the english need improvement! hope u enjoy it claudia
Alan Sondheim wrote: hey all, already there is a review on a portugese site: http://jazzearredores.blogspot.com/2005/10/com-data-de-sada-prevista-para-13-de.html
///////////////////////////////////// With the release announced in next *November* the 13 th we will all finally know/ meet/ be The Songs, a work from the debut album from *Alan Sondheim & Ritual All 770, a group that used to live and play in a loft in Proivdence, Rhode Island.* *Originally released by the now "deceased" Riverboat Records, The Songs did not became *as *famous ( if we can talk like that about a material that circulated from hand to hand in the free jazz **underground ** and experimental / (border?? tr.) sonorical landscapes) as the other 2 works from Allan Sonheim like the tribe Ritual All 770: released by* Bernard Stollman na ESP-Disk <http://www.espdisk.com/about.html>. Recorded in march in 1967, "The Songs" is since then part the “best ever” lists in experimental improvised music, for its daring wich is translated by its total transgression (actually cofusion / mix in portuges tr. ) of the frontiers of the improvised, experimental and contemporanic music, “unacademisising” the different musical formats. Obviously dated, the music from Sondheim & Ritual All 7-70 manages however to sound fresh and ( actual – meaning from now tr.). Alan Sondheim plays eletric and acoustic guitar, violine, flute, several types of blow instruments, xilophone, alt saxophone, shenai, bandolim, koto, cítara, etc.Barry Sugarman plays percussion, tabla, dholak and naquerra; *Chris Mattheson*, contrabass; *Robert Poholek*, trompet; *Ruth Ann Hutchinson* e *June Fellows*, voices; e *J.Z.* drums. The Songs is organised as one piece with several sequencial movements where the voices, not directed, sing the libretto written by Allan Sondheim, named "Oratorio on the End of Visions", wich for some unexplicable reason sounds at the end as "Oratorio on the End of Illusions". The music that supports the text was not written, but suggested instead at the moment by the different modulations that the singers would give to the text, - singing from the end to the begin and from the begin to the end, with accentuations in some passages. Sonheim tells that the freedom in the creation was absolute. The only rule in the secction recorded in 2 takes, - where the second version (40 min ) was used - was : to dont stifle the more delicate instruments, nobody would play after a acoustic guitar or the koto ... Important reediction from the Fire Museum Records, in San Francisco, Califórnia, made from a vinil record and managing to have a very reasonable sound quality. *Alan Sondheim & Ritual All 770 - The Songs* (FM 04 <http://www.museumfire.com/sondheim>).
