[JazzPlanet] Enrico Rava & Ran Blake - Duo En Noir [Eac-Flac-Cue]

Enrico Rava & Ran Blake - Duo en Noir

Artist: Enrico Rava & Ran Blake
Title Of Album: Duo en Noir
Category: Jazz, Modern Jazz, Standards
Label: Between The Lines
Year: 2000

Extractor: EAC 0.99 prebeta 5
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Artwork: Included

Single File.flac, Noncompliant
Eac.log, File.cue
Size Torrent: 187 Mb








01 - Nature Boy (Eden Ahbez) 04:04
02 - Vertigo/Laura (Bernard Herrmann, David Raksin) 05:09
03 - The Spiral Staircase (Roy Webb) 02:54
04 - Shake the Cage (Donahue) 01:50
05 - Certi Angoli (Enrico Rava) 02:30
06 - There's No You (Hal Hopper) 04:51
07 - Let's Stay Together (Al Green, Willie Mitchell, Al Jackson, Jr.) 03:45
08 - I Should Care (Sammy Cahn, Axel Stordahl, Paul Weston) 03:06
09 - Tea for Two (Vincent Youmans, Irving Caesar) 04:36
10 - There's a Small Hotel (Richard Rodgers, Lorenz Hart) 05:27






Enrico Rava: trumpet, flugelhorn
Ran Blake: piano






ENRICO RAVA:
Born: August 20, 1943

Enrico Rava, born in Trieste in 1939, is undoubtedly the most internationally acknowledged Italian jazzman. In forty years of his career as trumpet player, and composer, he has produced more than ninety recordings, tweny-five of which as a leader. Being a great admirer of Miles Davis and Chet Baker, his career started at an early age, when he played in clubs in Turin.

In 1962, he meets Gato Barbieri with whom, two years later, he records the soundtrack for Montaldo's film “Una bella grinta”. In those years he meets Don Cherry, Mal Waldron and Steve Lacy, with whom he plays free jazz in a quartet alternating between London and Buenos Aires (it is in Argentina in 1966 that the quartet records the album “The Forest and the Zoo”).

In 1967 Rava is in New York, where he is introduced into the free avant-garde, among which are Roswell Rudd, Marion Brown, Rashied Ali, Cecil Taylor, Charlie Haden, Marvin Peterson etc.

After an italian parenthesis, during which he plays with various musicians including Franco D'Andrea and where he records with Lee Konitz in Rome and with Manfred Schoof in Bremen, he returns to New York in 1969, where he lives for eight years.

At first he plays mostly with Rudd, Bill Dixon and Carla Bley's Jazz Composer's Orchestra, under whose direction he records “Escalator Over the Hill”.

Beginning in 1972, when he records his first album as a leader, “Il giro del giorno in 80 mondi”, Rava directs quartets (in New York clubs and on tours in Europe and Argentina), nearly always in pianoless groups. The playings and recordings follow one another, in a precious and uninterrupted flow, beside acknowledged italian, european and american musicians such as Franco D'Andrea, Enrico Pieranunzi, Marcello Melis, Massimo Urbani, Paolo Fresu, Pietro Tonolo, Stefano Bollani, Roberto Gatto, John Abercrombie, Roswell Rudd, Miroslav Vitous, Richard Galliano, J.F. Jenny-Clark, Misha Mengelberg, Dino Saluzzi, Lee Konitz, Martial Solal, Charlie Mariano, the Globe Unity Orchestra, Cecil Taylor, Jimmy Lyons, Archie Shepp etc.

He has played on tours and concerts in USA, Japan, Canada, Europe, Brazil, China, Argentina, taking part in important Festivals (Montreal, Toronto, Houston, Los Angeles, Chicago, New York, Perugia, Antibes, Berlin, Paris Tokyo, Peking, etc). He has several times been elected best musician in the annual referendum conducted by “Musica Jazz”, and has also won the title in the “best group” and “best italian album” categories. In the past years he has toured and recorded with his “Electric Five”.

At present, he plays in several concerts with his new quintet composed of young talents as Gianluca Petrella and Stefano Bollani and affirmed musicians as Rosario Bonaccorso and Roberto Gatto. He has founded in 1999 a quintet with trumpet player Paolo Fresu and recorded “Shades Of Chet” for Label Bleu. He also leads a duo with young and gifted piano player Stefano Bollani. On July 2001 he will tour Europe with Gato Barbieri with a new band named “Complete Reunion”.


RAN BLAKE:
Ran Blake (born April 20, 1935)[1] is an American pianist and composer. In a career that spans five decades, Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions, and themes from classic film noir, Blake's singular sound has earned a dedicated following all over the world. His dual musical legacy includes more than 30 albums, as well as nearly 40 years as a groundbreaking educator at Boston’s New England Conservatory.
Blake first discovered the dark, image-laden and complex character-driven films that would so influence his music at age 12 when he saw Robert Siodmak’s The Spiral Staircase. "There were post-World War II musical nuances that if occasionally banal and as clichéd as yesterday’s soap operas, were often so eerie, haunting and unforgettable," Blake would later write. "After more than 18 viewings in 20 days, plots, scenes, and melodic and harmonic surfaces intermingled, obtruding into my day life as well as my dreams."

Long before the invention of virtual reality, Blake began mentally placing himself inside the films and real-life scenarios that inspired his original compositions like Spiral Staircase, Memphis and The Short Life of Barbara Monk. The influence of the Pentecostal church music he also discovered growing up in Suffield, Connecticut, combined with his musical immersion in what he terms "a film noir world," laid the groundwork for his earliest musical style.

