disc Two highlights Friesen's supple touch on an instrument he's not generally known for. Closing the set, the composition "My Faith, My Life" sums it all up: a credo, affirmation, reverence - lower register continuity laced with sublime melody: a hymn to the Source of all song, with a fitting Amen at the close.
DAVID SYLVIAN Weatherbox (Rare 1989 UK deluxe 5-CD box set spanning David's career and his many collaborations. Includes the releases: Brilliant Trees, Alchemy, Gone To Earth, Gone To Earth - Instrumental [Exclusive to this box set] and Secrets Of The Beehive. Also includes a 60 page booklet which documents each release and all the musicians involved plus fold-out poster. The artwork and design is by Russell Mills and Dave Coppenhall with sliding lid on the top of the box. The accompanyment by the likes of Bill Nelson, Sakamoto, Jansen/Barbierri/Karn, Russell Mills, Robert Fripp, Michael Brooks et al bears testimony to just how many TALENTED ARTISTS are influenced and eager to work w/ Mr. Sylvian.
Paul Juon was born in Moscow, of Swiss parents, in 1872, studying there with Arensky and Taneyev; Rachmaninov, a fellow student at the Moscow Conservatoire, dubbed him ‘the Russian Brahms’. Woldemar Bargiel, Clara Schumann’s half-brother, was his main teacher at the Hochschule für Musik in Berlin before Juon himself became a member of the staff. There are indeed echoes of Brahms in Juon’s early music but there is also a fondness for Russian folksong and a mastery of counterpoint, which all feed into his urgent, late-Romantic lyricism.