three years, and not for long, live practically under the bell tower of the village. when the bell rings - and does so every half hour, from seven-thirty in the morning at half past eight in the evening - if I had, awesome glasses and crystals. not so much the sound of two bells, which I also play three meters as the crow flies, from the head: if so, should I wake up every morning at the first stroke (seven and a half), and does not happen, now I addicted, and wishing I can not even hear them. the trouble is the dull sound produced by the mechanism that swings the bells so that is rather sinister and unpleasant. you get used to the bells, even the cat did. maybe.
I started, however, to tackle the right way only in recent months. I, ie, used irony. irony (from the greek: ironiòs - would say the door / Guzzanti - meaning: Wisdom) is used to disarm a dangerous situation, to make it harmless through estrangement, relocation cognitive. sure, it took me some time, but the important thing was to get there.
quest'ironia all, in fact, I expressed one of these mornings. I told you: I sleep very long, or better, I sleep badly. my rhythm wakefulness / sleep, to put it mildly, is a tantrum, so I renamed the "circus adiano. as in any good about respecting us are acrobats and stilt-walkers, tigers and elephants, clowns and clowns, and everyone does what he pleases, with the result that for an entire period I went to bed at six in the morning waking up at four in the morning.
short, one of these mornings - (One of These morning, it seems the attack of the blues) was soon approaching and threatening the stroke of half past seven, and I was already awake for a while '- I anticipated Bell put the reader "If I Were a Bell", played by Miles Davis quintet and contained in that classic of classics is "Relaxin 'With The Miles Davis Quintet". not listening for some time. wonder.
as you know, the material for that album was recorded all in one day, October 26, 1956, during which, in truth, Miles and his (John Coltrane, Paul Chambers, Philly Joe Jones and Red Garland), they recorded twelve songs, six of which ended up on "Relaxin '" (and others? who guess win favors and prizes). May 11 the previous year, the group had carved the other fourteen completatando contractual obligation with the prestige, before moving on (officially, unofficially had already started recording) at Columbia. throughout twenty-six pieces, all but one of the first engraved take.
already the subject, as so often in that period of the quintet, is a jewel of perfection, to relax, swing. from miles off as the time (with the snap of fingers) and the precision with which the other musicians take possession of the scanning and incorporating it running. (Have you noticed the difference between rock and jazz? In the rock, the time is off more abruptly, and without frills: the time binary builds its strength by taking the earth in jazz, however, the leader employs two or Four miles as in this case, sometimes eight measures in blank for the time to the others need to give them time to acclimatize, to synchronize your breathing, heart rate). the thrust is captured by Red Garland, the pianist, for the first touch of class: the bells of Big Ben, whose design is taken from the tune of "I Know That My redeeeer liveth", an aria of George Frideric Handel. We are the theme of bells, and there is no mention tastier.
exposure proceeds with the Olympic genius of that group: every single second contains a gem of interplay, automation of spectacular, with sudden solutions: those things, in short, that make a miracle. here it is theme of If I Were a Bell . 32 measures, ABAC. (Only in the shape changes slightly).
the network of pipelines and sounds that is established between the four (Coltrane does not play the theme) is incredible, even more so is how the musicians react to the rhythm section to a other stimuli, where the reaction was real-time feel a little difference, even microscopic, but nothing as if each knew what the other was going to do .
in this flourishing of wonders, one in particular is fascinating: first, because the idea is perfect for placement, performance, economy and simplicity, then, because it seems a little obsession of Red Garland, the bell ringer. end of section b, as the folds on a theme, Garland plays one note, one note: a single note, which has the lightness of a small bell in the distance. if you got out, here it is:
heard? Garland took advantage of the vacuum to do support this ringing (two, actually, an octave apart), soft away. nice idea, clear, perfectly legible.
so clear and readable to our Red Garland was to be liked. repeats at least twice. only at the end of the first miles of:
the second before the final restatement of the theme:
it has even more power. the others were placed on the second quarter of the joke: this, however, falls on the fourth movement of the lift, giving a boost to the musical flow dynamics formidable.
individual notes, scampananti, sound like brilliant gems that emerge from the fog. not believe it, but it puts garland other two in the final restatement of the theme. (Get the disc, and try to find them).
that same day, however, a garland with the idea he was digging a small groove in the brain, like a worm that forced him to fill the space with sparse gestures, isolated sounds, chimes chaste. it also does in "oleo", a song on which I'm writing an essay that sooner or later I'll end.
on that particular day of his life, therefore, red garland bells sounded and felt everywhere. I wonder if he too lived under a bell tower ...
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