Eckemoff places very strong emphasis onto making melody as attractive to listener as possible and creating a range of kaleidoscopic mood changes. She is able to achieve a unique combination of subtle minimalism with climatic span of her music to obtain a truly captivating sound.
Melody mostly oscillates around the peculiar darkness, beautiful sadness and reflection, and the pianist is more focused on creating the atmosphere than on showing her virtuoso technique. The greatest asset of Glass Song is that these tracks put listener in reflective frame of mind and give free ran to his imagination.
Music is so captivating, full of such contemplation that it makes it hard to stop listening in any point during playing. Unhurriedly in the agile, delicate pace, the artists create a world of sounds to the listener, which causes deep reflection to set it and provokes a variety of thoughts.
Purchase Peter Erskine. This is the first time I hear this is the female pianist leader, Yelena Eckemoff originally from Moscowbut when I look at the independent label Yelena Music site, she has released 19 albums including classical works. The gifted and versatile pianist Yelena Eckemoff bridges different worlds, musically and attitudinally. On these melancholic and bittersweet tunes, the immediate point of contextual reference and departure is linked to Sunny Day In The Woods - Yelena Eckemoff Trio - Glass Song (CD ECM Records tradition.
On the other hand, she carves her own way, cross-talking between genres while keeping her ear on the impressionistic endgame, with ample help from her collaborators. But she is more romantic impressionist than academic.
Her forms, for all their order and precision, are heartfelt. Here and there is undeniably juicy creativity, the three not avoiding angularity or volume, but they also sustain an aura of peace.
Instead, Eckemoff and her cohorts approach jollity; the pianist further demonstrates the great variety of expression she has at her fingertips; and the music swings.
Arild Andersen contributes with beautiful melodies and solo-parts, Yelena is just Yelena: excellent! I love this work, it is already on my Sunny Day In The Woods - Yelena Eckemoff Trio - Glass Song (CD and on my car-music-stick. The hard copy has got a safe place at home. The slow, halting transition from winter to spring is captured in this gently meditative suite. Eckemoff, who comes in from a classical approach, writes beautiful, crystalline compositions and her trio has an organic, open sound, full of heartache and longing.
The recording quality is stellar, the trio is very well balanced, and each musician gets plenty of time in the foreground. Lovely music. Poised on gentle dissonances, the hypnotic music soothes even as it animates.
Pianist Yelena Eckemoff is refreshing. She has carved a niche for herself with an eye constantly trained to still newer paths. This is not jazz about technicality, but rather about soul. The look and sound of an ECM recording, but ….
All originals from classically trained Russian pianist Yelena Eckemoff, this trio is all balance, nuance and modulation— featuring the brilliant bassist Arild Anderson and drummer with a quiet beats in his kit, Sunny Day In The Woods - Yelena Eckemoff Trio - Glass Song (CD, Peter Erskine. Day or night, this is a beauty. The Ensemble recorded and released its first CD in"The Call," an album that houses Sunny Day In The Woods - Yelena Eckemoff Trio - Glass Song (CD distinct but seamless fusion of the free spirit of jazz and the bombast of a symphony.
Eckemoff hopes that attendees of the Ensemble's performance will be awash not only in "The Call's" cornucopia of sound, but also, she says, "I hope that they will like it and feel emotionally recharged and inspired. I hope that my music sounds fresh, exciting and meaningful to them and will help them dream, remember and contemplate. Yelena Eckemoff has done something almost entirely new--she's created what could very well be considered a new musical genre--classical world improv, if a name must be put to it.
Drawing mainly, perhaps, on classical music, she's figured out a way to seamlessly incorporate world, jazz, and chamber ensemble elements. The result? Music of uncommon beauty and pathos. With an extensive, one might almost say comprehensive, classical piano foundation, Eckemoff and her altogether sympathetic band have produced one of the great, original discs of the new millennium.
One of the things I love most about this disc is that the leader, though a classically trained pianist of the absolutely highest accomplishment, exhibits none of that uptightness that often plagues classical artists who assay other genres: indeed, Eckemoff effortlessly gambols and frolics in world-chamber jazz precincts as if she invented and absolutely owns this rarified music. Her band Deborah Egekvist, flute, bass flute; Gayle Masarie, cello; and Michael Bolejack, drumsplayers of uncommon empathy with chops to burn, lock into the highflying vibe with nary a misstep, deftly following the leader through the most arcane and heartfelt moves.
With absolutely spot-on intonation and a rich, dark tone, she consistently nails this technically challenging but emotionally charged music. Cellist Gayle Masarie channels the best of Yo Yo Ma and Edgar Meyer, consistently framing the bottom of this music with statements of great depth and felicity. But it's the leader who makes the strongest impression: the overall concept, flawlessly executed by all involved, all tunes, and the majority of solo statements are hers.
