If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Music written for a film does not always stand up on its own. This is one of the exceptions, an enticing body of work that accompanied the short of the same name; a film about movement that was comprised almost entirely of black and white photographs.
Ratliff composed or co-composed all the tunes. He uses classical music, North African rhythms, what is termed as "jungle music" and given credence to on the programmed grooves of "Mies," and that Spanish air which serves to underline the theme of the movie. His arrangements add to the lure.
Take "Barcelona," for instance. There are three versions here and each brings in a different impression. The band version sways in on a lazily undulating Latin rhythm. Subtle shifts in tempo are pegged and etched on the hard side by the baritone sax of Michaël Attias. Ratliff smears thick, greasy lines on the trombone, the final resplendence given by Sam Bardfeld on the violin, his lines swimming in sensuously. The pared down duo version breathes warmly through the rich texture of Charlie Giordano's accordion and John Hebert's bass, which punctuates with adroit shifts of pulse and timbre. The "dreaming" version scatters structure, fractured motifs fly across with just a nod or three to melody. A tune can take the direction the imagination wills it to do so. And these players go full throttle on "Sintuba," the heady beat of North Africa driving the music and the musicians, the charge coming from the dumbek of Seido Salifoski and some cutting edge cornet from Ratliff. But it is the band coming together and essaying a strong passion and feel that lends the presence.
The record spells excitement in different ways.
Track Listing: Barcelona (band version), BCN, Glass, Barcelona (duo), Horsey, Mies, Barcelona (dreaming) Estacio De Franca, Night Dance, Barcelona (solo), Sintuba
Personnel: Michael Attilias--alto and baritone saxophone; Sam Bardfeld--violin; John Hebert--bass; Edward Ratliff--cornet, trombone, accordion, celeste, Fender Rhodes; Andy Biskin--bass clarinet; Charlie Giordano--accordion; Chris Kelly--programming, guitar, drums; Seido Salifoski--dumbek; Doug Wieselman--guitar
I love jazz because it takes my mind away and is very relaxing.
I was first exposed to jazz by my older brother every morning while eating breakfast before school he would play Hiroshima One which I hated but after he moved away to college and I moved to Miami I fell in love with jazz music.