Piano Works / Piano Worksn’t |
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Piano Works / Piano Worksn’t

When attempting to be in `the moment µ`, one might feel he exists. Is the role of the artist to discover what space there is and what kind of colors he should use to paint µ in the most accurate way? This is not so much a matter of style but more of alchemy of the moment. It is about right proportions, attitude of the different parties, artist and audience. They who come from one and another point meet in that certain moment µ. There are different factors influencing µ: the places where they meet and the time it takes place -what happened a long time ago, more recently, and what is about to come. The perception of the moment µ varies tremendously following which disposition one is in, and that influences µ as well.

“Piano works” is a study in progress based on melodic tunes took from the jazz piano repertoire. With its impressive appearance, its powerful tones, its complex mechanics, and seemingly perfect pre-pitched tones, the piano is the ideal symbol of the quintessence of Western civilization. Marvelous melodies were written on this instrument, and we present here different lectures of a few of these songs. Our aim is to play as honestly as possible, meaning forgetting the rules and forgetting our selves while in the moment µ, in order to only translate what we hear, what we feel. In these recordings, most of these songs are played rubato; sometimes some chords are prolonged, some other times the melody is hardly played.

“Piano worksn’t” is a tribute to differences, to these so called imperfections which make life being what it is, music being music, humans being humans. These improvisations were originally one piece of 7 different parts. We decided to separate the parts in 7 different tracks and to alternate in this CD songs and improvisations.


“This is a mostly quiet, pensive set, even when the music is free.“Rustle”, which finds both players eliciting harmonics from their instruments, hovers in an eerie stasis. Two versions of Pieranunzi’s “Lighea” find Badenhorst dissecting the haunting melody on bass clarinet initially and clarinet for the second version. Soniano’s bass is deep and sonorous and accompanies Badenhorst with a mixture of contrapuntal lines and rich dark textures. Although the music tends to reside at the quieter end of the spectrum, it never bores. It’s the type of quiet that makes one want to listen more intently. “ - THE NEW YORK CITY JAZZ RECORD, May 2011, Robert Iannapollo "...The end results is fabulous : it has the intimacy of chamber music, with both musicians transforming the undescribable warmth of their wooden instruments' into to the color of their tones, even in the free improvised parts. It is calm and lyrical and welcoming, usually slow ... but luckily with a great tasts for adventure, taking the overall sound into areas that are new, with gut-wrenching bowing on bass and hypnotic dark sounds coming out of the bass clarinet, or Badenhorst's unvoiced blowing at times that is more percussive than melodic. But interestingly enough, the two musicians are called back from their wild excursions by the four composed pieces, which they play full of reverence and admiration for the original piano material, sounding astonishingly beautiful in the traditional sense of aesthetics, lightly dancing, warm and sad. The variation, the contrast between old and new, but also the similarities between them, the transposition of similar moods into different contexts, are what make this album really great. And of course the musicianship. Recommended.” - 22.08.10 www.freejazzblogspot.org


February 6, 2017