Stefano Bollani / Piano Variations on Jesus Christ Superstar
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2020
Жанр: contemporary jazz, piano solo
Издатель (лейбл): Alobar
Продолжительность: 01:03:35
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): qobuz
Треклист:
01. Prelude (1:42)
02. Heaven on Their Minds (4:59)
03. What's the Buzz? (2:41)
04. Strange Thing, Mystifying (1:33)
05. Everything's Alright (5:54)
06. This Jesus Must Die (3:34)
07. Hosanna (3:00)
08. Simon Zealotes (3:54)
09. Pilate's Dream (2:56)
10. The Temple (4:10)
11. I Don't Know How to Love Him (3:20)
12. Damned for All Time (1:43)
13. The Last Supper (4:01)
14. Gethsemane (I Only Want to Say) (7:26)
15. King Herod's Song (3:46)
16. Trial Before Pilate (2:54)
17. Superstar (4:06)
18. John Nineteen: Forty-One (1:56)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/48
Формат: PCM
Количество каналов: 2.0
Доп. информация: http://stefanobollani.com/
Лог проверки качества
foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2020-04-10 16:04:24
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Analyzed: Stefano Bollani / Piano Variations on Jesus Christ Superstar
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DR Peak RMS Duration Track
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DR10 -7.34 dB -22.33 dB 1:42 01-Prelude
DR14 -1.09 dB -17.62 dB 4:59 02-Heaven on Their Minds
DR12 -1.08 dB -15.80 dB 2:41 03-What's the Buzz?
DR14 -2.70 dB -20.87 dB 1:33 04-Strange Thing, Mystifying
DR11 -3.70 dB -18.82 dB 5:54 05-Everything's Alright
DR13 -1.09 dB -16.71 dB 3:34 06-This Jesus Must Die
DR13 -4.18 dB -20.84 dB 3:00 07-Hosanna
DR13 -1.07 dB -17.29 dB 3:54 08-Simon Zealotes
DR11 -6.59 dB -23.12 dB 2:56 09-Pilate's Dream
DR12 -2.07 dB -18.16 dB 4:10 10-The Temple
DR13 -5.48 dB -22.09 dB 3:20 11-I Don't Know How to Love Him
DR12 -1.08 dB -15.95 dB 1:43 12-Damned for All Time
DR12 -5.08 dB -21.86 dB 4:01 13-The Last Supper
DR16 -1.07 dB -21.89 dB 7:26 14-Gethsemane (I Only Want to Say)
DR13 -1.08 dB -16.42 dB 3:46 15-King Herod's Song
DR11 -2.70 dB -18.03 dB 2:54 16-Trial Before Pilate
DR11 -2.47 dB -17.43 dB 4:06 17-Superstar
DR12 -13.64 dB -30.88 dB 1:56 18-John Nineteen: Forty-One
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Number of tracks: 18
Official DR value: DR12
Samplerate: 48000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1108 kbps
Codec: FLAC
================================================================================
Об исполнителе (рус.) | About Artist (ru)
Стефано БолланиСтефано Боллани (род. 5 декабря 1972 г., Милан) – итальянский композитор, пианист и певец, писатель и телеведущий. Отец Стефано из Ломбардии, мать – венецианка. С шести лет Боллани начал выступать на профессиональной сцене в теле- и радио-шоу. Играл, в основном, поп- и рок-музыку. Будучи чрезвычайно талантливым и музыкально «всеядным» мальчик пробовал себя и в классической музыке, и в джазе. В 1993-м году окончил учёбу в консерватории Луиджи Керубини во Флоренции. Переломным моментом в жизни Боллани стал 1996-й год. Он начал играть со знаменитым итальянским трубачом Энрико Рава. «Стефано, – сказал ему маэстро. – Пришла пора сделать выбор и не распылять талант». И Боллани выбрал джаз. Уже навсегда.
