Promo video for Double Concerto For Two Pianos And Orchestra
Grammy winners Gustavo Dudamel and the Los Angeles Philharmonic, along with pianists Katia and Marielle Labéque, will release the world-premiere recording of Philip Glass' newest concert work, his Double Concerto for Two Pianos and Orchestra on Orange Mountain Music on December 11 exclusively on iTunes. The digital-only recording is also available for pre-order now.
Recorded during its world premiere at Walt Disney Concert Hall in Los Angeles in May 2015, Glass' Double Concerto for Two Pianos and Orchestra was composed for soloists Katia and Marielle Labéque in the fall and winter of 2014-15 and commissioned by the Los Angeles Philharmonic, Orchestre de Paris, Borusan Istanbul Philharmonic Orchestra, Göteborgs Symfoniker and Orquesta Nacional de España.
Conducted by Simon Rattle and supported by the amazing pianists Katia and Marielle Labèque, the Berliner Philharmoniker performs the most renowned compositions in the classical music genre.
SIR SIMON RATTLE AND THE LABÈQUE SISTERS PERFORM FRENCH MUSIC BERLINER PHILHARMONIKER, WALDBÜHNE 2005
The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker's summer concerts. With over 20.000 in attendance, they are some of the most popular classical music concerts in the world.
Here Simon Rattle conducts the Berliner Philharmoniker and the extraordinary pianists Katia and Marielle Labèque. The French born Labèque sisters are known not only for the seamless of their playing, but also for their superlative musicianship and extraordinary scope of repertoire.
Berliner Philharmoniker Katia & Marielle Labèque piano Sir Simon Rattle conductor
Movie director : Bob Coles Collection : Arthur Honegger and Les Six Playlists : The medici.tv's team playlist, Waldbühne Berlin Musical period : 20th Century Music genre : Orchestral music
To be musically avant-garde in the 1950s meant to be difficult. Not by the end of the 1960s. That decade saw a group of American beatniks overthrow the musical givens of postwar Europe. In a series of disobediently straightforward compositions La Monte Young, Terry Jennings, Terry Riley, Steve Reich and Philip Glass declared that music could be clear, honest, pretty and experimental. Turning their backs on the conventional centres of musical power, the earliest minimalist works got their first public audience in La Monte Young's 1960-61 Chamber Street Series in Yoko Ono's New York loft. Through the 1960s in art galleries and alternative spaces, the minimalists slowly demystified, democratised and Americanised European modernism. They rejected the angst (what Philip Glass would call "crazy creepy music"). They rejected the invisible games. They rejected the theatricality. "I don't know any secrets of structure that you can't hear," wrote Steve Reich in his 1968 minimalist manifesto, Music as a Gradual Process. Minimalism claimed that there was enough interest in the sounding process itself and enough new territory to be explored in rhythmic patterning to sustain a work. If one removed the Baroque complications - the harmonic story-telling and thematic cleverness - that were obscuring the natural beauties of rhythm and sound, what would be revealed and discovered could provide classical music with a new lease of life. They were right. Minimalism was the last great musical revolution of the 20th century. And it became the most influential and successful ism of them all. In the spirit of the loft concerts we also present new works by David Chalmin, Raphael Seguinier and Nicola Tescari.
The words of Ira Gershwin upon hearing Katia and Marielle Labèque's ground-breaking recording of his brother George's Rhapsody in Blue. The 1981 Philips disc of the original two-piano arrangement of the orchestral masterpiece was a world premiere and gold-record sensation - a first for Philips Classics in France - and launched the Labèque sisters's American career. But only after Ira's then assistant, Michael Feinstein, fished out a pre-promotional copy of the record from their heap of mail and brought it to Ira's attention.
Now, thirty years on, in a new KML recording, one can relive Michael and Ira's amazement at what they heard. The springiness, sexiness, noisiness and nobility of Gershwin's riotous masterpiece, jazz and classical styles jiving together as if they had never been been born apart, is summoned up in quintessential Labèque style. It was a style that reminded Ira so much of his brother's playing that he invited them to Los Angeles and insisted that they inaugurate the Gershwin collection at the Library of Congress in Washington DC on Ira and George's own pianos playing the Rhapsody. Gershwin-playing doesn't get more authentic than this.
