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Thompson Fields

Maria Schneider 形式: CD
5つ星のうち4.7 78
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新品 中古品
CD, CD, インポート, 2016/6/2 CD, インポート
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￥4,500 ￥3,900
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  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 13 x 15.39 x 1.5 cm; 180.02 g
  • メーカー ‏ : ‎ Artishare
  • EAN ‏ : ‎ 0791687575485, 0616892279143
  • 商品モデル番号 ‏ : ‎ B00X4SIJ26
  • レーベル ‏ : ‎ Artishare
  • ASIN ‏ : ‎ B00X4SIJ26
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    5つ星のうち4.7 78

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ROBERTO
5つ星のうち5.0 CD Maria Schneider
2020年10月14日にイタリアでレビュー済み
Amazonで購入
Ok tutto perfetto. Consegna ritardata non dovuta ad Amazon.
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ICP
5つ星のうち5.0 Five Stars
2017年8月4日に英国でレビュー済み
Amazonで購入
Well structured nice
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Martin Jahn
5つ星のうち5.0 Ihr schönstes.
2018年7月1日にドイツでレビュー済み
Amazonで購入
nun es is schon viel zu diesem Album geschrieben worden. Sicherlich eines der schönsten Alben von Maria Schneider. Hervorzuheben sei noch die wunderbar schöne Aufmachung de Booklets. Großartig, fast selber ein Kunstwerk.
1人のお客様がこれが役に立ったと考えています
 レポート
roverton
5つ星のうち5.0 An American Masterpiece
2015年7月31日にアメリカ合衆国でレビュー済み
Amazonで購入
The Thompson Fields

Having listened to Maria Schneider’s music for 20 years now, starting with her Monday nights at Visiones, through various venues including the more recent traditional Thanksgiving week sets at the Jazz Standard in NYC, up to the June CD “Thompson Fields” release celebration at Birdland, I’m not sure if that makes me more, or less qualified to be objective about her new album on Artistshare. But there’s critical consensus already. Early expert reviews are in and they’re all raves. But then there’s the music, which is finally what matters. And it’s superb. Every cut.

One of the most telling observations is by Jeff Krow, of Audiophile Edition: “You don’t listen to Maria Schneider’s music, you ‘experience’ it.” I know what he means. You let go of "self" and just inwardly ride the shifting emotional currents of her distinctive compositions. As fine as her early Enja releases are, and the later fan-funded Artistshare albums have been, “The Thompson Fields” reveals a composer at the absolute height of her creative powers. It confirms the growing sense that this is not just our most important contemporary jazz composer--but also a major American composer, regardless of genre.

In 2014, her CD with Dawn Upshaw, “Winter Morning Walks,” won 3 Grammys, including best classical recording. Recently, she has collaborated with David Bowie on his noirish video, “Sue.” Listening to the variety of the songs in “The Thompson Fields,” you have the sense that Maria doesn’t even think about these artificial boundaries; that this is a composer confident in the flow of her meticulous creativity--where music is simply music, written when inspired and refined over years of performance. Her orchestra (all first-call musicians with their own careers) has a rare stability of personnel, in an age where keeping a working band together is close to impossible. They have been loyal to her—as she to them—making music for so long they have reached a level of intuitive collaboration that’s uncanny. It’s like a living organism, the individual voices of soloists integrated with the shifts and moods of the compositions, strict and yet free—and especially free of ego. Live, their pleasure in performing this music is highly visible and very moving.

Fittingly, the packaging of the CD is equally extraordinary. It’s sleeved in the end-papers of a 56-page, hardbound booklet (a sewn binding even!), full of striking photographs, maps, Audubon birds, and including an articulate commentary by Maria sketching the genesis of each song, as well as musings on the persistence of memory and on the mystery of beauty and why it must be recognized as essential to keeping us human, even as her compositions do. It’s the journal of a thirsty mind asking large questions.

