Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
EXCLUSIVE! (FMP CD 86) http://fmp-label.de/fmplabel/catalog2/fmpcd086.html . Here is Rüdiger Carl's second solo recording, following his debut solo project, Vorn (FMP 1110), from 1986. Equally adept at accordion and clarinet, Carl demonstrates his irrepressible musicality and warmth throughout this unadorned performance. Actually, two performances: one live in 1995, at an abandoned factory, and the other -- an extended suite -- from 1993. Carl is never not interesting, and in Solo we get as intimate a look at his art as possible.
"Solo is an important document by a compelling improviser." -- Cadence
"The true masterwork on this set is "Woyzeck-Introductions, 18 Miniatures for Solo Accordion," which takes just under 17 minutes to play. Featuring Carl at his most elegiac, the piece is dedicated to the memory of his late father, and evokes history, mystery, and geography as memory. His lines and harmonic seeking is restrained here, keeping the palette narrow and focused. Improvisation must serve the melodic sensibilities of these short works rather than dictate their direction. The result — though warm and accessible — is breathtaking and daunting." -- All Music Guide
"By turns pompous, playful, stern and irreverent, Carl happily revels in the clarinet, and the portions of the ’95 show where he picks his up are among the most technically vibrant and sonically resonant I’ve heard played on the instrument. Squeaking, honking, and puffing soft melody, Carl moves from mood to mood, delicately managing subtle shifts in volume, perspective and tone. Most remarkable are the pieces where he seemingly tests the acoustic potential of the factory space with several astonishing foghorn-like bellows which, played at appropriate volume, are something quite spectacular to hear. A wild and great disc...." -- Opprobrium
"In the right hands the accordion can be a wonderfully expressive and versatile instrument (in the wrong hands it is aural torture), and from the first reassuring note Rüdiger Carl handles it with great ease; his thorough knowledge of the instrument’s potential allowing him to create complex cubist or pointillistic improvisations that suddenly cohere into brief, beguiling melodies that grant him a flicker of nostalgic reminiscence.... a very appealing CD, revealing a musician capable of combining warmth and adventure." -- Rubberneck
Rüdiger Carl: accordion, clarinet
1-7: Recorded live by Peter Fey on June 18th, 1995, at the Adler-Werke in Frankfurt/Main. Thanks to F.I.M. and to the Gallus-Theater.
8: Recorded live by Georg Wilsberg from January till April 1993 at the Kammerspiele Bonn-Bad Godesberg. Thanks to Thomas Dreißigacker and to Valentin Jeker.
Mastered by Jonas Bergler.
Produced by Rüdiger Carl and Jost Gebers.
Front drawing: Martin Kippenberger.
Booklet layout: Rüdiger Carl and Jost Gebers.
Photos: Alex Caldwell, Margret Sommer, Dagmar Gebers & private.
"Dedicated to my father and to Martin Kippenberger".
That's an easy one! We're all BEING human, and we're all BECOMING dead!
'Til then, Parmenides and Heraclitus aside, I'll add Evans to my collection of favourite trumpeter albums.
I love the easy-breezy charm of Chet Baker, blowing soft clouds; and Miles Davis' Bitches Brew is obviously it.
This is suiting my taste in the abstract right now.Put a trumpet player through a mincer with a squeaky toy he might sound like this.Which is not a criticism, truly.A link of Peter Evans? Breakfast sorted! nicholas hamnett