FAITH IN MUSIC: Dan Berglund

Showing posts with label Dan Berglund. Show all posts

Monday, 1 October 2012

The Concert in My Dreams, The ACT Jubilee Night in İstanbul on October 7th

I heard about The ACT Jubilee Night that will be held in İstanbul long ago. As far as I have remembered, it was on June. Since I'm a dedicated ACT follower and collector, I usually look at their website to learn about released albums and new concerts. ACT is the German Label that has the largest place in my archive. At that time, I just wanted to learn about the place of Liberetto concert of Lars Danielsson and Thread of Life concert of Magnus Öström which will be performed in İstanbul Jazz Festival in July 2012. When I sorted the concerts with respect to countries, I have seen the announcement of the concert in my dreams. One of the ACT Jubilee Nights would be held in İstanbul on October 7th in Akbank Jazz Festival. Frankly, since it's only me who distribute ACT albums to my friends, talk about ACT musicians and unsuccessful to make people love Nordic records in Turkey, I rarely can listen lively to them in their performances in my country/city and I am not hopeful about that. Thus it is hard for me to express how happy I became when I heard about this concert in which most of my favorite musicians will be on stage. Easier said done, Nils Landgren, Lars Danielsson, Caecilie Norby, Michael Wollny, Wolfgang Haffner, Verneri Pohjola, Johan Norberg and Céline Bonacina are coming to İstanbul for one special concert. After learning about it, I met with Robert Mehmet Sinan İkiz, the Turkish drummer living in Sweden who is also a part of Nils Landgren Funk Unit just before a gig of Mehmet in İstanbul. On learning that Siggi Loch, founder of ACT will join the concert in İstanbul during that meeting, my happiness is doubled up.

ACT Family Band performs in The ACT Jubilee Night concerts and the performances are dedicated to the 20th anniversary of foundation in 2012. They have performed six concerts so far. Four of them is held in Germany in four consecutive days on February, one of them was in Paris on April and last one was in Stockholm five days ago. The Hamburg concert is released as a 2 CD album. There will also be another concert on October 6th in Malmö, Sweden. Lastly, İstanbul will be hosting to the last concert of this series on October 7th.

ACT Family Band is Nils Landgren (tb, voc), Michael Wollny (p), Verneri Pohjola (tr), Céline Bonacina (sax), Lars Danielsson (b), Nguyen Le (git), Caecilie Norby (voc) and Wolfgang Haffner (dr). The members of ACT family band can be varied from time to time. For instance we will see Johan Norberg instead of Nguyen Le in İstanbul concert. As the vocal we can see Caecilie Norby as well as Viktoria Tolstoy. Lezsek Mozdzer, who has recorded one of the best album of ACT, Pasodoble with Lars Danielsson, sometimes joins the Family Band as a guest. Considering the discographies within ACT label and their works in ACT, I see Nils Landgren, Lars Danielsson, Wolfgang Haffner and Nyguen Le as the leaders of ACT Family Band. On the other hand, Michael Wollny has became a long-establidhed musician of ACT with his extraordinary musical perspective, talent and exciting discography. Listening to Verneri Pohjola, who is heard with recently released great albums will be very exciting considering his unique tone. I am sure that Caecilie Norby will attract many music enthusiasts’ attention in İstanbul with her emotional and strong voice. I am new at following Céline Bonacina who is an extraordinary leader for a trio with her baritone saxophone and I really wonder her unique performance.

It is difficult for me to make discrimination between any ACT musicians I am following. However, unfortunately, the one to which I am connected most deeply is not with us anymore. He is most probably became the pianist of the best trio in heaven now. I am talking about Esbjörn Svensson, who turned the jazz world upside down and about whom I wrote several articles in my blog before. His relationship with ACT starts after he has taken place as pianist of my another favorite ACT musician Nils Landgren’s band, Nils Landgren Funk Unit until when he played with his trio including his childhood friend Magnus Öström and Dan Berglund and recorded with some vocals such as Lina Nyberg. Esbjörn Svensson Trio released their album from ACT after that and they became the most worldwide famous musicians of ACT with their many great records and unbelievable live performances. After his sudden passing away in 2008 he has taken his place within unforgettable music legends. Drummer Magnus Öström and bassist Dan Berglund are going on their individual projects with their own groups within ACT now. By the way, I should say that ACT Family Band performs Esbjörn Svensson’s composition Love is Real in the Jubilee Nights as a tribute for him, whose lyrics are written by Josh Haden (son of Charlie Haden) from the album Seven Days of Falling, including one with vocal and one without vocal performance and which is performed in many times with different jazz vocals.