Среди партнёров Стефано Боллани по музыкальной сцене были Гато Барбьери, Чик Кориа, Билл Фризелл, Соль Габетта, Ришар Гальяно, Эгберто Гисмонти, Ли Кониц, Бобби Макферрин, Пат Мэтини, Каэтану Велозу, Фил Вудс и всё тот же Энрико Рава, с которым Боллани записал более 15-ти альбомов. Кроме того, Стефано играл со многими симфоническими оркестрами (Filarmonica della Scala, Orchestra dell'Accademia Nazionale di Santa Cecilia, Лейпцигским оркестром Гевандхауза, Королевским оркестром Консертгебау, Оркестром Парижа, Симфоническим оркестром Торонто и др.), а также сотрудничал с такими дирижёрами, как Зубин Мета, Джанандреа Нозеда, Антонио Паппано…
В 2006-м году его альбом «Piano Solo», записанный на культовом лейбле ECM, итальянский журнал Musica Jazz назвал «альбомом года» и номинировал Боллани на звание лучшего итальянского музыканта года. В 2007-ом увидел свет альбом «BollaniCarioca», записанный с участием известных бразильских исполнителей. В том же году Стефано дал концерт в фавелах, бразильских трущобах близ Рио-де-Жанейро. До него там играл только Антониу Карлос Жобим. В том же году Боллани получил Европейскую джазовую премию имени Ханса Коллера как «лучший европейский музыкант 2007 года» и вошел в пятерку самых значительных музыкантов года на американском сайте All About Jazz вместе с Дейвом Брубеком, Орнеттом Коулманом, Чарльзом Мингусом и Сонни Роллинзом.
В 2009-м году джазовый мир покорил дуэт Стефано Боллани с Чиком Кориа.
15 июля 2010 года Боллани получил звание почетного доктора музыки в музыкальном колледже Беркли. Диск «Rhapsody in Blue», записанный с Лейпцигским оркестром Гевандхауза, на котором Боллани солировал в произведениях Гершвина для фортепиано с оркестром, вошел в поп-чарты и впервые в истории альбомов классической музыки в Италии занял восьмое место в десятке лучших, став «платиновым» (продано более 70 тысяч экземпляров).
В 2018 году Боллани выпустил диск «Que Bom» – первый альбом, изданный на собственном лейбле Alobar.
Для Стефано Боллани самое главное – это играть, импровизировать, отвести слушателя туда, куда ведёт его фантазия. А она ошеломляет не менее его техники, которой он смешивает жанры, стили, эпохи. Боллани можно назвать постмодернистом. Обаятельный музыкант меньше всего подпадает под стереотипы скучного и занудного исполнителя старой музыки – наоборот, он известным только ему одному способом заставляет своих слушателей полюбить как классические, так и джазовые произведения и открыть в них нечто вечно новое и вечное актуальное. https://www.last.fm/ru/music/Stefano+Bollani/+wiki
Об исполнителе (англ.) | About Artist (en)
Stefano Bollani“I come from nothing and I’m going into the beyond”
(Unknown)He started studying the piano at the age of six and made his professional debut at 15. After graduating at the music Conservatory in Florence in 1993 – and a brief experience as a session musician in the pop world with Raf, Jovanotti and others – he became an established jazz musician, playing on stages such as the Town Hall in New York, the Barbican in London, the Scala in Milan and the Salle Pleyel in Paris. His collaboration with Enrico Rava, that has lasted uninterrupted since 1996, has been crucial. At his side he performed hundreds of concerts and recorded 13 CDs. The most recent include: Tati (2005), The Third Man (2007) and New York Days (2008). Throughout his career, he has worked with musicians like Richard Galliano, Bill Frisell, Gato Barbieri, Sol Gabetta, Phil Woods, Lee Konitz, Pat Metheny and Chick Corea, with whom he recorded live Orvieto (2011).
In 1998, he led the band L’Orchestra del Titanic and paid tribute to the Italian music of the 1930s and 1940s with Abbassa la tua radio, a record-show with, among others, Elio, Peppe Servillo, Marco Parente, Barbara Casini, Roberto Gatto. Some of his works are particularly unusual, such as La gnosi delle fanfole, together with singer-songwriter Massimo Altomare inspired by texts written by Fosco Maraini (1998); Cantata dei Pastori Immobili, a music oratorio for four voices, created on the texts by David Riondino (2004); and the record of Scandinavian songs Gleda (2005). He is the artistic producer and arranger of Bobo Rondelli’s record Disperati intellettuali ubriaconi (2002), thanks to which he won the Ciampi award.
