sensoul
23-04-2008, 11:48 AM
hôm nọ hình như thấy có bác Thầy tu funky hỏi về album của lão này , tìm google chẳng may vớ được cái Zanzibar , mời các bác nghe thử :)) . Dạo này em cũng mới chuyển sang nghe jazz fusion , thấy cũng lọt tai lắm :))
http://img86.imageshack.us/img86/1327/zanzibaruk0.jpg
Lê’s second album upped the ante by expanding the quartet—with bassist Dean Johnson and drummer Joel Allouche replacing Johnson and Erskine—to a quintet featuring Paul McCandless. McCandless’ oboe and English horn bring a different texture, with parts of Zanzibar suggestive of how Oregon might sound were its guitarist to focus on an electric rather than acoustic instrument. Recorded following a two-week tour, it’s also an even more unified record than Miracles, where the element of surprise is replaced by a more firmly cohesive sense of purpose.
Lê is often considered to be a fusion guitarist, and the reckless abandon of his solo on the fiery “Urbi” would certainly support that thought. But while he’s capable of rapid-fire phrases and screaming bends, there’s never a sense of excess. Even on the somewhat Metheny-esque “Isoar,” Lê’s clean-toned solo runs the gamut from the languid to the intense, building with purposeful intent and never resorting to pyrotechnics merely for the sake of it. There are few fusion guitarists who could switch gears to the Lê-Lande-McCandless trio of “Omero,” where McCandless’ soaring soprano saxophone solo is one of many high points. Lê’s writing continues to evolve, as does his approach to sound. The atmospheric “Sarugaku,” at just less than two minutes, continues to suggest an interest in Lê’s cultural roots through his use of distinctly Oriental-sounding samples. Lê’s astute synthesized sound choices mean that there’s nothing that sounds the slightest bit dated here (or on Miracles). They wouldn’t come together on record until Vince Mendoza’s Sketches (ACT, 1994), but Lê and the innovative composer/arranger already seemed to share much in common. The broad intervallic arpeggios and detailed counterpoint that define “Lupi Pilu” come from a similar space as Mendoza’s writing at the time on albums including Start Here (World Pacific, 1990) and Instructions Inside (Manhattan, 1991). Improvisational space may be one part of Lê’s musical approach, but finely honed writing is an equal component. Lê also possesses an ability to tailor his material to the strengths of his group. The detailed yet lyrical theme to “Nomaco” takes place in the context of constant change that provides a complex foundation for Lê’s thread-through-a-needle ability to improvise over them, but when he hands to reins over to Lande, the rhythm section shifts seamlessly to a more defined sense of swing. As much as Zanzibar is a logical progression from Miracles it’s also an album with a different complexion. Some artists gradually and inexorably evolve a singular concept, but Nguyên Lê is an artist who rarely stands still for long. His subsequent discography demonstrates an even more voracious appetite for diverse styles and contexts, but these welcome reissues prove it was there right from the start.
Tracklist
1. Zanzibar
2. Sarugaku
3. Urbi
4. Isoar
5. Nomaco
6. Singe Roi
7. Omero
8. Lupi Pilu
9. Trace
10. Singe
11. Lucie & Umbrae
Trích:
Nguyên Lê: electric guitars, guitar synthesizer, synthesizer, programming, sequencing
Art Lande: piano, thumb piano
Paul McCandless: soprano saxophone, oboe, English horn, bass clarinet
Dean Johnson: bass
Joel Allouche: drums, percussion
Code:
http://trumxomdi.net/Logan/NL_Z.part1.rar
http://trumxomdi.net/Logan/NL_Z.part2.rar
http://trumxomdi.net/Logan/NL_Z.part3.rar
http://trumxomdi.net/Logan/NL_Z.part4.rar
Hoặc
Code:
http://rapidshare.com/files/100961190/NL_Z.part1.rar
http://rapidshare.com/files/100969360/NL_Z.part2.rar
http://rapidshare.com/files/100977491/NL_Z.part3.rar
http://rapidshare.com/files/100981104/NL_Z.part4.rar
http://img86.imageshack.us/img86/1327/zanzibaruk0.jpg
Lê’s second album upped the ante by expanding the quartet—with bassist Dean Johnson and drummer Joel Allouche replacing Johnson and Erskine—to a quintet featuring Paul McCandless. McCandless’ oboe and English horn bring a different texture, with parts of Zanzibar suggestive of how Oregon might sound were its guitarist to focus on an electric rather than acoustic instrument. Recorded following a two-week tour, it’s also an even more unified record than Miracles, where the element of surprise is replaced by a more firmly cohesive sense of purpose.
