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Marcos Miranda - En casa de Nur (full album)


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En casa de Nur (full album)



Marcos Miranda: Salterio y Ney.

Pavel Sandoval: Percusión.

Ana Barona: Violín.

Huitzilín Sánchez: Teclados.





1. Homenaje a Thelonious Monk - Bemsha Swing 0:00

2. Homenaje a John Coltrane - Peace on Earth 6:22

3. Existencia - Para Andrei Tarkovski 12:08

4. Homenaje a John Coltrane (2) - Spiritual 23:18

5. En casa de Nur - Para Muzaffer Ozalc 30:53

6. Homenaje a John Coltrane (3) - Peace on Earth (versión II) 43:59

7. Para Don Cherry 58:23

8. Homenaje a John Coltrane (4) - Spiritual (versión II) 1:04:52





The talents of MARCOS MIRANDA receive a much better showcase on EN CASA DE NUR [Vistlan 1].

Hanging up the straight horn, he turns his attentions to the salterio [an Italian zither instrument} and ney [Persian cane flute] and employs them in the service of rendering expansive versions of Monk and Coltrane tunes along with a number of originals [Bemsha Swing/ Peace on Earth/Existencia/ Spiritual/ En Casa de N u r/ Peace on Earth/ Para Don Cherry/ Spiritual. 73:36.].

A small pool o f colleagues join him in the venture [Pavel Sandoval, perc; Ana Barona, vln; Huitzilin Sanchez, kybds. 12/7/01 & 4/02, Mexico}, though half of the pieces fe ature him in the sole company of Sandoval's hand percussion. The opening interpretation of M o nk 's seminal \"Bemsha Swing\" sets a riveting standard for the

remainder of the set.

Miranda's incandescent salterio progressions lend the angular theme resplendent Arabic overtones and the culminating finish erupts in a barrage of cascading coruscating notes. His retoolings of Coltrane's \"Spiritual\" are similarly inspired. On the first version the somber melody aligns beautifully with the brittle Asian tonalities of Miranda's tautly wound strings as Sandoval sculpts another meditative rhythm at his flanks. The second pairs salterio with the Cecil Taylor-styled piano of Sanchez in densely-structured duet. Church organ-like keyboards and the violin of Barona add fu rth e r harmonic color on a handful of other tracks, but it's the absorbing improvisations of the leader that hold center stage fo r the duration. Several of the pieces stretch to extravagant lengths, but Miranda and his partners largely succeed in filling all of the space with captivating content.

-Derek Taylor

Vol. 32 No.3 march 2006 CADENCE page 25

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