Nils Landgren, the man with the red horn, is born in 1956 and he is just like a Swedish Jazz School with his long-established Funk Unit, female vocal jazz albums he produced and albums in which he appeared as a sideman. There are approximately 25 albums in ACT with his leadership and 25 more produced or assisted by him as a guest. Thus, even the first musician signing a contract with ACT is Nguyen Le, I can say that the most important musician of ACT is Nils Landgren. He may be the most seen name in ACT after the founder Siggi Loch in the label. For me, the reason why we see so many Sweden musicians in German label ACT is Nils Landgren. In my opinion, Nils Landgren is one of the best trombonist in the world and a great funk musician. He was pretty active even before ACT. He is inspired by legendary Swedish musician Bengt-Arne Wallin as well as by Eje Thelin. He became well-known after seen in Baltic Jazz festivals in ‘90s. You should certainly listen to the live albums of Funk Unit. Swedish Folk Modern and Layers of Light, which they recorded as a duo with Esbjörn Svensson, are among the legendary albums of ACT with their beauty and simplicity. Salzau Music on Water is another one of his extraordinary work made with vibraphonist Christopher Dell and Lars Danielsson. I should mention the album Creole Love Call recorded with Joe Sample. Nils Landgren has a real profound and competitive vocal performance in this album.

Lars Danielsson, who is born in 1958, is another iconic musician in ACT. He is an important figure for ACT followers with his lyrical bass tone and violoncello playing in his great albums as well as in many other ACT musicians’ albums. He has performed and recorded with his own quartet formed of very important musicians before ACT. Moreover he has played and recorded with many worldwide famous musicians so far. He is so famous in my country especially with his latest album Liberetto in which you can see Tigran Hamasyan on piano. The reason for that is his tendency to our melodies in this album in my opinion. His albums Tarantella (in which you can see Eric Harland on drums) and Pasodoble recorded with Lezsek Mozdzer are among the best albums of ACT so far.

Wolfgang Haffner is the most seen name as the drummer in ACT albums. He has a characteristic and profound technic on drums. The album I like most from Wolfgang Haffner is Abracadabra which he recorded with Roberto di Gioia and Dieter Ilg as a celebrating album for Klaus Doldinger, released in 2006. He has many other records as a sideman as well as his own mostly electronic-jazz albums from ACT.

The trumpeter member of ACT Family Band is young Finn Verneri Pohjola. I have heard his name in two albums in 2012 one of which is his own Ancient History and the other one is Imaginary Room of new young talent of violin Adam Baldych. In his own album the composition Deism and But This One Goes in Four(played in the previous jubilee concert) compositions and Björk Hyperballad cover should be pointed out.

The first time I have heard voice of Caecilie Norby was in Lars Danilesson’s 2004 album Libera Me. She was beautifully singing the New Born Broken composition that she made with Lars Danielsson. Caecilie Norby has a mature, characteristic and impressive vocal. She is born in Denmark and not only interested in jazz but also is an important figure in rock scene. Caecilie’s first own album from ACT is Arabesque which she produced with Lars Danielsson in 2012. However, there are lots of albums she appeared as a guest or as a side musician as well as found place in lots of vocal compilation albums in the name of magic/nordic voices of ACT. She also had lots of rock and jazz albums before working with ACT label.

French baritone saxophonist Céline Bonacina released the album Way of Life from ACT with her trio. It is unusual for a leader of a trio to be a baritone saxophonist. The same word unusual can also be used as a descriptive for their music. Their performances are very minimal, dominated mostly by bass and baritone lines and full of improvisations. Johan Norberg is an important figure as an acoustic guitarist mostly in Sweden folk and world music. He has not only found Chapter Two with Nils Landgren and gave many live performances but also recorded many good albums which are released from ACT later on. Moreover he has lots of Swedish Folk Music albums from ACT with famous saxophonist Jonas Knutsson.

