Hurry up before I die by Evora to soothe your soul away


Evora Hurry up before I die

I came across Evora, an Irish band, through the intricacies of the web and the social networking (actually it began with Eoin Macken 05xbut from a start point, you never know where you will end) and I don’t regret it. Lately, I’m quite immersed in tango and classical music and here I have strayed from my standard route, which is a good thing.

So I downloaded the debut album of Evora, “Hurry up before I die” with its beautiful cover on Friday morning. It was a sad Friday as I had to be on my way to the funerals of a former work colleague that I liked very much. And the question was, what to listen on my ride there ? I needed something to soothe the day away and the sound of Evora matched my mood perfectly.

The day felt like spring and the sun was shining. We haven’t seen the sun much in the last weeks, with snow and ice at the beginning of that week in Paris. Driving with such weather and Evora’s album playing, I had this strange sensation to be in a kind of road movie and that I could drive on and on. But it was not to be one of those sad days. After that, the music helped me reminisce on all these good things past.

I can’t really pinpoint what feelings the music of this album awakens for me. I listen to this very soothing sound, atmosphere and it seems like someone is talking to me, I stop, look back and I feel that I’ve missed or forgotten something but I can’t say what. A fleeting sensation inside but not nostalgic, not the way it moves me in tango.

Another mystery for me is Alan Rickard’s voice. I usually can tell what I like in a singer’s voice : the quality, the grain… But here I love the voice but have no word to describe why. His voice blends beautifully with the instruments to create this mood that flows soothingly and where I lose myself. The music leads you through various landscapes from only voice, guitar, piano to a fuller sound with electric guitars. In one of the song, you can hear a mandolin with its peculiar tremolos (special note linked with a mandolin baroque concert I heard in Venice during this year carnival). I really love Close to you in its two versions (first and last tracks of the album) but my truly favorite song of the album is Tell me your name featuring Shannon. Nonetheless, each song has its own quirky little thing that makes it special to me : an instrumental introduction, voices, a rhythm or lyrics.

But believe it or not, I can actually link this album to my current obsession, tango. I was listening to Meet me by the water and with the last notes on the piano, a thought popped in my head :”oh ! here’s a 3-3-2″, pronounced tres-tres-dos in spanish, which is one of the pillar rhythm in tango music where the strong beats are shifted and reduced to 3 in a 4-beat bar. The 3-3-2 is actually used throughout two songs, Meet me by the water and Tomorrow.

One last thing, it’s been a while since I haven’t thought about Ireland but maybe…

Here is the video of Evora and Shannon in Tell me your name.

* if the video doesn’t appear, update the internet page.

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Closure



An ending dream of love unborn,
A love within, outward unshown,
Could it in hiding yet still live ?
In their own might they could believe.
Time proved them wrong,
Still they stood strong.
Flying away they scan below
Searching love’s light in fading glow,
With heart beating to unknown bliss,
With watchful eyes that would not miss.
Will a new flame soon be alive ?
For this keen soul impatient lay
As it won’t stand another drive
To love unshared and mind astray.
 
 
Nice-Paris january 11th, 2010- Paris-Toulouse august 21st, 2010

Juanjo Mosalini, Adrian Fioramonti & Olivier Sens : tra(d)icional and electro tango at the studio de l’Ermitage


The week began in a Luxembourg mood and ended with a South American whiff, more precisely with Argentina and tango.

With a friend, I attended a concert at the studio de l’Ermitage for a concert with Juanjo Mosalini with two of his bands : the first with the Argentinian guitarist Adrian Fioramonti for the release of their CD “Tra(d)icional” and the second with Olivier Sens.

The first part of the concert mixed the talents of Juanjo Mosalini on the bandoneon and of Adrian Fioramonti on the guitar with pieces from their CD recorded during the years 2011 and 2012. The title of the record is a pun around “tradicional” for tradition and “traicional” for treason. I always find myself dumbfounded when I see professional musicians displaying such complicity on stage, a complicity they share with their audience. This is the ultimate difference for me between recordings and live music and it gives the latter its special charm and attraction.

I had already heard some of the pieces from the second set in a concert in February 2011. As  the first time, I was taken by surprise when I recognised the main theme from the “milonga del angel”. Like a child :eyes , I got fascinated by the software Usine (factory in english) that the two musicians use as electronic accompaniment, more so when Olivier Sens used a tablet with several luminous buttons.

