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JON BALKE ECM 1732765 Sales Points:
Potential audience is not limited to jazz, but also to listeners to modern composition
The approach: the pianist sketches an idea at the piano, quite spontaneously, waits a few seconds, develops the idea and then moves on to the new “chapter”. Balke calls it “a process of understanding by doing and not by pre-conceived ideas.” The resultant sounds “are a result of the room, hour of the day, the piano, the light and so on.” Speed is part of the process: “Piano playing is in fact mainly about velocity. There is no more information going through the mechanics when a note is struck, than the sheer force of your finger hitting the ebony and ivory. Velocity produces the sound, secondary comes the chords, melodies, and context.” The album’s cover photo – taken by Balke himself, from a speeding car – gives an indication of the album’s energy. It moves swiftly through the landscape. What does it sound like? In jazz, there are very few precedents, although listeners who relate to Paul Bley’s sound-world will admire Book Of Velocities. Equally, these at times aphoristic pieces, the shortest of which is only 56 seconds, can be viewed as improvised cousins to the piano compositions of Kurtág and Ligeti. Jon Balke, born in 1955 in Hamar, made his ECM debut in 1974 as a member of Arild Andersen’s group. He was a founder-member of Masqualero and appears on their ECM debut Bande A Part, 1985, and he became leader/composer/arranger of the group Oslo 13 (Nonsentration, 1990). He continues to lead the Magnetic North Orchestra (Further, 1993; Kyanos, 2001; Diverted Travels, 2003) and is a member of the percussion-dominated collective Batagraf (Statements, 2004). Tracks: Chapter I
Chapter II
Chapter III
Chapter IV
Epilogue
Recommended listening * Total time: 58.22 |