Colla Voche / Reijseger, Tenore E Cuncordu De Orosei

From Jazziz
The cello has made a triumphant return to jazz in recent years, long after occasional promising starts in the eras of West Coast and free jazz. It's easy to be a sucker for its human sonority and timbre. Fortunately, the cellists of late - Diedre Murray, Erik Friedlander, Hank Roberts, Monica Wilson - have each brought something fresh to their instrument. It was probably only a matter of time before someone recorded the equivalent of Bach's unaccompanied cello concerti - and it turns out to have been the Netherlands virtuoso, Ernst Reijseger.

To the point: Reijseger has produced a set of loosely linked solo performances that consistently engage and amaze in their elegance and freshness, all the while giving us a kind of mini-history of jazz: the cellist as rhythm guitarist, as bassist (ˆ la Slam Stewart), as funky guitarist, as ballad singer, as sonic wizard (sans electronics), as percussionist ... But Colla Parte is no flashy display of chops for chops sake. If anything, Reijseger understates much of his material, using repetition as a means of illumination, letting tones sing for themselves, taking time for the slow string bend or glissando to find its way - always unafraid of being accused of minimalism. Or for that matter, unafraid of beauty and grace and humor. And at this point in the history of our music, who's got a problem with that?

Tracks:

Libera Me, Domine
Nanneddu Meu
Strabismo Di Venere
Armonica
A Una Rosa (Voche E' Notte Antica)
Trumba
Colla Voche
Su Puddhu (Balla Turturinu)
Su Bolu'E S' Astore
Dillu

Customer Reviews:

Intriguing........2006-02-28

"Colla Voche" is a collaborative album between cello virtuoso Ernst Reijseger and Sardinian voice choir Tenore e Cuncordo de Orosei. Unlike Reijseger's other Winter & Winter collaboration with a vocalist ("Janna" with Senagalese vocalist Mola Sylla, this one sounds as if Reijseger is embracing their idiom rather than meeting them halfway. Mind you, that's not totally a bad thing, the music here is intriguing and powerful, but Reijseger for his part is more color then voice.

And truthfully, this is because by and large the choir is powerful and the music is completely in their idiom-- this is clearly notable from the onset with opener "Libera Me, Domine". The choirs call and response model (solo vocalist calling and response by choir, including some use of overtones in the vocal) is dominant and, mixed way below them, is Reijseger and percussionist Alan "Gunga" Purves. Having stated that, the piece is fantastic, emotional and moving.

The album pretty much continues along these vein-- Sardinian voice choirs are a unique thing with their use of overtones ("throat singing") you get quite a unique blend of sounds and this group manages well both moody meditations (like the opener) and ecstatic pieces ("Dillu"). For his part, Reijseger is largely in a support role, although he gets a fine opportunity to shine in his accompaniment on "Nanneddu Meu" (where he sounds to owe more to the Flamenco guitar tradition then the cello one), "Colla Voche" (a fine pizzicato performance) and "Su Puddhu" (frantic and energetic). But the highlight of the record for me is "A Una Rosa", a building, powerful and intense piece sprawling over ten minutes but feeling like it's over in 30 seconds, withe vocals constantly broadening and Reijseger utterly brilliant in counterpoint.

This isn't an album where Reijseger gets a particularly strong opportunity to shine, and I cam einto this truthfully as someone interested in him, but it is nonetheless a fine album and well worth a listen. Recommended.,

Great Blend of Musical Voices.......2000-03-15

This recording can't be pigeon-holed. It's part jazz, world, and classical. This seems to be a 'meeting' album from a couple of different Winter & Winter folks. Often these types of recording get musicians to spare the same space, but not the same vision. Here they blend perfectly. The vocals are deep and rich. The cellist often plucks the cello like a bass except he can keep faster tempos than most bass players. It matches the voices wonderfully. A lot of the songs really swing. The percussion comes in under the cello and voices to give just the right amount of support. The ensemble plays as one. This is one of my favorites.

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