{"product_id":"pwsgl25512-richter-858-pure-dsd","title":"Richter 858 [Pure DSD]","description":"\u003cblockquote\u003e\u003ci\u003eRestlessly creative guitarist Bill Frisell leads a hybrid string ensemble with noted improvisers Hank Roberts, Jenny Scheinman, and Eyvind Kang, in pieces inspired by the paintings of Gerhard Richter.\r\n- \u003cstrong\u003eMark Werlin\u003c\/strong\u003e\u003c\/i\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThis is a Pure DSD album, recorded on Analog Tape and transferred to DSD 64. It is also available in DSD 512, 256 and 128.\u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" bill frisell was commissioned by producer david breskin to create the music for an elaborate art book project on great german painter gerhard richter. richter published in connection with a comprehensive us retrospective of work although it focused entirely recent series eight small abstract paintings numbered there were poems essays superb reproductions works and inserted cd one piece each painting. songlines released sacd. attraction wasn because his compositional style=\"\" so much as relationship electric guitar. what does paint these abstractions he shapes torques inverts reverses time uses all signal-processing devices take original sound transform is very similar sense that knows well effects can get from running squeegee over wet section just like achieve feeding certain notes into delay then letting them come back playing them. yet neither nor have perfect control process things happen which they predict. fact this departure builds musical friendships going years or decades. having discussed possibility strings since settled basic guitar three acoustic players gifted far-ranging improvisers who would relish aesthetic challenge. after viewing private showing finding out more about set composing. few months later band rendezvoused seattle couple days rehearsal recorded live mix analogue day master engineer joe ferla. most my recordings i overdub obsess go tweak but wanted somehow represent gesture across aluminum canvas you deal being thinking role guy if melody could be equivalent photograph recognizable visual image doing kind smearing around always some underlying structure carefully worked out. density layered quality performance strategies clearly relate art. also stands its own evocative suite straddles jazz contemporary new moving between abstraction something melodic extremes dissonance energy noise darkly serene meditations. inspired whole has written including savoy sign quartet. booklet includes interviews excerpts pre-production aesthetics questions thoughts. youtube video presents their details together pieces demonstrating analogies had been working with. data-sheets-userformat=\"{\" sound:=\"\" comments:=\"\" life:=\"\" re:=\"\"\u003eIn 2002 \u003cstrong\u003eBill Frisell\u003c\/strong\u003e was commissioned by producer David Breskin to create the music for an elaborate art book project on the great German painter Gerhard Richter. The book, \u003cstrong\u003e\u003cem\u003eRichter 858\u003c\/em\u003e\u003c\/strong\u003e, was published in connection with a comprehensive US retrospective of Richter’s work, although it focused entirely on a recent series of eight small abstract paintings numbered 858 1–8. There were poems, essays, superb reproductions of the works, and Frisell’s music on an inserted CD – one piece for each painting. In 2005 Songlines Recordings released the music on SACD.\u003c\/span\u003e\r\n\r\nAccording to Breskin, \u003cem\u003e“My attraction to Frisell wasn’t because of his compositional style so much as his relationship with the electric guitar. What Richter does with paint in these abstractions Frisell does with sound: he shapes it, he torques it, he inverts it — he reverses it in time… He uses all these signal-processing devices to take his original sound and transform it… It is very similar to Richter, in the sense that Richter knows well the effects he can get from running the squeegee over a wet section of paint, just like Bill knows the effects he can achieve by feeding a certain series of notes into his delay, and then letting them come back and playing over them. And yet neither Richter nor Frisell have perfect control of the process, and things happen which they can’t predict.”\u003c\/em\u003e\r\n\r\nIn fact this music is a departure for Frisell, although it builds on musical friendships going back years or decades. Having discussed the possibility of a project with strings since the ’80s, Breskin and Frisell settled on the basic sound, electric guitar and three acoustic strings, and on the players – gifted, far-ranging improvisers who would relish the aesthetic challenge. After viewing the paintings in a private showing and finding out more about Richter, Frisell set about composing. A few months later Breskin and the band rendezvoused in Seattle and after a couple of days’ rehearsal the music was recorded in a live mix to 1″ analogue in just one day by master engineer Joe Ferla. Frisell comments: “On most of my recordings I overdub, mix, obsess over it, go back and tweak things, but I wanted this one to somehow represent this gesture of paint going across aluminum or canvas, and you just have to deal with it being there… I was thinking of my role as the guy with the squeegee… If a melody could be the equivalent of a photograph or a recognizable visual image, then what I was doing was kind of smearing the paint around, but there was always some underlying structure that was more carefully worked out.”\r\n\r\nThere’s a density to the music, a layered quality, and performance strategies that all clearly relate to Richter’s art. But Frisell’s Richter 858 also stands on its own as an evocative suite that straddles jazz and contemporary new music, moving between musical abstraction and something more melodic and “representational,” from extremes of dissonance, energy and noise to darkly serene meditations. Inspired by the whole process, Frisell has since written much more for the band, including a CD on Savoy, Sign of Life: Music for 858 Quartet.\r\n\r\nThe 28-page booklet includes reproductions of the paintings, interviews with Frisell and Breskin, and excerpts from Breskin’s pre-production notes for Frisell, “Outline re: Structure, Aesthetics, Questions, Thoughts.” A Youtube video \"slideshow\" presents the paintings and their details together with the pieces they inspired, demonstrating analogies between visual art and music that Breskin and Frisell had been working with.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eBill Frisell\u003c\/strong\u003e - guitar, electronics\r\n\u003cstrong\u003eHank Roberts\u003c\/strong\u003e - cello\r\n\u003cstrong\u003eJenny Scheinman\u003c\/strong\u003e - violin\r\n\u003cstrong\u003eEyvind Kang\u003c\/strong\u003e - viola","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740166009156,"sku":"PWSGL25512-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740166041924,"sku":"PWSGL25512-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740166074692,"sku":"PWSGL25512-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740166107460,"sku":"PWSGL25512-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740166140228,"sku":"PWSGL25512-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57339999551812,"sku":"PWSGL25512-14","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL25512.jpg?v=1790588501","url":"https:\/\/www.nativedsd.com\/products\/pwsgl25512-richter-858-pure-dsd","provider":"NativeDSD Music","version":"1.0","type":"link"}