Joining it is another rhythmic firecracker of a work, Leonard Bernstein's West Side Story, arranged for two pianos and percussion by the musical's original orchestrator, Irwin Kostal. Latino colour and capering dominate this spirited retelling of the classic American love story. But what is also able to come out in this intimate chamber arrangement is the Labèques celebrated tenderness of touch.
Katia Labèque piano Marielle Labèque piano
FEATURED ON WEST SIDE STORY
Gonzalo Grau percussion Raphaël Séguinier drums Pablo Bencid timbales on track 6
BERNSTEIN Leonard West Side Story 2. Prologue (4mn 14s) 3. Jet Song (1mn 54s) 4. Something's Coming (2mn 21s) 5. Rock Blues (1mn 52s) 6. Mambo (2mn 26s) 7. Cha Cha (1mn 53s) 8. Maria (3mn 13s) 9. America (2mn 32s) 10. Cool (4mn) 11. I Feel Pretty (1mn 03s) 12. One Hand, One Heart (2mn) 13. Tonight (2mn 39s) 14. Somewhere (3mn 04s) 15. A Boy Like That (2mn 19s) 16. I Have a Love (3mn 20s) 17. The Rumble (1mn 22s) 18. Finale (2mn 51s)
RHAPSODY IN BLUE: Artistic producers: Katia & Marielle Labèque Recorded by Ferran Conangla and Enric Giné in Centro Cultural Miguel Delibes, Valladolid Mixed & mastered by David Chalmin @ Studio K
WEST SIDE STORY: Artistic Direction: David Chalmin and Gonzalo Grau
Recorded and mixed by David Chalmin @ Studio K Executive Producers: Katia & Marielle Labèque
Photos by Umberto Nicoletti Artwork and sleeve design by Roberto Calbucci
"KML Recordings releases Katia & Marielle Labèque's new CD Box, a collection of the main works recorded under their label, created in 2007."
This coming November world-renowned pianists Katia & Marielle Labèque will release their new collection, a special-edition CD Box containing the most important works recorded under the KML Recordings label. These pieces, personally selected by Katia and Marielle Labèque, comprise a total of 5 CD’s with a rich selection of works written for two pianos and performed by this internationally acclaimed duo.
The CD Box includes additional promotional material and a DVD created by Tal Rosner based on the works in the Stravinsky / Debussy album. Designer Roberto Calbucci has added his valued artistic touch to the presentation of this CD collection.
. 5 CD’s produced by KML Recordings . Two A3-sized posters of Katia and Marielle Labèque, respectively . A small book containing texts in English . A postcard of all CDs previously released by KML Recordings
"Katia and Marielle Labèque’s first recording of the music of maverick composer Erik Satie"
Satie was a fascinating and intriguing composer, and one to whom Katia and Marielle Labèque have always been attracted. For their first recording of his music, the piano superstars have deliberately chosen the best-known pieces, those which, after having been thundered against when first they appeared before a public, are now in constant demand a hundred years later.
To ordinary listeners, used to thinking of the Labèque sisters as a fabulous twin-headed being emitting exquisite sounds, it will doubtless come as a surprise to learn that this being can at times divide itself in two, like a river that forks and joins with itself again several times between its source and its mouth. That Katia and Marielle’s first recording of Satie’s music features both solos and duets is a double pleasure, allowing the listener to discern the individual style of each of the two performers, and better appreciate how very complementary they are.
After having taken it in turns to interpret his seminal Gymnopédies, “ancient dances for naked children”, Katia and Marielle divide the other pieces amongst themselves in harmony with their respective temperaments. Marielle, with her clear-sightedness and finely struck notes, chooses the eye-opening musical snapshots Sports and Games, and the task of demonstrating that the Genuine Floppy Preludes (for a Dog) will be in no way floppy or limp in her hands. As for the dreamier Katia, she plunges into the spiralling depths of the Gnossiennes where - as in any labyrinth drawn from the myth of the Minotaur at Gnosse, or Knossos - the winding ways that seem to lead outside inevitably take you round and round.
The pair are reunited in the duets, exquisitely performing the very first and very last collections of Satie’s pieces for four hands, Trois Morceaux en forme de poire (literally “Three Pieces in the Form of a Pear”) and Trois petites Pièces montées.