This has to be the jazz record of the year. But it feels like something grander—a masterpiece of sublime complexity, almost spiritual in nature, not just a nostalgic meditation on her personal history or an ecological tract. It responds to those large questions, never in a sentimental way, but in a way that only great music can. The compositions don’t spring from some grand thematic design, as some reviews have suggested in that inevitable impulse to generalize. These are songs written one at a time. The consistency comes from the process of her life. To quote Maria from her recent July downbeat “Composer of the Year” interview: “Was I consciously setting out to write a whole album? No. I was writing music and these themes—they are this place, this time. Every one of my records has been basically a compilation of music I’ve written around the time of the record. But if your music is deeply attached to your life…then it can’t help but be a record of a period—whatever that represents, whether it’s political, emotional, personal or environmental.”

Maria Schneider is a “national treasure” (NPR), true to herself and her music—so refreshing in an age of demographic targeting and cultural narcissism. Her compositions on this CD go far beyond words in touching an emotional depth that is rare in any art form. I believe, because of this marriage of genius and authenticity, aided by the freedom granted by a fan-funded financial base, this CD will find listeners outside of jazz, at least those who are ready for great American music. Some of the reviews here testify to that.

For details on songs, personnel, solos, even the microphones used to record this (!), such information is available in the review links at mariaschneider.com. It’s well worth a look, if only to see the different takes each critic brings to this wonderfully ambitious recording.
28人のお客様がこれが役に立ったと考えています
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Mikio Miyaki
5つ星のうち5.0 autobiographical music
2017年1月13日にアメリカ合衆国でレビュー済み
Amazonで購入
Maria Schneider’s “The Thompson Fields” is an outcome of her personal experience. Her keen interest in nature bears fruit as an autobiographical music, which is soothing. She tells Allen Morrison that “The Thompson Fields” is her past, through the lens of big band and jazz. (Down Beat, Dec.,’16) The CD is packed in a pocket sized hardcover nearly as gorgeous as the music inside. She wrote an essay on inspired moments and backstories of each titles, while inlaying paintings, vintage maps, her photo, and all in connection with those episodes.

“Walking By Flashlight” is calm and quiet. The music evokes a feeling of walking in a wettish prairie covered with mist before the dawn. The subject of “The Monarch And The Milkweed” is what is beauty exactly, and why does it exist? A trombone and a fluegelhorn quest for how living things interconnect to carry out their cycles, creating elegant and harmonious relationship. The role of “The Arbiters Of Evolution” is left to us, who differentiate good scores and performances from the other by listening them. A trombone and a baritone fly flamboyantly crossing in quest for the females’ sexual selection. Birds and wildlife, she says, are a huge part of her life. “The Thompson Fields” is a vibrantly pastoral. It’s an impressionistic homage to where she spent much of her childhood. A piano and a guitar arouse our nostalgia, our sweet old memories. To a question nature seems to be a constant source of inspiration for her, Schneider answers to Shaun Brady that it’s more about sharing what she love and hoping that it creates people to be curious about it if they’re not already, or if they are, to remind them. (Jazz Times, Sep.,’15)

Schneider explains “Home” has morphed from the arrangement of ‘Home On The Range’ and has gotten hints for the coda at the verse of ‘How Are Things In Glocca Morra.’ She affirms there always exists a lot of music from the early and mid-’60s, which has really ‘American’ in it, a joyful optimism and exuberance, in her bones. (DB, Dec.,’16) ‘Nimbus’ starts with an eerie soundscape. An alto incites our uneasiness, depicts a powerful drama in the bleak landscape. Drum sound is increasing in power, as if nature press us not to forget an awe-inspiring feeling toward them. She wrote her uncommon experience seeing a tornado in the open air with her mother. “A Potter’s Song” is collectively lamenting. An accordion creates delicate and intimate atmosphere. A trombone affectionately adds warmth and tenderness into melody. “Lembrança” is recollections of her past. Carnival sometime lefts sour feeling on us. It might be our reminiscences of the youth, unexpectedly gone friends, and home. She wisely insert peculiar melody of “A Potter’s Song” into the coda. A bass reflectively trudges the past. Wind carries a faint sound of rehearsing a samba from a remote place. Getting vigor and joy from the festival, people can go back to run-of-the-mill like everyday life with a little hope.

And I pressed a play button to hear the music again!
5人のお客様がこれが役に立ったと考えています
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