Tippett, Keith / Matthew Bourne
Aeolian [2 CDs]
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Two generations of remarkable pianists--Keith Tippets and Matthew Bourne--performed a series of two-piano concerts between 2017 and 2019, also recording in the studio, as heard in this 2-CD release, the first a set of consequential piano duos recorded at Leeds Conservatoire in 2019, the 2nd disc a live performance at Daylight Music at Union Chapel, London, Tippetts' final public performance.
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Catalog ID: 120CD
Squidco Product Code: 31122
Packaging: Cardboard Gatefold 3 Panels
CD 1 recorded at The Venue, Leeds Conservatory, in Leeds, UK. on July 8th and 9th, 2019, by Sam Hobbs.
CD 2 recorded live at Daylight Music, Union Chapel, in London, UK, on October 12th, 2019, by Sam Hobbs.
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• Show Bio for Keith Tippett
"Keith Tippett (born Keith Graham Tippetts; 25 August 1947) is a British jazz pianist and composer.
Tippett was born in Southmead, Bristol. The son of an English father who was a policeman and an Irish mother name of Kitty. Keith wrote music dedicated to her after she died. Keith was the oldest of three siblings and had Clive and Thomas as brothers. Tippett went to Greenway Secondary Modern school in Southmead, Bristol. He formed his first band when he was fourteen with school friends, such as Richard Murch, Mike Milton, Terry Pratt and Bob Chard. They were called the KT Trad Lads performing Traditional jazz. Later Keith formed a modern jazz trio in Bristol and played regularly at the Dugout Club in Park Row, Bristol. He studied Piano and Church Organ, was a chorister and played with the school and Bristol youth brass bands. He moved to London in 1967, to pursue a musical life.
In the late 1960s, Tippett led a sextet featuring Elton Dean on saxophone, Mark Charig on trumpet and Nick Evans on trombone. Tippett married singer Julie Driscoll and wrote scores for TV.
In the early 1970s, his big band Centipede brought together much of a generation of young British jazz and rock musicians. As well as performing some concerts (limited economically by the size of the band), they recorded one double-album, Septober Energy.
He formed, with Harry Miller and Louis Moholo a formidable rhythm section at the centre of some the most exciting combinations in the country, including the Elton Dean quartet, and Elton Dean's Ninesense. Around the same time, he was also in the vicinity of King Crimson, contributing piano to several of their records including "Cat Food" (and even appearing with them on Top of the Pops). His own groups, such as Ovary Lodge tended towards a more contemplative form of European free improvisation. He continues to perform with the improvising ensemble Mujician and more recently (2006) Work in Progress.
Tippett has appeared and recorded in a wide variety of settings, including a duet with Stan Tracey, duets with his wife Julie Tippetts, solo performances, and appeared on three King Crimson albums."-Wikipedia (https://en.wikipedia.org/wiki/Keith_Tippett)
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• Show Bio for Matthew Bourne
"Matthew Bourne (born 6 October 1977) is a British Jazz musician.
Bourne was born in Avebury, England, and grew up in a small village situated in the Cotswolds, where he took up the trombone aged nine. In 1989, Bourne attended Kingham Hill School and began playing Cello the following year. After seeing Frank Sinatra play on television in 1993, Bourne began to teach himself the piano.
Bourne enrolled at Leeds College of Music in 1995 where he began to explore contemporary classical composition and avant-garde. During his time at the college he performed Michael Daugherty's Piano concerto 'Tombeau de Liberace' and John Cage's 'Concerto for Prepared Piano and Orchestra'. In 2001 Bourne graduated from the MMus Jazz Studies course. Bourne has subsequently taught as a part-time lecturer at Leeds College of Music and has a PhD in Performance from the University of Leeds.
Matthew Bourne's success began in 2001 when he was named the Perrier Young Jazz Musician of the Year. His success continued the following year when he was awarded the prize for Jazz Innovation at the BBC Radio Jazz Awards. In this period Bourne was profiled in The Observer Music Monthly as "the future sound of jazz", and 2005 he won the International Jazz Festivals Organisation (IJFO) International Jazz Award. His first solo album, The Molde Concert, was recorded live at the Molde International Jazz Festival and received positive reviews. This performance showcased Bourne's inventive use of samples (including audio clips from The Simpsons and other TV shows) as well as his "cyclonic energy and virtuosity" and "ramblingly self-deprecating and sometimes off-mic announcements".
By this stage, Bourne had also become co-leader of The Electric Dr M, Distortion Trio and Bourne/Davis/Kane and was beginning to work in a wider context, leading to notable collaborations with artists and groups such as Nostalgia 77, Marc Ribot, Paul Dunmall, Annette Peacock, John Zorn, Pete Wareham, Barre Phillips and Tony Bevan.