Digital Release 5th October 2009 Physical 19th October 2009
"A profound emotion that comes from within, from deep inside us, from the very depths of our being. From that intangible region where dreams and hopes are born. Where fire and water are one and the same. Here is popular music in the most literal sense of the term: of the people, for the people. Music that is profound and at the same time accessible, cutting and caressing, which was born of the land and unconsciously evolved into fiestas and processions, which has sharpened its steel in love affairs and disappointments, in droughts and downpours, between famine and abundance washed down with aromatic wines."
~ Miguel Jurado ~
Online Sales September 2008 Shops October 2008
Mayte Martin singer Katia Labèque piano Marielle Labèque piano
Capricho por bulerías 5’24 Soneto de amor 6’26 Inténtalo encontrar 2’55 Acaríciame por dentro 5’11 Canción de amor 5’25 Adela 2’11 La maja dolorosa 2’21 Nana 2’29 Pastorcito santo 3’32 Las Morillas que me enamoran 2’57 Gacela del amor imprevisto 5’21 Sus ojos se cerraron 4’39 Vidalita 6’24 Variaciones sobre un Zorongo 4’51
Many are the composers who have written for the intimate framework of the piano four hands. Not only were Mozart and Schubert the most prolific but they also endowed this repertoire with some of their greatest creative inspirations.
Schubert’s Fantasy in F minor ranks amongst his very finest achievements for piano, whereas theAndantino varié is one of the most exquisite sets of variations to be found in the piano literature.
Rarer are the pieces for two pianos, offering each performer greater freedom than those for piano four hands. This is particularly true of Mozart’s Sonata in D major in which the daringly virtuoso outer movements flanking a sweet, flowing Andanterepresent a real tour de force for the artists.
The source of undeniable exhilaration to pianists and listeners alike, these masterpieces of the duo-pianist repertoire are interpreted by the two most innovative artists of our time.
RELEASE DATES France December 2007 UK/USA/Europe January / February 2008
Debussy and Stravinsky, two composers who admired each other and completely revolutionised the sound world they inhabited. Such innovation found its way into their piano music, creating colours, texture and rhythms unheard of till then.
To re-experience this sense of novelty, Katia and Marielle Labèque project the works they perform through the prism of visual art, commissioning Tal Rosner, video-artist, to set free his imagination. His interpretation of the scores, perfectly captures the rhythm and plasticity of Stravinsky and Debussy.
By working on urban landscapes and architectural geometries, Rosner creates a digital mutation of figurative images where the piano's sounds and tone-colours can expand and glide…
A CD and DVD perfectly entwined.
France 26th April 2007 UK/USA/Europe June / July 2007
CD Concerto Deux Pianos(Stravinsky) 19:13 Et Blanc et Noir (Debussy)15:41 Cinq Petites Pieces Faciles (Stravinsky) 05 :32 Trois Petites Pieces Faciles (Stravinsky) 03 :41 Ragtime (Stravinsky) 05 :11 Three Pieces from « Les Cinq Doigts » (Stravinsky) 03:52 Valse de Fleurs (Stravinsky) 01:04 Tango (Stravinsky) 03:22
DVD Concerto Deux Pianos(Stravinsky) 19:13 En Blanc et Noir (Debussy) 15:41 Cinq Petites Pieces Faciles (Stravinsky) 05 :32 Trois Petites Pieces Faciles (Stravinsky) 03 :41 Tango (Stravinsky) 03:22
Johann Sebastian Bach (1685-1750), Concerto in A Minor for Four Harpsichords (BWV 1065, composed in 1735): first part (Allegro) & last part (Allegro) (Vivaldi RV 580) Performed by Il Giardino Armonico and Katia & Marielle Labèque (two fortepiani, two harpsichords)
The first collaboration on disc of long-time recital partners Viktoria Mullova and Katia Labèque. This studio recording was made last year in Paris. It´s a fascinating programme spanning 100 years from the rarely played late Schubert Fantasy to Ravel’s 1927 Violin Sonata and Stravinsky’s reworking of Pulcinella in the Suite Italienne of 1933. A KML Recordings production, licensed to Onyx Classics.