There are lot to say about Michael Wollny who has many good records with famous ACT musicians. He has recently added a perfect one to the albums he performed with his band [em] with the name Wasted & Wanted. He also visited İstanbul in the tour held for this album. He is like a symbol for the reformist insight of ACT records. I remember young German pianist Michael Wollny always with a photo of him in the catalog I found in the album of E.S.T. Viaticum released from ACT in 2005. (He looks like Robert Smith from Cure with his too wavy hair in this photo.) The slogan written on this photo was “Everything Must Change” The message written here was as follows: “Nobody grows up by listening only to jazz music. Not even jazz musicians. Rock’n Roll, techno, folk, country, world, jazz and other styles are among the significant wide range of influences on most young musicians today. All these diverse musical forms can now be combined. Jazz is no longer just based on harmonic, structural and improvisational principles. Unlike in the past, jazz nowadays can not be described in terms of a definitive style. It has become a synonym for freedom and openness in its use of musical influences from diverse sources. We encourage musicians to reach out for a MUSIC BEYOND CLASSIFICATION”. Although this message seems to be written to young musicians, for me, this reflects the main perspective of ACT for music. You can easily feel that in ACT albums when you listen to them.

Freedom, diversity, talent, niceness, being hard to categorize… It is normal to face with authenticity and beauty when you gather these. Musicians are very important for Siggi Loch. They are carefully discovered by this music enthusiast producer, recorded and presented to world. The comfortable environment that Siggi Loch supplied to them results in perfect and spiritually complete albums.

This is certainly the most important and exciting concert in this year’s Akbank Jazz Festival for me. I am sure they will make us live an unforgettable night and they will send me a travel that I have joined so many times in this fabulous musical world. One last note is that there will be held another concert in Lütfi Kırdar just before ACT Jubilee Night in which you will experience Miles Smiles conceptual band gathered as students of Miles Davis: Larry Coryell, Darryl Jones, Joey DeFrancesco, Omar Hakim and Wallace Roney. Lütfi Kırdar will be an individual festival place within the festival on October 7th where you will see approximately ten important musician on stage in 4 hours.

Beklenen The ACT Jubilee Night Konseri 7 Ekim'de İstanbul'da

The ACT Jubilee Night konserini çok önceden haber almıştım. Ne zaman diye sorarsanız, sanırım Haziran ortasıydı. Sıkı bir ACT takipçisi ve koleksiyoncusu olarak ACT’nin internet sitesini hem yeni çıkacak albümler hem de sanatçılarının dünya genelinde gerçekleştirmiş oldukları performansları hakkında bilgi edinmek için sık sık ziyaret ederim. ACT arşivimde en çok bulundurduğum albümlerin kaydını ve yapımcılığını gerçekleştiren firma. Aslında amacım geçtiğimiz yaz İstanbul Caz Festivali’ne geleceğini duyduğum Magnus Öström ve Lars Danielsson ile ilgili performansların tarihine bakmaktı. Konserleri ülkelere göre sıralayınca işte o hayallerimdeki konserin duyurusuyla karşı karşıya kaldım. ACT’nin 20. Yılı için düzenlenen Jubilee gecelerinden biri de 7 Ekim’de İstanbul’da 22. Akbank Caz Festivali kapsamında gerçekleştirilecekti. Vallahi ne yalan söyleyeyim, etrafına ACT albümlerini dağıtan, aldırtan ve ACT müzisyenlerini anlatan hep ben olduğumdan ve Kuzey Avrupa tonuna doğru yaslanan albümleri pek de öyle herkese sevdiremediğimden olsa gerek, özel ilgi alanım olan ACT sanatçılarının performanslarını Türkiye’de istediğim sıklıkta göremiyorum. Bu sebeple en sıkı takip ettiklerimin birçoğunu aynı sahnede performans verirken görebilecek olmanın beni ne kadar mutlu ettiğini anlatamam. Dile kolay; Nils Landgren, Lars Danielsson, Caecilie Norby, Michael Wollny, Wolfgang Haffner, Verneri Pohjola, Johan Norberg ve Céline Bonacino, ACT Jubilee Konserleri’nin sonuncusunda hep beraber İstanbul’a geliyorlar. Bu mutluluğum İsveç’te yaşayan, Nils Landgren Funk Unit’te de çalan, davulcu Robert Mehmet Sinan İkiz ile İstanbul’da konseri öncesinde bir araya geldiğimizde ACT’nin kurucu yöneticisi Siggi Loch’un da bu konser için İstanbul’a geleceğini öğrenince, ikiye katlandı.