That she manages to compose, lead, and improvise with such absolute assurance and aplomb marks her as a consummate musician. Moreover, she has a unique approach to the piano, at once delicate, precise, and powerful, eliciting from the instrument passion, nuance, and strength as called for.
Standout tunes include the beguiling Japanese flavored "Sushi Dinner," the probing "Questions," and the provocative "Temptation. But there's not really any weak tunes in the bunch. Whether balladic or up-tempo numbers, everything resonates with our deepest feelings and longings. Absolutely not to be missed by anyone who wants gorgeous, brilliantly inspired music of the highest accomplishment.
Album 1 contains music Ms Eckemoff composed in her Album) teens and early twenties. The earlier work is steeped in modern classical tradition, and is mostly abstract and edgy. This group of fifteen relatively short pieces is subtitled "Feelings," and reflects different states of the teenage mind such as "Purity," "Anxiety," "Love," "Doubts," and "Joy.
Eckemoff wrote the music on paper as she composed it, and then recorded the music for both volumes in her home studio in All of the music in this suite is solo piano. The second suite of pieces, subtitled "Sketches of My Youth," is much more jazz-influenced, and the Album) four of the thirteen pieces include added instrumentation from a MIDI keyboard. This music also tends to be edgy, and it's fascinating to hear how Eckemoff mixed her classical training with jazz studies as her own musical voice evolved.
Little blues riffs sneak in here and there. I really like "Watching a Night Sky," which has a bigger sound and an infectious rhythm. One of my favorites is "Passions Over Mistrust," with its deep bass rhythm in the beginning and ending sections, and the lighter more questioning middle part. Dark and kind of mysterious, this is a very interesting piece.
Titled "Leaving Everything Behind," it starts out quietly with a very simple right hand melody that is questioning and reflective. The left hand comes in with a gentle counterpoint that builds in intensity. Then an infectious bass line comes in, leading to a beautiful, mournful melody on keyboard with piano in the background. Piano comes forward, with percussion and sax.
The instrumentation keeps changing, seamlessly evolving the painfully sad melody. This piece is a real knockout. If you are looking for melodic mainstream piano music, this one probably won't do it for you, but if you enjoy modern classical music and harder-edge jazz, give it a try.
This album contains two suites of music composed in her late twenties and late thirties. Experimental and edgy, Eckemoff's deep roots in modern classical music is very apparent. The group of seven "Poetic Songs" are pieces that were composed around the work of several different poets.
For this recording, the vocal parts were replaced by musical instruments keyboardbut the music was performed with Russian singers in the late 's. The piano is still very prominent, but is only part of the musical texture. The music in this group tends to be very dark and reflective, and is more than a little bit challenging.
This bouncy little piece is my favorite of this suite. The second suite is subtitled "Old, New Impressions. The intimacy of just the piano and pianist makes this piece very touching, as it depicts the highs and lows of life. Fast and crisp mostly without pedalyou can almost feel the sting of the ice on your face. I hear that "Piano Chronicles, Album 3" is in the works, so stay tuned! In listening to several of Yelena Eckemoff's CDs recently, I find that I personally like her more recent work best, but it's so interesting to hear how she has evolved as a composer over the course of a few decades.
Her piano technique is phenomenal and all of her work is sincere and heartfelt. If you prefer someone like Jim Brickman, this won't be your cup of tea, but if you enjoy exploring the work of someone with a unique musical vision, I think you'll really enjoy this journey.
As the collection of "toys" grew, she realized that she was creating kind of a diary of her family life. Over time, she also collected sound effects from family videos as well as photos that reflected what the music was about, intending to keep it as a personal memento for her family. She later realized that the music was something that most people could relate to, either with their own families or their early lives, and released the collection on her own label.
She and her husband came to the US inleaving their three small sons with their grandmother while they established a life here. The family was reunited fourteen months later, and "Happy Moments" captures the joyful reunion. Along with the piano, Eckemoff added other instrumentation, so this is not one of her solo piano recordings. As in life, the textures and colors keep changing, making this a very interesting and enjoyable album as well as a personal memoir.
Some of the talking on the album is Russian, since the children spoke Russian at the time. Eckemoff is very open about translating, but it would be fun if the translations were in the liner notes or on her website, allowing those of us who don't understand Russian to know what is happening.
The giggles and laughter are universal! The music has strong classical roots, but jazz and contemporary influences are apparent. The CD cover calls it "entertaining music," and I think that's very accurate. The CD opens with one of the boys asking in Russian, "Is there going to be music?
I am just going to stay right here. My favorite track is the aforementioned "Happy Moments," which is in a ragtime style.
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