Codona Trilogy (Spkg) Box set, CD, Limited Edition, Import
|価格:||￥ 3,949 通常配送無料 詳細|
This specially priced 3-CD box brings together the three legendary recordings of trans-cultural pioneers Don Cherry, Nana Vasconcelos and Collin Walcott: Codona, Codona II, and Codona III (recorded 1978, 1980, 1982 respectively). Delightful listening, these albums are also milestones in the history of improvisation between the genres. World music before there was a name for it. The beauty of Codona is in the trio's open-mindedness, proposing equal rights for all the idioms, and for music of all the continents. The group was a coming together of three master musicians, each of whom was an innovative sound-explorer. Three CD-set in cap box - booklet includes liner notes by Steve Lake and photography by Roberto Masotti.
Walcott had training in Indian music, Vasconcelos hailed from Brazil with its melange of European and African diaspora traditions. Cherry was active in the counterculture and picked up a few things from various African musics. The Codona project was essentially a workshop where they could explore exotic timbres, make use of the interplay of sound and silence for dramatic effect, and combine East and West in a way that foresaw the explosion of World Music.
There is palpable sense of studio space: sometimes Walcott is front and centre, but Cherry and Vasconcelos sound like they are moving around or content to do their own thing in a corner somewhere. Across the three albums, Cherry and Walcott go beyond what they are usually known for: in addition to his famed trumpet, Cherry plays, doussn'gouni, various flutes, kazoo, organ and melodica, while Walcott, besides sitar and tabla, plays hammered dulcimer, sanza and timpani.
One of the unusual aspects of Codona's work within the ECM fold is that these three musicians exploited overdubbing to create thicker textures. "Que Faser" opens with tabla and sitar, which Walcott of course wasn't playing at the same time. On "Like That of Sky", the opener to the first album, growling vocals are multitracked to create a shamanistic ritual of unidentifiable provenance. In "Godumaduma", the second track of CODONA 2, Walcott performs alone, the music consisting of two string lines double-tracked.
While Codona went off exploring exotic traditions, they didn't entirely leave behind the jazz music they were based on. There are three Ornette Coleman tunes across the first two albums, which are recognizable but nonetheless utterly transformed by the new instrumentation. In "Clicky Clacky" on the third album, Don Cherry turned his hand to the hobo blues genre, writing a praise of railroad travel that sounds like some authentic folklore from the 1930s, but Walcott's sitar makes it a very curious blues indeed.
If Codona's versatility had to be represented by one track, it might be "Malinye" from CODONA 2. Cherry initially plays his horn while Walcott beats a timpani and Vasconcelos sings, the proceedings rooted in a folk music refrain. However, this track, 12 minutes long, eventually transforms into a free-jazz free-for-all with wordless shouting from the players and unstructured drumbeats, and then ends with minimalism of the Steve Reich sort.
I cannot claim to be entirely bowled over by Codona's body of work. Things start to feel repetitive by the third album. Paradoxically, while this project was seemingly open to anything, it ultimately had limited possibilities. The invariable airiness and spaciousness of Codona's work, the mainly slow tempos and desire to avoid swinging, were starting to drag them down. Nonetheless, the first two albums especially are fine works that hold up well decades later, and even if one considers Codona a forebear of "World Music", they aren't the kind of unimaginative crossover gimmickry (merely Western pop with "ethnobeats" added on top) that one often associates with the genre.
This box set reissue (from 2008) includes none of the original artwork. Rather, it is a new design featuring only black and yellow text on a pure white background. The booklet includes archival photos of the musicians, as well as substantial liner notes by Steve Lake that describe the project's origins, Codona's special approach to music making, and the project's aftermath in the wake of Walcott's untimely death. Within the clamshell cardboard box, the three CDs are packed in three cardboard sleeves.
What makes Codona so special is the interesting combination of talent starting with Don Cherry. I have so many great Jazz CDs with Don Cherry playing in some group or another. He played with the Ornette Coleman's group in the early 1960's "Free Jazz" movement. He normally plays the pocket trumpet & cornet with half slurs & running notes. On these recordings he plays trumpet, doussn'gouni, flutes, organ, melodically, & voice.
Collin Walcott is the Indian instrument master of the group Oregon who died in a car accident in East Germany when there was such a nation. He was taught by Ravi Shankar & Alla Rakha. On these recordings he plays sitar, tabla, hammered dulcimer, stanza, timpani, & voice.
Nana Vasconcelos was born in Brazil & was one of top percussionists with Jazz greats like Egberto Gismonti, Pat Metheny, & Jan Garbarek to name a few. I can recognize Nana Vasconcelos musical style of toned drums in these recordings. The percussion sounds like his work with Pat Metheny on "As Falls Wichita, So Falls Wichita Falls". On these records he plays berimbau, cuica, talking drum, percussion, & voice.
This box set comes with all 3 of Codona's recordings in their own separate paper cover inside with 20 page booklet. Most people write they like the 1st & 2nd CDs. The 2nd CD is the most abstract with a lot of percussion sound effects.
A rating of 5 should be given for the talent & the fine recording, but a 4 is given for the sometimes "wandering around" of the music. Maybe 3 CDs is a bit much for me to take in & I can't give a perfect score.
I need to play this set a little more & will add to the review.