I really appreciated that concert and its atmosphere, even if there wasn’t as many people as I’ve seen in previous concerts.

Jakob Koranyi and his powerful cello at the Philharmonie de Luxembourg


When given the occasion, I try to attend a concert at the Philharmonie de Luxembourg and moreover, have a nice dinner before at the restaurant “La clef de sol”.

The Philharmonie de Luxembourg had the young and gifted cellist Jakob Koranyi playing with Simon Crawford-Phillips on the piano. The program consisted in solo cello pieces and sonatas for cello and piano.

The evening began with the first cello suite by Bach with a sound altogether full and light and a beautiful expressivity for the cello. I always find excellent the accoustics of the chamber music hall of the Philharmonie that gives sufficient reverberation to chamber music groups. After that, I enjoyed the first sonata for cello and piano by Brahms. In my view, the musical intentions of the cellist were overset by a lack of balance with the piano, the latter playing too loudly compared to the cello. As a viola player, I really admired Jakob Koranyi‘s bow handling that expressed a wide range of dynamics and sound.

The second part was dedicated to 20th century’s repertoire. Jakob Koranyi won his audience with the competition piece, “knock, breathe, shine”, by Esa-Pekka Salonen. In a very percussive first movement, the cellist showed his great technic mastery but made this contemporary piece understandable for the public. The two other movements let him express his virtuosity and his beautiful sound. The programme ended with Benjamin Britten‘s sonata for cello and piano. Despite his self absorption while playing, Jakob Koranyi appears totally involved in his powerful interpretation of this repertoire, with such power that the balance problem felt in the first part disappears. Nonetheless, it will be felt again with the encore, “the Swan” by Camille Saint Saëns.

Jakob Koranyi violoncelle
Simon Crawford-Phillips piano

Johann Sebastian Bach: Suite N° 1 G-Dur (G major) für Violoncello solo BWV 1007
Johannes Brahms: Sonate für Violoncello und Klavier N° 1 e-moll (E minor) op. 38
Esa-Pekka Salonen: knock, breathe, shine for cello solo
Benjamin Britten: Sonata in C major (C-Dur) op. 65 for cello and piano

Fleurs Noires’ “Salida de emergencia” : tango to enjoy


The Fleurs Noires and the superb Sandra Rumolino performed in Paris at the studio de l’Ermitage in a session for Buenos Aires sur Scène for the release of their album “Salida de emergencia”, spanish translation of “Sortie de secours”, one of the album titles.

The Fleurs Noires is a typical orchestra composed of ten tango crazed young women. I study tango repertoire with the artistic director, composer and pianist of the band, Andrea Marsili. Other members of the groupe are : Véronique Rioux (solo bandoneon), Carolina Poenitz (bandoneon), Eve Cupial (bandoneon), Anne Le Pape (solo violin), Andrea Pujado (violin), Solenne Bort (violin), Caroline Pearsall (viola), Veronica Votti (cello), Anne Vauchelet (double bass). The band invited Javier Estrella on the drums and the tango singer Sandra Rumolino, who is also otherwise an excellent teacher for tango singing.

The band got known through their first album “Fleurs Noires” with works by Argentinian composers like Edgardo Acuña. Andrea Marsili has composed nearly all the pieces on their second album. For some of them sung by Sandra Rumolino, « En el fango », « Trepar al viento » and « Chacarera de la quema », the lyrics were written by Andrea’s father, Omar Marsili. Andrea Marsili expresses mainly her tango style through instrumental works : « Black flower » gets you immersed immediately in a modern and renovated tango atmosphere, “Sortie de secours” begins on a gripping rythm to open on a lyrical part that I love, “La espera” and “Arena y luna” leave you in a dreamy world, “Tango phase” plays on off-beats. In the album can be found a piece by Edgardo Acuña, « Retiro – Constitucíon » named after one of Buenos Aires railway line and the beautiful “Calle de lomas” by Gerardo Jerez Le Cam with the voice of Sandra Rumolino.

The album’s spirit oozes the same energy that the orchestra displays on stage and that takes you away. On the concert of the 26th of January, they ignited an already conquered audience performing tangos from both albums. I can only recommend their album and most of all to go and see them in concert.

For those familiar with spanish, you can listen to an interview of Andrea Marsili on RFI radio here.

And for a bit of teasing, some videos of the band :

* if you don’t see the video, update the page on the explorer.

… et faciles versus (in English)