Between 2002 and 2006, he recorded four CDs for the French Label Bleu: Les Fleures Bleues, Smat smat, Concertone and I Visionari. 2006 was also the year of Piano Solo (album of the year for “Musica Jazz”). In 2007 BollaniCarioca was released, recorded in Rio De Janeiro; in December, he was the second musician, after Antonio Carlos Jobim, to play a grand piano in a favela, and in the following years he assiduously collaborated with Brazilian musicians like Hamilton de Holanda, Chico Buarque, Caetano Veloso and Egberto Gismonti. He also played his piano for Italian pop-rock artists, amongst whom Irene Grandi, with whom he signed the album Irene Grandi e Stefano Bollani (2012).
His most recent productions include: Big Band (2013); Joy In Spite of Everything (2014); Sheik Yer Zappa (2014), a live recording dedicated to Frank Zappa; Arrivano gli alieni (2015), where he tried his hand as a singer-songwriter for the first time; Napoli Trip (2016), with Daniele Sepe, Manu Katché, Jan Bang and others; Mediterraneo (ACT 2017), a live recording in Berlin with Jesper Bodilsen, Morten Lund, Vincent Peirani and some members of the Berliner Philharmoniker, arranged by Geir Lysne.
In the classical field, he has performed as a soloist with symphonic orchestras (Gewandhaus in Leipzig, Concertgebouw in Amsterdam, Orchestre de Paris, Filarmonica della Scala in Milan, Santa Cecilia in Rome, Toronto Symphony Orchestra) alongside conductors such as Zubin Mehta, Kristjan Järvi, Daniel Harding, Antonio Pappano and especially Riccardo Chailly, with whom he recorded Rhapsody in Blue and Concerto in Fa by Gershwin in a CD (2010) that won the Italian Platinum disk selling over 70,000 copies. He also recorded Concerto in Sol by Maurice Ravel (2012) and in 2013 a live DVD recorded at the Scala in Milan and that included Gershwin’s Concerto in Fa.
His desire to communicate has crossed into the world of publishing. In 2006, he published the novel La sindrome di Brontolo, for Baldini Castoldi Dalai, followed by Parliamo di musica (2013) and Il monello, il guru, l’alchimista e altre storie di musicisti (2015), both published by Mondadori. He appeared in the weekly publication Topolino as a character called Paperefano Bolletta and was then also appointed its Ambassador. In 2017, Trigono Edizioni published Dialoghi tra alieni, conversazioni su universi vicini e lontani which Bollani signed together with Mauro Biglino, Anne Givaudan and Igor Sibaldi.
For radio, he was creator and presenter, with David Riondino and Mirko Guerrini, of the show Dottor Djembè (Rai Radio 3, 2006-2012), which also led to the writing of the book Lo Zibaldone del Dottor Djembè (2008) and the TV special Buonasera Dottor Djembè (Rai 3, 2010). The Rai Radio 3 programmes’ theme songs have been his since 2009.
In theater, he has worked with Claudio Bisio, Maurizio Crozza, Giuseppe Battiston, Marco Baliani, the Banda Osiris and others. He composed the music for three plays by Lella Costa (Alice, una meraviglia di paese, Amleto and Ragazze) and for the Antigone by Cristina Pezzoli. An honorary member of the Italian Association of Pataphysics, he is co-author and actor in the play La Regina Dada, created with Valentina Cenni in 2016.
On TV, he is a permanent guest of Renzo Arbore in the show Meno siamo meglio stiamo (Rai 1, 2005) and creator, author and host in the two editions of Sostiene Bollani (Rai 3, 2011 and 2013), in which he brought live music to the small screen. His latest TV project is L’importante è avere un piano (Rai 1, 2016): seven late-night episodes on Rai 1 with guests, improvisations and live music. http://stefanobollani.com/en/page/bio
Об альбоме (англ.) | About Album (en)
Info for 'Piano Variations on Jesus Christ Superstar'The musical Jesus Christ Superstar, by Andrew Lloyd Webber and Tim Rice, arrived at the beginning of the 1970s and immediately seemed suspicious. Was it a pure-hearted expression of religious devotion, as its defenders claimed, or was it a more controversial, transgressive piece of work?