That early style would become codified when he and fellow Bard College student and vocalist Jeanne Lee became a duo in the late 1950’s. Their partnership would create the landmark cult favorite The Newest Sound Around (RCA) in 1962, introducing the world to both their unique talents and their revolutionary approach to jazz standards. This debut recording would also show the advancing synthesis of Blake’s diverse influences with its haunting version of David Raksin’s title track from the movie Laura and his original tribute to his first experience with gospel music, The Church on Russell Street.

The Newest Sound Around was initiated and informally supervised by the man who would be come Blake’s most significant mentor and champion, Gunther Schuller. The two began their 45-year friendship at a chance meeting at Atlantic Records' New York studio in January 1959. Less than two years earlier, Schuller coined the term "Third Stream" at a lecture at Brandeis University. Schuller was recording on Atlantic, helping to define his term in musical practice with future jazz giants like John Lewis, Bill Evans, Eric Dolphy, and Ornette Coleman. Blake came to the label to accept what he calls "a low-level position" that allowed him to be near the music of inspirations like Chris Connor, Ray Charles, and Harlem's famous Apollo Theater. Blake's long association with Schuller and modern classical music began here, and was forged by years of friendship, collaboration and innovation.

One of the only people in the music world who could see the potential of Blake’s unorthodox sounding musical style, Schuller invited Blake to study at the Lenox School of Jazz in the summers of 1959 and 1960. While in Lenox, also home to the classical music mecca at Tanglewood in western Massachusetts, Blake studied with the jazz giants who formed the faculty of this one-of-a-kind institution, Lewis, Oscar Peterson, Bill Russo, and many others, and began formulating his style in earnest. He also studied in New York with piano legends Mary Lou Williams and Mal Waldron.

A year after Schuller became president of Boston’s New England Conservatory in 1967, Blake joined his mentor and many one-time teachers and inspirations, including George Russell, as a faculty member at NEC, the first American conservatory to offer a jazz degree. In 1973, Blake became the first Chair of the Third Stream Department (now known as the Contemporary Improvisation Department), which he co-founded with Schuller at the school. He held the position until 2005.

Blake's teaching approach emphasizes what he calls "the primacy of the ear," as he believes music is traditionally taught by the wrong sense. His innovative ear and style development process elevates the listening process to the same status as the written score. This approach complements the stylistic synthesis of the original Third Stream concept, while also providing an open, broad-based learning environment that promotes the development of innovation and individuality. Musicians of note Don Byron, Matthew Shipp, John Medeski and Yitzhak Yedid have studied with Blake at NEC.

Although Blake’s teaching career would soon become the second half of his dual musical legacy, his career as an influential performer and wholly individual jazz artist is his main source of fame. Following Jeanne Lee’s departure to become one of the premier vocalists in the burgeoning avant-garde, Blake recorded the prototypical Ran Blake Plays Solo Piano (ESP) in 1965. The recording showed a clear refinement of Blake’s style of reinventing popular standards by incorporating his other influences from film noir, gospel, his favorite pianist Thelonious Monk, and composers like Stravinsky, Prokofiev, and Messaien. His reputation as the major Third Stream pianist, and later an educator, soon followed, as he could improvise just as easily on a jazz chord progression as a twelve-tone row.

From 1965 on, Blake worked primarily as a solo pianist on more than 30 albums. Although most of the music was primarily informed by his film noir perspective, many of his most acclaimed recordings are tributes to artists like Monk, Sarah Vaughn, Horace Silver, George Gershwin, and Duke Ellington. These tributes merged with his teaching career by inspiring an annual summer course he still teaches at NEC, thoroughly exploring the music of a single artist. He has also recorded with Jaki Byard, Anthony Braxton, Steve Lacy, Houston Person, Enrico Rava, Clifford Jordan, Ricky Ford, Christine Correa, James Merenda, David "Knife" Fabris, and others, including a 1989 reunion with Jeanne Lee. 2001’s Sonic Temples (GM Recordings) featured Schuller’s two jazz musician sons, Ed (bass) and George (drums) and was his first recording in the standard piano trio format. 2006's All That Is Tied (Tompkins Square), a solo recording, earned a crown in the Penguin Guide to Jazz and appeared on many critics' Best of 2006 lists.

Blake continues to teach at NEC and record and perform. In November and December 2007 he toured France, Germany and Italy. In January 2009, Tompkins Square released Driftwoods, an album of solo piano that pays tribute to vocalists such as Billie Holiday, Mahalia Jackson and Hank Williams.









Trumpeter Enrico Rava has proven himself adept at virtually every style of jazz, from bop through the avant-garde. For this short recording, he teams up with third-stream pianist Ran Blake in a series of 12 emotionally drenched tunes emphasizing the kind of dark, foreboding atmosphere for which Blake is well-known. Highlights include wonderful interpretations of "Tea for Two," "I Should Care," "Let's Stay Together," a pairing of "Vertigo" and "Laura," and "Nature Boy." Rava does his best to adapt his usually brighter playing to the overall noir atmosphere, and he generally succeeds, making this a must-have for followers of both Blake's and Rava's work. A strong lyrical element permeates, as the two explore all of the nooks and crannies of each tune, often in slow motion. The results speak for themselves, and the enthusiastic live audience was clearly touched. Steven Loewy, All Music Guide

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