çentik • düşük desibelli konuşmalar: Güzel bir şey...

23 Mart 2020 Pazartesi

Güzel bir şey...

Bunu unutmak istemem.

Şu kötü günlerin içinde çok güzel bir şey oldu. Yazılama Yayınevi, Gerisi Hep Rivayet'i paylaşıma açtı. Yayınevi'nin sayfasından ücretsiz olarak erişilebiliyor ve indirebiliyor. Bu zorlu günlerde öykü okumak, öykülere dalmak da iyi gelir. Hepimize...

Teşekkürler Yazılama.

Ve bir de bu güzel habere, bir güzel ek daha... Yeni öyküler de dosya da hazır. Şu günler bir geçsin, hep beraber kâh gülerek kâh kahırlanarak okuyalım...

Sevgiler.

Sevgiler ama, bu öyle bir denk geliş ki Gerisi Hep Rivayet 23 Mart'ta, tam da dört yıl önce yayınlandığı günde paylaşıma açılmış. Bunu ben bile unutmuşum...

Çok ilginç, çok...

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BU ARALAR BİR ÇENTİK

The album’s title, translating as The Way of the Winds, refers to the many musical traditions Matthieu Saglio’s music has absorbed. A jazz pulse informs many of the album’s tracks, and classical influences, reflecting the French-born cellist’s formal training in Rennes, surface in the baroque “Las Cathédrales”, the album’s final piece. Saglio has lived in Valencia since 2002, and has absorbed that city’s vibrant cultural mix. The result is a richly flavoured musical stew, downbeat in tone, and spiced by a gentle, but compelling rhythmic drive. North African laments and Andalusian blues are prominent ingredients and tango is a distinct strand. The album opens with the contrasting moods, Arabic scales and exemplary musicianship of “L’appel du Muezzin”. The composition begins as a mournful cello extemporisation over a sustained multi-tracked drone then cuts suddenly to the percussion-fuelled bounce of a village dance. “Bolero Triste” comes next, belying its title with the flavours of French chanson. Here Saglio supports Vincent Peirani’s accordion with gentle plucks and strums and both solo lyrically. As the album continues, compositions mix traditions and change direction as though cued from within. Thus, the cellist introduces “Metit” with syncopated jazz, but the body of the piece is a showcase for the Senegalese-born singer Abdoulaye N’Diaye. “Amanecer” delivers broody Nils Petter Molvaer trumpet, “Caravelle” the sting of Nguyên Lê’s guitar and both feature plangent jazz-inflected cello and lilting 5/4 support. The cellist can soar into the upper register with the dexterity and sonic register of a violin, and when actual violinist Léo Ullman combines with Saglio on “El Abrazo” and “Sur le Chemin”, their phrasing is so close it is hard to tell them apart. Indeed, Saglio’s vibrant tone, touch and technique stand out on every track, but, impressively, never at the expense of his guests. [Mike Hobart - ft.com]

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23 Mart 2020 Pazartesi

Güzel bir şey...

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