RELEASE DATES France October 2006 UK/USA/Europe October 2006
Suite Italienne (transcribed in 1933 for violin and piano by Stravinsky and Samuel Dushkin from ballet Pulcinella, 1919-20) [15:06] Franz SCHUBERT (1797–1828) Fantasy for violin and piano in C major, D934 (1827) [24:26] Maurice RAVEL (1875-1937) Sonata for violin and piano (1923-27) [16:51] Clara SCHUMANN (1819-1896) Romance No. 1 in D flat major (Andante molto) from the Three Romances for violin and piano, Op. 22 (1853) [2:29]
First came the razing of genre walls. Now come the celebrations. Experimental rockers, B for Bang, return to The Beatles for their vivid second album, exposing twelve more of the Fab Four's works to a firestorm of modern styles. Classic songs collide with the kinetic beats and bounce of the worlds of drum 'n' bass, trip hop, alternative rock and contemporary classical music to form a 21-st century forest fire of sound.
We swing from exotic tree to exotic tree, roused to a fast-running euphoria in Get Back, lulled by a trip-hop simplicity in the clearing that is I Me Mine and rushed out of a jungly reality in the infectious and offbeat tangle of When I'm Sixty-Four, to name just three. It's a kind of musical alchemy. So now meet the alchemists: alternative rocker David Chalmin, composing bassist Massimo Pupillo, contemporary classical maestro Nicola Tescari, electronic wizard Fabio 'Reeks' Recchia, drum 'n' bassing pioneer Marque Gilmore and avant-garde virtuoso Katia Labeque, whose resonant grand piano roots this medley of styles. Singers Chalmin, Meg and Nadeah guide us through the alchemical jungle.
10th of January 2011
Katia Labèque piano David Chalmin guitar, lead singer Nicola Tescari keyboards, harmonica Fabio Recchia electronics, drums on #4 Massimo Pupillo bass Marque Gilmore drums
Nadeah singing on #2, 5, 6, 9 and 11 Meg singing on #7 and 10
1. Tomorrow Never Knows 03:32 2. I Am the Walrus 02:51 3. Girl 03:53 4. While my guitar gently weeps 06:06 5. Something 03:50 6. Glass onion 03:42 7. Dear prudence 06:26 8. Because 03:11 9. Get Back 03:12 10. I, Me, Mine 02:13 11. Why don't we do it in the road 03:07 12. When I'm Sixty-Four 02:13
TOTAL LENGTH 44:16
Produced by David Chalmin Executive producer: Katia Labèque Recorded, mixed and mastered by David Chalmin @ Studio K Additional recording and mixing by Fabio Recchia Design, photography and illustrations by Storm Studios
"Iturri zaharretik edaten dut, ur berria edaten, beti berri den ura, betiko iturri zaharretik..."
(I drink from the old fountain, from a source that is always new, in a source that is always old)
This poem by Joxean Artze opens the doors to the Kalakan universe. Children of the tradition, Thierry, Paxkal and Jamixel are, nonetheless, hybrid souls. Although they assert their Basque identities, they are also children of rock, of the world of TV, outcomes of the actual Basque Country and of tomorrow’s world.
They sing in Euskara (the Basque language) to express their overall roots, for, as the portuguese poet Miguel Torga says "the universal is the local without walls." This plural identity is based on the color, rhythm, diversity and inherent musicality of euskara.
KALAKAN (a Basque word meaning "chatting") believes that the first music is language. Kalakan chooses the essentials: percussion and voices, rhythm and melody; starting points leading to the other, to the future and eventually back to themselves.
KA: the raw and uncompromising wooden planks of the Txalaparta.
LA: the voice, a full voice, as nasal as a gaita on a jota, as sweet as a lullaby after a kiss, and often heavy, grainy, proud, generous and sincere. Moreover Kalakan usually performs live concerts without a microphone, seeking more direct contact with the public, and a simple and fair rapport with the audience.
KAN: the powerful and tribal sounds of traditional drums (atabal, ttunttun, pandero) or drums crafted by the trio (danbolero, danbottiki).
EUSKARA: the language of a people.
The Basque language has been present on this small piece of land straddling the Pyrenees for several millennia, long before the migrations of Indo-European peoples. For thousands of years it has infused other European languages and has been nourished by all of those encounters. The Basque Country is a threshold, a crossing point and also a refuge. It has been a point of departure for a nation of sailors and workers who have traveled the world and always returned to their roots.