Bourne has been commissioned to write works for Bath International Music Festival, London Jazz Festival, Leeds Fuse Festival as well as from pianist Joanna MacGregor and Faber Music. Bourne's work has been broadcast on various BBC Radio and Television programmes.
Montauk Variations, Bourne's first studio album as a solo artist was awarded Leftfield Album of the Year by the Sunday Times. Its "lyrical and romantic" mood marked a change in musical direction from the avant-garde tone of his earlier work. Montauk Variations caught the attention of Amon Tobin and Nancy Elizabeth, both of whom invited Bourne to rework their material, and Simon Green of Bonobo selected the composition "Juliet" for inclusion in his release of the Late Night Tales compilation series.
In 2015, Bourne embarked on a UK tour with an audio/visual project entitled Radioland. This was a collaboration with Antoine Schmitt and Franck Vigroux to celebrate the 40th anniversary of the release of Radio-Activity by Kraftwerk. The Anglo-French trio "take the album's melodies and textures as the starting point for avant-garde explorations" that saw Bourne performing on a variety of analogue synthesisers as well as singing in German through a vocoder. An album of this music, entitled Radioland: Radio-Activity Revisited was released digitally on The Leaf Label in December, with physical copies available in January 2016.
Bourne's second solo album, moogmemory, was released on The Leaf Label on 4 March 2016. This is the only album ever recorded to feature only the Lintronics Advanced Memorymoog, a Memorymoog synthesiser converted by Rudi Linhard in a process which is the "equivalent of open heart surgery" replacing "1,300 components over eight weeks". A companion EP entitled moogmemory plus was released in November 2016. The first three tracks were composed during the process of creating moogmemory, but the release also includes new material and a cover of Sussudio by Phil Collins. "-Wikipedia (https://en.wikipedia.org/wiki/Matthew_Bourne_(musician))
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1. Etesians 7:51
2. Bise 7:14
3. Buran 13:07
4. Mistral 6:27
5. Brickfielder 6:11
6. Sirocco 3:29
7. Bora 9:05
8. Samoon 9:45
9. Soemthing I Made Up 1:40
1. Sympatico / Trade Winds 38:01
sample the album:
"Spanning a three-year period between 2017-2019, Keith Tippett and Matthew Bourne performed a series of two-piano concerts - nearly all of which were recorded. Discus Music is incredibly proud to make the fruits of this vital work available as a double album, comprising of two beautifully-recorded performances from 2019: a set of individual studio pieces recorded at Leeds Conservatoire is paired with a remarkable live performance from Daylight Music at Union Chapel, London; which sadly proved to be Keith's final public statement."-Discus
"Aeolian is as two disc set. Together they are aural evidence of just how monumental creativity can become. This is determined willpower challenged and held to the strength of its undertaking. At the time of the studio recording Keith Tippett had only one year left to live. By the time of the live concert it was edging nine months. Keith's health was already worrying and Matthew Bourne should be credited as being one of those important people who encouraged the maestro. He kept the focus alive and when necessary 'flexed' around gig cancellations, which Keith hated having to do. Aeolian is remarkable, not only does it give no indication of such a context it is one of the most enthralling recordings in a long list of exemplary lifetime performances. Keith Tippett and Matthew Bourne are totally in touch with each other's inner muse yet have the indomitable strength of execution to play it out as revelation. In the studio, by the time the two pianists reach the 7th track, Bora, everything they bring as individuals has been assimilated into a whole gigantic roar from a joint spirit. Dissonance and harmony are totally integrated within this huge wall of sound. Anyone listening could be forgiven believing Tippett and Bourne capable of holding back the Valley of The Shadow of Death itself. Ultimately they fail just like we all will, but here in July 2019 it is possible to believe that this is what they will achieve, maybe did achieve for a few months longer. Incredibly some three months later Keith and Matthew go out and play a live set in front of an audience at Union Chapel, London. A concert so utterly convincing, it feels as if time itself has been halted in its tracks. Composing in the moment in front of a live audience is riding the relief and release of inspiration. Within six minutes Tippett/Bourne put down their markers and move into the new territory of this particular piece, now named Sympatico. It is not easy to land on a direction with all the sonic motifs displayed at the exact golden moment but that is what happens here. No wonder Matthew Bourne has expressed his own confidence in these performances. They are works of such power it is hard to comprehend how they were achieved in the prevailing circumstances. To hear both men reaching the heights of their combined genie is mesmerising. I hope someone in the 'establishment' media press is listening to Aeolian. By any stretch of the imagination, this double disc package should be Oscar-ed, Mercury-ed and given Platinum status. Some recordings transcend even their own intent, truly this is special."-Steve Day, September 2021
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