Chabrol noir Ran Blake
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- 2Midnight Snow02:10
- 3The Secret Of Madame Louise02:03
- 4Vier Ernste Gesange (Fatality)01:40
- 5Bells Of Doom04:43
- 6Wedding Singer01:36
- 7Helene's Walk Home01:35
- 8Cause For Alarm (Fieldtrip)02:04
- 9Garvey's Ghost01:49
- 10The Nights Of Tremolat06:00
- 11Love Lament06:52
- 12Emergency Code01:46
- 13Balloon Ecstasy02:04
- 14Les grognards02:33
- 15I'm Going To See My Son02:58
- 17Watch What Happens04:29
Info zu Chabrol noir
Impulse! Records follows Ran Blake’s critically acclaimed 2014 disc, Cocktails at Dusk: A Noir Tribute to Chris Connor with Chabrol Noir, another cinematic-themed outing, which illustrates his long-standing fascination with the film noir subgenre. As the of the new disc suggests, the late Claude Henri Jean Chabrol, the iconic French film director who was a notable member of the French New Wave movement of the late 1950s and 1960s.
With more than 30 discs under his belt, the always-curious Blake continues delivering probing music that evokes a fragile beauty and hair-raising suspense, often captured in film. His Chabrol Noir is a welcome addition to his inscrutable body of work as well as fine second chapter in his late-career relationship with Allard and Impulse! Records.
Ran Blake, piano
Ricky Ford, tenor saxophone (on tracks 4, 9, 11, 12, 14, 16)
Dominique Eade, vocals (on track 15)
Recorded July 13, 14 & 15, 2012 at ICP Recording Studios, Belgium
Recorded and mixed by Jay Newland
Mastered at Battery Studios, New York
Produced by Jean-Philippe Allard
In a career that now spans five decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions, and themes from classic Film Noir, Blake’s singular sound has earned a dedicated following all over the world. His dual musical legacy includes more than 40 albums on some of the world’s finest jazz labels, as well nearly 40 years as a groundbreaking educator at Boston’s New England Conservatory.
Blake first discovered the dark, image laden and complex character driven films that would so influence his music at age 12 when he first saw Robert Siodmak’s Spiral Staircase. “There were post World War II musical nuances that if occasionally banal and as clichéd as yesterday’s soap operas, were often so eerie, haunting and unforgettable,” Blake would later write. “After more than eighteen viewings during a period of twenty days, plots, scenes, and melodic and harmonic surfaces intermingled, obtruding into my day life as well as my dreams.”
Long before the invention of virtual reality, Blake began mentally placing himself inside the films and real life scenarios that inspired his original compositions like “Spiral Staircase”, “Memphis” and “The Short Life of Barbara Monk”. The influence of the Pentecostal church music he also discovered growing up in Suffield, Connecticut, combined with his musical immersion in what he terms “a Film Noir world,” laid the groundwork for his earliest musical style.
That early style would become codified when he and fellow Bard College student and vocalist Jeanne Lee became a duo in the late 1950’s. Their partnership would create the landmark cult favorite The Newest Sound Around (RCA) in 1962, introducing the world to both their unique talents and their revolutionary approach to jazz standards. This debut recording would also show the advancing synthesis of Blake’s diverse influences with its haunting version of David Raksin’s title track from the movie Laura and his original tribute to his first experience with gospel music, “The Church on Russell Street”.
The Newest Sound Around was initiated and informally supervised by the man that would be come Blake’s most significant mentor and champion, Gunther Schuller. The two began their forty-year friendship at a chance meeting at Atlantic Records’ New York studio in January 1959. Less than two years earlier, Schuller coined the term “Third Stream” at a lecture at Brandeis University. Schuller was recording on Atlantic—helping to define his term in musical practice—with future jazz giants like John Lewis, Bill Evans, Eric Dolphy, and Ornette Coleman. Ran Blake came to the label to accept what he calls “a low level position” that allowed him to be near the music of inspirations like Chris Connor, Ray Charles, and Harlem’s famous Apollo Theater. Blake’s long association with Schuller, modern classical music, and Schuller’s controversial term began here, and was forged by years of friendship, collaboration and innovation. Visit: www.ranblake.com