Today the Basque language is also endangered, according to UNESCO, as it struggles to maintain the minimum threshold of speakers to ensure its survival. However, this is not the reason why Kalakan sings in Basque... Kalakan sings in Euskara because they simply cannot do otherwise; the cultural background, the choice of life, the interweaving of the individual and the social collective makes it the logical, simple and honest choice. The volunteerism and activist engagement in support of the Basque language and culture of the three Basque musicians who constitute Kalakan is also a driving force in their artistic expression.
Whether through the Ikastola (Basque language immersion schools) or cultural associations, whether doing theater or teaching txalaparta, Kalakan offers its own modest contribution to this ongoing effort to create a contemporary Basque culture... While waiting for better days, when the Basque language will finally be officially recognized in a place where it has been spoken for thousands of years.
The txalaparta is a percussion instrument strongly linked to the Basque cultural identity. The latest txalapartari (txalaparta players), founded in the 70s in the hills surrounding San Sebastián (Donostia) in Gipuzkoa, have transmitted their knowledge, and today the Basque Country has many txalaparta schools.
This assemblage of wooden planks is the only known instrument whose rhythm and melody are played by two people who must communicate silently and without looking at one another, in order to create music that never belongs to a single musician.
One player marks the rhythm, the other one breaks it, fractures it, neither mechanically nor precisely, but rather by creating something new, organic, and alive.
The txalaparta is not only an instrument, it is an attitude, a way of connecting and becoming closer to one another. When playing the txalaparta, the musician cannot be selfish and introverted, but rather must learn to let go, to listen, to communicate, to create energy. This is the primal essence of the txalaparta just as its essential component, wood, is a raw material.
The txalaparta is order and chaos, a balance between tradition and modernity, between erudite and primary blows, an improvised music.
RELEASE DATE February, 2011
Thierry Biscary “Ttirritt”: botza, danbolero, pandero, txalaparta, gorputz perkusioak, adarra.
1. Piztiak 2'50 2. Neure Andrea 1'58 3. Brasilen bezala 1'52 4. Itsasoan 2'52 5. Sagarra jo ! 3'30 6. Otsoa eta hartza 3'32 7. Ugatza 1'33 8. De Trevilles-n azken hitzak 4'50 feat. Anaiki abesbatza 9. Kantuz 2'28 feat. Katia and Marielle Labeque 10. Iruten ari nuzu 3'56 11. Gazte naiz eta lorios 4'46 12. Lau andren besta 3'41 13. Txori Erresiñula 3'21 14. Makilekin 2'48 15. Matapitx 2'42 16. Irunea jota 1'47
All tracks are arranged by Kalakan, except « Kantuz » piano composing and arrangement written by Joel Merah. Background sounds on tracks 4, 11 & 12 recorded by Kalakan at Sarako bestak, Donibane Ziburuko estropadak and Izpegiko txalaparta topaketak 2010
Produced by KML recordings and ZTK with KML fondazione, Conseil Régional d'Aquitaine and Euskal Kultur Erakundea.
"KML Recordings release Shape of My Heart, an album of unique duets featuring Sting, Herbie Hancock, Chick Corea and more"
Pianist Katia Labèque is one of the most acclaimed classical musicians of our day, an artist whose breathtaking virtuosity and dazzling live performances have seen her garner respect from all corners of the musical spectrum. As well as her legions of fans across the globe, Katia’s friends and admirers in high places range from Madonna, who cites her as one of her “favourite pianists in the world”, to Miles Davis, who dedicated two songs to her on his 1985 album You’re Under Arrest (‘Katia Prelude’ and ‘Katia’).
In addition to experiencing considerable success as one half of classical duo The Labèque Sisters, Katia’s seemingly endless enthusiasm for new music has led to past collaborations with artists as diverse as Sting, Herbie Hancock and Chick Corea. Shape Of My Heart is a fascinating album that brings together a selection of these collaborations alongside brand new recordings of the music of Satie, Chopin and Radiohead.