Lê is often considered to be a fusion guitarist, and the reckless abandon of his solo on the fiery “Urbi” would certainly support that thought. But while he’s capable of rapid-fire phrases and screaming bends, there’s never a sense of excess. Even on the somewhat Metheny-esque “Isoar,” Lê’s clean-toned solo runs the gamut from the languid to the intense, building with purposeful intent and never resorting to pyrotechnics merely for the sake of it. There are few fusion guitarists who could switch gears to the Lê-Lande-McCandless trio of “Omero,” where McCandless’ soaring soprano saxophone solo is one of many high points. Lê’s writing continues to evolve, as does his approach to sound. The atmospheric “Sarugaku,” at just less than two minutes, continues to suggest an interest in Lê’s cultural roots through his use of distinctly Oriental-sounding samples. Lê’s astute synthesized sound choices mean that there’s nothing that sounds the slightest bit dated here (or on Miracles). They wouldn’t come together on record until Vince Mendoza’s Sketches (ACT, 1994), but Lê and the innovative composer/arranger already seemed to share much in common. The broad intervallic arpeggios and detailed counterpoint that define “Lupi Pilu” come from a similar space as Mendoza’s writing at the time on albums including Start Here (World Pacific, 1990) and Instructions Inside (Manhattan, 1991). Improvisational space may be one part of Lê’s musical approach, but finely honed writing is an equal component. Lê also possesses an ability to tailor his material to the strengths of his group. The detailed yet lyrical theme to “Nomaco” takes place in the context of constant change that provides a complex foundation for Lê’s thread-through-a-needle ability to improvise over them, but when he hands to reins over to Lande, the rhythm section shifts seamlessly to a more defined sense of swing. As much as Zanzibar is a logical progression from Miracles it’s also an album with a different complexion. Some artists gradually and inexorably evolve a singular concept, but Nguyên Lê is an artist who rarely stands still for long. His subsequent discography demonstrates an even more voracious appetite for diverse styles and contexts, but these welcome reissues prove it was there right from the start.
Tracklist
1. Zanzibar
2. Sarugaku
3. Urbi
4. Isoar
5. Nomaco
6. Singe Roi
7. Omero
8. Lupi Pilu
9. Trace
10. Singe
11. Lucie & Umbrae
Trích:
Nguyên Lê: electric guitars, guitar synthesizer, synthesizer, programming, sequencing
Art Lande: piano, thumb piano
Paul McCandless: soprano saxophone, oboe, English horn, bass clarinet
Dean Johnson: bass
Joel Allouche: drums, percussion
Code:
http://trumxomdi.net/Logan/NL_Z.part1.rar
http://trumxomdi.net/Logan/NL_Z.part2.rar
http://trumxomdi.net/Logan/NL_Z.part3.rar
http://trumxomdi.net/Logan/NL_Z.part4.rar
Hoặc
Code:
http://rapidshare.com/files/100961190/NL_Z.part1.rar
http://rapidshare.com/files/100969360/NL_Z.part2.rar
http://rapidshare.com/files/100977491/NL_Z.part3.rar
http://rapidshare.com/files/100981104/NL_Z.part4.rar