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Детали релиза : John Zorn, George Lewis, Bill Frisell - News For Lulu (2008) [FLAC (tracks + .cue)]

AlbumJohn Zorn, George Lewis, Bill Frisell - News For Lulu (2008) [FLAC (tracks + .cue)]
Хэш релиза9b5e11ad4c3c3de9c208da913601e80620f1ca52
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John Zorn, George Lewis, Bill Frisell - News For Lulu (2008) [FLAC (tracks + .cue)](кликните для просмотра полного изображения)
John Zorn, George Lewis, Bill Frisell - News For Lulu (2008) [FLAC (tracks + .cue)](кликните для просмотра полного изображения)
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Описание/Треклист
Artist: John Zorn, George Lewis, Bill Frisell
Album: News For Lulu
Label: hatOLOGY (Hat Hut)
Released: 2008
Genre: Contemporary Jazz, Hard Bop, Post Bop
Country: USA
Duration: 01:18:11

Tracklisting:
01. K.D.'s Motion
02. Funk in Deep Freeze
03. Melanie
04. Melody for C
05. Lotus Blossom
06. Eastern Incident
07. Peckin' Time
08. Blues, Blues, Blues
09. Blue Minor I
10. This I Dig of You
11. Venita's Dance
12. News for Lulu
13. Olé
14. Sonny's Crib
15. Hank's Other Tune
16. Blue Minor II
17. Windmill
18. Melanie (bonus track)
19. News for Lulu [Live]
20. Funk in Deep Freeze [Live]
21. Windmill [Live]
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This reissue has been 24-bit digitally remastered with an added bonus track.



Credits:

Arranged By - Frisell, Lewis, Zorn
Artwork By [Graphic Concept] - fuhrer vienna
Composed By - Freddie Redd (3,8,13,18), Hank Mobley (2,7,10,15,20), Kenny Dorham (1,5,11,17,21), Sonny Clark (4,6,9,12,14,16,19)
Guitar - Bill Frisell
Liner Notes - Art Lange
Photography [Cover] - Tina Modotti
Producer - Werner X. Uehlinger
Recorded By - Etienne Bron (tracks: 1 to 17), Peter Pfister (tracks: 18 to 21)
Remastered By - Peter Pfister
Saxophone [Alto] - John Zorn
Trombone - George Lewis



Notes:

Digital live recording at Soundville Recording Studio Lucerne on 28th August 1987.
Tracks 18-21 digital live recording on two-track at Jazzfestival Willisau on 30th August 1987.

Track 18 is previously unreleased.

Cardboard sleeve



Bill Meyer:

In 1987 John Zorn, George Lewis, and Bill Frisell were all members of New York’s thriving, conceptually-minded downtown scene. They approached the Blue Note material with a considered artistic agenda — to test its capacity for tolerance of outside techniques, and to critique bop’s ethos of individuality, which required many of its practitioners to trade a life of penury and exploitation for the chance to attain individual expression on the bandstand.



Art Lange:

The trio’s selection of material was not only inspired by musical considerations, but to rattle a few historical perspectives—to introduce, or reacquaint, an audience with distinctive compositions that had undeservedly been lost in the cracks of time. Of course, once chosen, the next, necessary, step was even more difficult and decisive—to play them. And there is a sense of play in the trio’s attack, a joy that emerges from confidence, commitment, and freedom.
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