NORMA WINSTONE - Descasado: Songs for Films
ECM 578 6989
Norma Winstone (voice); Glauco Venier (piano); Klaus Gesing (soprano saxophone, bass clarinet); Helge Andreas Norbakken (percussion); Mario Brunello (violoncello)
Recorded March 2017
I have long been an admirer of Norma Winstone, and this trio in particular, and it was with eager anticipaton that I looked forward to this new release, their fourth for ECM. With each new recording the three musicians never cease to amaze and captivate with their delicate blend of song and instrumental virtuosity that is used not in a technical outburst but to create a wonderfully unique sound world that is a pleasure to inhabit and immerse oneself in. The sheer range of the material played by the trio is breathtaking from Cole Porter to Peter Gabriel (Distances), Maria Schneider and Wayne Shorter (Stories Yet To Tell), Dave Grusin, Nick Drake, Tom Waits and a cover of Madonna's 'Live to Tell' (Dance Without Answer) along with material from within the group; and not forgetting Winstone's superb lyrics.
For the latest release, the trio have taken the theme of Songs for Films, and have often reworked the original in a ways that perhaps even the original composer may not instantly recognise. In addition to this they have also brought two new musicians in to the mix with percussionist, Helge Andreas Norbakken and the celllo of Mario Brunello. It is therefore testament to the skill of all that this has not in anyway changed the sound of the trio or their identity but enhanced the overall experience by the subtle use of the new colours available. Often used sparingly as on the beautiful 'Malena' written by Ennio Morricone with its delicate use of percussion and Gesing's haunting soprano saxophone and the lyrical cello, along with Norma's words make this one of the highlights (among many) of the set.
The album opens with a couple of classic songs from the genre with Michel Legrand's 'His Eyes, Her Eyes' from The Thomas Crown Affair with a skilful arrangement by pianist, Glauco Vernier that features a wondeful dialogue between Winstone's voice and soprano saxophone, immediately followed by 'What Is Youth?' from Zeffirelli's Romeo & Juliet, in which we first hear the augmented quintet line-up with Gesing's beautifully sonorous and understated bass clarinet. In direct contrast, 'Theme From Taxi Driver (So Close To Me Blues)' is far removed from the original more menacing version heard in Scorsese's Taxi Driver, here given more melancholy overtones with a hint of the darkness hanging in the air from the bass clarinet.
On three titles, Winstone eschews the use of lyrics and instead sings wordlessly thus blending with the instruments adding a depth to the collective sound that brings a deep poignancy to another Legrand compostion 'Vivre Sa Vie' (from the film of the same name), and in a reading of 'Lisbon Song' that finds the voice and soprano dancing joyously in a wonderful counterpoint. The music again finds reason to dance on the folk tinged 'Meryton Town Hall' from the 2005 film version of Pride & Prejudice.
The album is dedicated in memory of John Taylor and Kenny Wheeler with whom Winstone recorded for ECM as the trio Azimuth, and the it is most fitting that William Walton's beautiful 'Touch Her Soft Lips And Part' with lyrics by Norma, which the late pianist used to play, should be included.
This is another superb album from Norma Winstone and her colleagues, that sows how far the trio has developed over the last seventeen years, and shows just how much more there is still to explore.
Reviewed by Nick Lea
ECM 578 6989
Norma Winstone (voice); Glauco Venier (piano); Klaus Gesing (soprano saxophone, bass clarinet); Helge Andreas Norbakken (percussion); Mario Brunello (violoncello)
Recorded March 2017
I have long been an admirer of Norma Winstone, and this trio in particular, and it was with eager anticipaton that I looked forward to this new release, their fourth for ECM. With each new recording the three musicians never cease to amaze and captivate with their delicate blend of song and instrumental virtuosity that is used not in a technical outburst but to create a wonderfully unique sound world that is a pleasure to inhabit and immerse oneself in. The sheer range of the material played by the trio is breathtaking from Cole Porter to Peter Gabriel (Distances), Maria Schneider and Wayne Shorter (Stories Yet To Tell), Dave Grusin, Nick Drake, Tom Waits and a cover of Madonna's 'Live to Tell' (Dance Without Answer) along with material from within the group; and not forgetting Winstone's superb lyrics.
For the latest release, the trio have taken the theme of Songs for Films, and have often reworked the original in a ways that perhaps even the original composer may not instantly recognise. In addition to this they have also brought two new musicians in to the mix with percussionist, Helge Andreas Norbakken and the celllo of Mario Brunello. It is therefore testament to the skill of all that this has not in anyway changed the sound of the trio or their identity but enhanced the overall experience by the subtle use of the new colours available. Often used sparingly as on the beautiful 'Malena' written by Ennio Morricone with its delicate use of percussion and Gesing's haunting soprano saxophone and the lyrical cello, along with Norma's words make this one of the highlights (among many) of the set.
The album opens with a couple of classic songs from the genre with Michel Legrand's 'His Eyes, Her Eyes' from The Thomas Crown Affair with a skilful arrangement by pianist, Glauco Vernier that features a wondeful dialogue between Winstone's voice and soprano saxophone, immediately followed by 'What Is Youth?' from Zeffirelli's Romeo & Juliet, in which we first hear the augmented quintet line-up with Gesing's beautifully sonorous and understated bass clarinet. In direct contrast, 'Theme From Taxi Driver (So Close To Me Blues)' is far removed from the original more menacing version heard in Scorsese's Taxi Driver, here given more melancholy overtones with a hint of the darkness hanging in the air from the bass clarinet.
On three titles, Winstone eschews the use of lyrics and instead sings wordlessly thus blending with the instruments adding a depth to the collective sound that brings a deep poignancy to another Legrand compostion 'Vivre Sa Vie' (from the film of the same name), and in a reading of 'Lisbon Song' that finds the voice and soprano dancing joyously in a wonderful counterpoint. The music again finds reason to dance on the folk tinged 'Meryton Town Hall' from the 2005 film version of Pride & Prejudice.
The album is dedicated in memory of John Taylor and Kenny Wheeler with whom Winstone recorded for ECM as the trio Azimuth, and the it is most fitting that William Walton's beautiful 'Touch Her Soft Lips And Part' with lyrics by Norma, which the late pianist used to play, should be included.
This is another superb album from Norma Winstone and her colleagues, that sows how far the trio has developed over the last seventeen years, and shows just how much more there is still to explore.
Reviewed by Nick Lea