The album opens with two of Sting’s compositions, Moon Over Bourbon Street and Shape Of My Heart; the singer’s bold emotion combining with Labèque’s refined but assertive lyricism to excellent effect. Alongside four mesmerising solo piano pieces, a dynamic version of Radiohead’s Exit Music and the compelling Purple Diamond written by producer and guitarist David Chalmin, there are piano duets with Herbie Hancock, Chick Corea and Gonzalo Rubalcaba. Labèque clearly enjoys the challenge of playing with three of jazz’s finest practitioners and whether it’s the graceful balance of emotion and technical lyricism she reaches duetting with Corea on Bill Evans’ We Will Meet Again, or the surges of rhythmic energy during My Funny Valentine with Herbie Hancock, Labèque proves that she is an adventurous, imaginative musician at the peak of her creativity.
RELEASE DATES Digital Release 5th October 2009 Physical 19th October 2009
Katia Labèque piano
Sting vocals Chick Corea piano Herbie Hancock piano Gonzalo Rubalcaba piano David Chalmin vocals & guitars
1. Moon Over Bourbon Street
2. Shape of My Heart
3. We Will Meet Again
4. My Funny Valentine
5. Prélude n°4 in E Minor
6. Exit Music
7. Notes to the Future
9. Besame Mucho
10. Gnossienne n°3
11. Purple Diamond
Artistic Producers: Katia Labeque & David Chalmin Project Director and Executive Producer: David Chalmin
PRESENTATION Red Velvet is the eponymous debut album from a young French/Italian duo comprised of David Chalmin (guitarist, singer-songwriter) & Reeks (drums, electronics, synth & sampler), a stirring and eclectic mix of styles that incorporates such elements as the fiery thrust of modern indie-rock, the shifting tempos and melodies of post-rock and the complexity of contemporary electronic, all with a distinctly personal slant that comes from years of close collaboration between Red Velvet’s two protagonists.
Influenced by groups as diverse as Sonic Youth, The Smashing Pumpkins, Radiohead, Led Zeppelin and Aphex Twin, it was at Brancaleone in Rome, where they meet to rehearse and record, that Red Velvet found its sound, discovering a rare common ground between opposites; analog and digital, rock and electronic, live and sampled.
Inspired by their involvement with the band B For Bang and after several performances in European festivals (Montpellier Radio France, Ruhr, Ravello, Bremen, Ferrara, Barcelone/Sitges and more), Chalmin and Reeks decided to record their first album.
The preparation and production of the album have given the duo the opportunity to develop a new sonic dimension in their sound, delivering a dark indie rock, chaotic full of contrasts. Red Velvet is released by KML Sonic Invaders.
Digital Release 23rd February 2009 Physical France 5th March 2009 UK 21st September 2009
David Chalmin guitars, vocals Fabio Recchia aka Reeks humanoid/analog drum & bass and electronics
1. prayer for the dead, prayer for you (6:18) 2. poison (4:07) 3. stay & stare (3:36) 4. blood on the white carpet (3:48) 5. lab rat (5:49) 6. waste of time (3:43) 7. crystal ball (4:12) 8. wake up (2:38) 9. red velvet (3:49) 10. the bird song (3:19) 11. my very own stranger (3:50) 12. my funny valentine (3:02) 13. purple diamond (3:41)
Produced and arranged by Red Velvet Recorded, mixed and mastered by Reeks @ Hombrelobo, Rome
Iconic figures of the 20th century, The Beatles embraced the changing world. Their music still resounds in people’s mind, whatever their generation, country, language. It’s part of our heritage.
Nine of their songs have been newly arranged by David Chalmin, Nicola Tescari and Massimo Pupillo, intertwined with new compositions on the edge of improvisation. They create a multicoloured sound atune to our times, an encounter of diverse traditions and energies.
This innovative enterprise has been undertaken by Katia Labèque, unconventional pianist from a classical background to whom Miles Davis dedicated two songs, David Chalmin, alternative rocker (Red Velvet), and Nicola Tescari, contemporary composer.
B for Bang was born out of their desire to create a dynamic of energy, movement, and curiosity - with the instinct to retain the differences of their backgrounds.
Joining them are, Massimo Pupillo (Thurston Moore from Sonic Youth/Mike Patton), and Marque Gilmore (Nitin Sawney/Talvin Singh). They also invited some of their friends to collaborate, improvise and join in the making of the album – Giovanni Sollima, Viktoria Mullova, Katell Keineg, Meg, Nadeah, Patti Smith, Daniel Day Lewis.
