![]() Uurimus pöörab tähelepanu karvade kui materjali füüsilistele ja taktiilsetele omadustele, sellele, milliseid aistinguid nad äratavad. Töö eesmärgiks on anda oma panus inimese keha poolt loodavate materjalide uurimisse ning katsetada juuste- ja kehakarvade omadusi ning potentsiaali uute ehete ja/või kehaobjektide loomisel. Selleks et neid toormaterjalina mõista ja analüüsida nende tähtsust, tuleb tähelepanu pöörata teatud spetsiifilistele kontseptsioonidele. Still, concision can be the best possible outcome, as it is on the album’s two ballads, Miles Davis and Bill Evans’s “Blue in Green” and a companionable, no less gorgeous original, “Letting Go.Carla Castiajo loomepõhine doktoritöö “Purity or Promiscuity? Exploring Hair as a Raw Material in Jewellery and Art” uurib inimese juukse- ja kehakarvade kui materjali potentsiaali luua nii ehtekunstis kui ka kunstis laiemalt erinevaid ning sageli ka vasturääkivaid tähendusi. Travis, the drummer Justin Faulkner and the Cuban percussionist Mauricio Herrera. That’s a fine reason to hear him at Dizzy’s Club Coca-Cola this Friday through Sunday with his current group, featuring Mr. Terrasson’s more digressive urges go unfulfilled. The album’s focus on concision means that Mr. ![]() Terrasson’s affinity for the groovy, mid-1970s Keith Jarrett. ![]() The originals “Dance” and “November” offer two variations on Afro-Caribbean pulse, while “Kiff” is the latest evidence of Mr. But the covers on “Take This,” innocuous and succinct, feel subordinate to a larger message of percussive buoyancy. Terrasson has made a habit, for better or worse, of cheeky pop flirtation. Johnson in Bobby McFerrin mode, humming and thumping his chest as Mr. Among the other covers, reframed with a similar spirit of play, are Bud Powell’s bebop touchstone “Un Poco Loco” and, less rewardingly, Gotye’s 2011 indie-pop hit “Somebody That I Used to Know.” A version of the Beatles’ “Come Together” finds Mr. The album title derives from Paul Desmond’s “Take Five,” which appears in a pair of loosely funky interpretations. Recorded in France, it’s a brisk showcase for an international rhythm coalition: the bassist Burniss Earl Travis, from Texas the drummer Lukmil Perez, from Cuba the percussionist Adama Diarra, from Mali and Sly Johnson, a French singer and beatboxer of African descent, formerly known as Sly the Mic Buddah. Terrasson’s new album, isn’t so much about a band. He tends to do his best work when he can ground his natural effervescence within the advanced mechanics of a working band. Since the release of his self-titled major-label debut just over 20 years ago, his art has communicated a deft intelligence sharpened by dynamic contrast. The postbop pianist Jacky Terrasson has always cultivated a touch of whiz-bang in his music, but that doesn’t mean he panders. “You’ll be paying, starting right now.” BEN RATLIFF “This is the last time that I’ll be making your drinks on the house,” she sings. “But this is the last time I’ll be saying those words to you.” She makes you wait until the chorus for you to get it: She’s the bartender. “Don’t ask me to say I understand when you know that I do,” she sings. But its emotional center is a ballad called “Paying,” which moves from the blurry to the specific, like a rack-focus shot in a film. The album’s epic is “Every Other Sunday,” a monochord drone through its verses that shifts into double time and becomes a hypnotic jam. Nelson makes the songs gradually move from one definition to another, drawing your attention to its repetition or simplicity, then expanding the context or otherwise defying your expectations. But the point of the record is in the ways Ms. There’s a sense of the amateur at the center of them: “Start Somewhere” rests on two chords, and garage-pop reverb “Snake Shake” rests on two notes. (It would have been an MTV voice 20-something years ago.) All these songs are guided by melodies or chord structures that sound familiar or easy or even primitive. Where it was shy and cracking in Prairie Dog, now it’s breathy and clear and well managed, somewhere between Suzanne Vega’s and Hope Sandoval’s. It’s an album of decoys: It refers to musical and narrative simplicity, directly and often, but doesn’t quite believe in or surrender to it. In her late 30s now, she’s reinvented herself on “Fast-Moving Clouds,” her first solo record. Sarah Bethe Nelson is a San Francisco singer-songwriter who played for the better part of a decade in a shaggy, mildly alternative roots-rock band called Prairie Dog, a group a little too comfy for its own good.
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