On one hand, it was a modern, popular retelling of the final week in the life of Jesus. This was exactly the sort of thing you’d expect religious communities to embrace and support, but there were elements of this retelling that left many people uncomfortable. It shone a light on Jesus’ close relationship with the sex worker Mary Magdalene, which many Christians prefer not to think too much about. Its portrayal of Judas seemed to be disturbingly sympathetic. Did the comparison of Jesus’ following with that of modern celebrity belittle his teachings?
Then there was the ending. The musical finished with the crucifixion and did not include the resurrection. Jesus was killed like any other man, and that was the end of the story. Many Christians were deeply uncomfortable about this. Time and again Rice and Lloyd Webber made choices that remained superficially faithful to the gospels, yet which always somehow managed to highlight the doubts that nagged in the back of the minds of the faithful.
On top of this, there was the form that this retelling took – a rock opera. To religious conservatives, musical theatre was suspicious enough as it was, even before you introduced the element of rock. It may sound ludicrous now, but at the time rock was suspected of being the devil’s music. This was, in fact, something that religious conservatives were entirely right about. Rock is absolutely the devil’s music, or at least the good stuff is.
Here was a largely faithful retelling of the Greatest Story Ever Told, the foundation myth for much of Western culture, appearing in modern day mainstream culture in a vibrant, compelling form. Yet to traditional eyes it was suspicious and unsettling and seemed designed to push the faithful towards doubt. Which of those two aspects was the more powerful – the light of the story or the darkness of the form? We were witnessing the eternal clash of good versus evil. This was entirely appropriate, as this was exactly what the story was about in the first place. Here was the very heart of Christian belief presented as a living argument rather than a settled doctrine. Jesus Christ Superstar was the story of Holy Week in the form of electricity rather than empty ritual.
It was this alchemy that Stefano Bollani encountered when he was 14 years, late at night when his parents were asleep, face pressed close to the television screen to hear every note of the movie version without waking his family. Deeply Catholic at the time, the greatest story of all time flowed into him as a profoundly human story of friendship, love and justice. It is a story that can still make him cry. He didn’t see the concerns that so troubled some Christian authorities, because surely the story wanted to be expressed in this form?
The music has lived inside him ever since, and he has been the perfect host. Like the musical, Bollani has a trickster-like quality, playful and vibrant and never contained or pinned down. Both the music and the musician make counter-intuitive choices and use surprise as source of delight. In the musical, Simon the Zealot condemns the “filth from Rome” and longs for the eternal city of Jerusalem. Two thousand years later, it is Rome that is the eternal city, not because of imperial power but because it is beautiful, and beauty like that shines in eternity. That a musician from Italy would claim this music would have horrified Simon, but the ineffable, unpredictable quality in both music and musician make it entirely appropriate.
For decades, Bollani has wanted to record his own version of this music. As he explained, “I was relaxing one day and I thought, ‘Why not?’ I love this music. Why shouldn’t I play the music I love?” Bollani has taken this strange electric phenomenon and stripped it of all the obvious sources of its power. Gone are the choir, the orchestra and the rock guitars. The sets, the costumes, the dancers and the lights have all been thrown away. We are left with one man at a piano, exploring music that he long ago internalised, playing it entirely as an expression of his own character. Its earthly bombast has gone, but its real power remains. The combination of Bollani and Jesus Christ Superstar may have surprised people at first but, as you listen to the music on this album, you’ll understand that to mutate into this form is exactly what the music wants.
John Higgs
Brighton, England
November 2019
Состав | Artists
Stefano Bollani – piano, arrangements and (on track 17) voice
Chorus (on track 17):
Frida Bollani
Manuela Bollani
Valentina Cenni
Recorded and mixed by Roberto Lioli at LOAD, Liberation Of Arts
District Recording Studio, Rome, Italy, 4-7 October 2019
Assistants: Matteo Ruperto and Walter Laureti
Mastering: Stefano Cappelli, Creative Mastering
Piano: Alfonsi Pianoforti srl (Steinway Mod. D)
Piano tuning (432 Hz): Mauro Buccitti
Artistic and executive producer: Stefano Bollani
Music & lyrics by Andrew Lloyd Webber / Tim Rice
except: track 1 by Stefano Bollani
Tracks 2-14 and 16-18: Universal/MCA Music Ltd.
Track 15: The Really Useful Group
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发表于 2020-9-24 13:16:16
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