France 4th October 2007 Italy December 2007 UK 10th March
Katia Labèque piano, Fender Rhodes David Chalmin guitars, vocals Nicola Tescari Rhodes, B3, piano Massimo Pupillo bass Marque Gilmore drums
Patti Smith, Daniel Day-Lewis voices Katell Keineg, Meg, Nadeah vocals Giovanni Sollima cello Mario Arcari woodwinds
1. Ouverture (0:29) (Nicola Tescari) 2. Being for the benefit of Mr. Kite (3:06) (Lennon/McCartney) Arranged by Nicola Tescari 3. Interlude 1 (1:00) (David Chalmin) 4. Helter Skelter (3:41) (Lennon/McCartney) Arranged by David Chalmin 5. Golden Slumbers (3:12) (Lennon/McCartney) Arranged by David Chalmin 6. I Want You (3:59) (Lennon/McCartney) Arranged by Nicola Tescari 7. Reminiscence (2:25) (Giovanni Sollima) 8. Happiness is a Warm Gun (4:02) (Lennon/McCartney) Arranged by David Chalmin 9. Julia (4:08) (Lennon/McCartney) Arranged by David Chalmin, Nicola Tescari 10. Interlude 2 (0:22) (David Chalmin) 11. Between those Rocks (3:28) (Katia Labèque/Giovanni Sollima) 12. Interlude 3 (0:19) (David Chalmin) 13. Blackbird (4:19) (Lennon/McCartney) Arranged by Nicola Tescari 14. Come Together (2:47) (Lennon/McCartney) Arranged by Nicola Tescari 15. Lucy in the Sky with Diamonds (2:39) (Lennon/McCartney) Arranged by Nicola Tescari - 16. Notes to the Future (1:52) (Patti Smith/David Chalmin) 17. The Last Man on Earth (6:52) (David Chalmin/Massimo Pupillo) 18. One More Song (4:20) (Nicola Tescari)
Produced by Katia Labèque, David Chalmin & Nicola Tescari Sound design & additional electronics by Fabio Recchia aka Reeks
The following text was written especially for the forthcoming album recording: Unspoken by the Katia Labèque Band. It's author, Alessandro Baricco, is globally known for his highly acclaimed novels which include: Silk, City and Ocean Sea.
When I first started listening to the Katia Labeque Band, the thing that fascinated me was trying to understand where that music came from. As for those three, I knew more or less where they came from, but that wasnt much help. Their artistic biographies dont tell the whole story about the freedom they have obviously cultivated inside: both the pleasure of discovery and an instinctive feel for creative subversion. Above all, this is music that tends to cover its own tracks, making it hard to work your way back to the source, to some clearly identifiable point of departure. In short, an enigma. Every so often, some patch of jazz, or an echo of Schumann, would give me a breathing space, enabling me to make a temporary identification that would then promptly vanish into the acoustic landscape that followed. It was a stubborn enigma, which mocked my capacity to understand and left me suspended in an enchantment without a name.
Then I stopped wondering where it came from and, enthralled, I began to look at where it was going. In a sense, a very physical one, I began to watch it move, to observe the way it spontaneously developed, to listen to its strange way of becoming. Not a lot of music becomes this way: apparently anarchic, aimless, free to the point of blindness, always unpredictable. If this music has a path to follow, it is the path of its own freedom, and none other. You cant even say that in the end it attains anything, and this, in an age when artistic creations are only means for the attainment of ends, struck me as almost a gesture of rebellion perhaps that very gesture of rebellion for which a long time ago they coined the term: poetry. Apart from the pleasure of listening for me particularly bound up with the slower pieces, less cluttered in terms of rhythm and timbre I still react to this music with the satisfaction you feel when you find yourself in the presence of a lesson. I have learned to remember that the things we invent have a right to infinity and not merely a duty to matters like form and a certain rationality. It is a lesson that I accept with gratitude and, as far as I can, one that I will stubbornly defend.
Alessandro Baricco, July 2003 (Translated by Alastair McEwen)
Katia Labèque piano Dave Maric humanoid/analog drum & bass and electronics Marque Gilmore Acousti-Letric Drums
Paban Das Baul Voice (track 5), Khomok (track 6) Mimlu Sen Ektara (tracks 5 & 6)