Various Artists | Jeff Guthery: Black Paintings

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Classical: Postmodern Jazz: Avant-Garde Jazz Moods: Mood: Intellectual
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Jeff Guthery: Black Paintings

by Various Artists

Black Paintings is an album based on the art of painter Francisco Goya. It is a synthesis of orchestra and free jazz, and each piece is based on a specific painting. The music is as dark, intense, macabre, and fantastical as the paintings themselves.
Genre: Classical: Postmodern
Release Date: 

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  Song Share Time Download
1. Goat
East Coast Scoring Orchestra & George Garzone
6:52 $0.99
2. Saturn
Jeff Guthery, Kenny Werner, George Garzone & Bruno Raberg
5:27 $0.99
3. Judith
East Coast Scoring Orchestra
5:39 $0.99
4. Atropos
East Coast Scoring Orchestra, Kenny Werner, George Garzone, Bruno Raberg, Jeff Guthery & Arielle Burke
8:17 $0.99
5. Colossus
East Coast Scoring Orchestra, Bruno Raberg & Kenny Werner
8:06 $0.99
6. Two Monks
David Fiuczynski, Nicole Parks, Eve Boltax, Bill Rounds, Nicholas Myers, Maria Finkelmeier, Matt Sharrock, Dane Palmer & Jeff Guthery
7:33 $0.99
7. Dog
East Coast Scoring Orchestra & Jeff Guthery
4:58 $0.99
8. Two Women
Jeff Guthery, Kenny Werner, George Garzone & Bruno Raberg
6:09 $0.99
9. Asmodea
East Coast Scoring Orchestra, Kenny Werner, George Garzone & Bruno Raberg
6:22 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
This album represents an endeavor to translate individual and collective, improvised interpretations of a distinct set of visual art into aural art. The non-traditional configuration of both the orchestra and string ensemble on Two Monks, as well as the frequent appearance throughout of improvised jazz, spoken in quartet form, either alongside the orchestra or in stand-alone mode, are intended to convey an overall aural mood commensurate to impressions gained through visual interaction with a select nine of the 14 Goya Black Paintings. While the orchestra parts were composed and rehearsed, the quartet sections were completely improvised. Kenny, George, and Bruno were intentionally kept in the dark about the music until the day of recording. For these improvised sessions, hand-painted reproductions of the paintings were placed in the studio within view of all, and the players were instructed to play their individual and collective impressions of what they saw. The paintings were, in a certain sense, the fifth member of the ensemble.

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