The ACT Jubilee Night konserlerinde, ACT Family Band sahne alıyor ve konsept 2012 yılına özel olarak ACT’nin 20. kuruluş yılı kutlaması. ACT bu yıl şimdiye kadar, dördü Şubat ayında Almanya’da arka arkaya dört gün boyunca, biri Nisan’da Paris’te ve bir diğeri geçtiğimiz günlerde Stockholm’de olmak üzere toplam 6 ACT Jubilee Night konseri verdi. Bu konserlerden Hamburg’da düzenlenen 2 CD’den oluşan bir albüm olarak basıldı. 2012 yılının sonlarına doğru yaklaşırken, 6 Ekim’de İsveç’in Malmö şehrinde bir konser daha verilecek. İstanbul ise The ACT Jubilee Night konserlerinin sonuncusuna 7 Ekim’de ev sahipliği yapacak.

ACT Family Band kadrosu, Jubilee konserlerinde zaman zaman küçük değişikliklere uğramakla beraber, Nils Landgren (tb, voc), Michael Wollny (p), Verneri Pohjola (tr), Céline Bonacina (sax), Lars Danielsson (b), Nguyen Le (git), Caecilie Norby (voc) ve Wolfgang Haffner (dr)’den oluşmakta. Nguyen Le İstanbul’daki konserde yerini Nils Landgren ile yaptığı kayıtlardan hatırlayacağınız Johan Norberg’e bırakacak. Vokal'de bazen konuk sanatçı olarak Caecilie Norby yerine ACT'nin Rigmor Gustaffson ile birlikte en çok albüme sahip olan caz vokali İsveçli Viktoria Tolstoy'u (bazen her ikisini birden), piyanoda konuk sanatçı olarak zaman zaman kendi solo albümlerinden olduğu kadar bana göre ACT'den şimdiye kadar çıkan albümlerin en iyilerinden olan Pasodoble'yi Lars Danielsson ile beraber duo olarak kaydeden Lezsek Mozdzer'i görüyoruz. Gerek ACT dahilindeki diskografilerini gerekse ACT'nin diğer sanatçıları ile beraber yaptıkları albümleri değerlendirdiğimde Nils Landgren, Lars Danielsson, Wolfgang Haffner ve Nyguen Le’yi ACT Family Band'in amiralleri olarak görüyorum. Michael Wollny ise genç yaşına rağmen yeteneği, etkileyici diskografisi ve sıra dışı müzik anlayışı ile çoktan ACT’nin köklü müzisyenleri arasında yerini aldı. ACT Family Band’da yer alıyor olması da bunun bir göstergesi. Yakın zamanda yaptığı yeni albümlerle ismini sık sık duyduğumuz başka bir genç yetenek Verneri Pohjola’yı da o harika tonu ile canlı dinlemek çok heyecan verici olacak. Caecilie Norby’nin duygu dolu sesi ise eminim birçok dinleyiciyi kendine hayran bırakacak. Yeni yeni takip edebildiğim Céline Bonacino ise triolarda ve bu tarz konserlerde çok sık karşılaşmadığımız bariton saksafonu ile yine merak ettiğim performanslardan bir diğeri.

Dinlediğim ACT müzisyenlerinden hiçbirini bir diğerinden ayrı yere koyamam ama en derinden bağlı olduğum insan şu an aramızda değil ne yazık ki. Cennette, oralardaki en iyi trionun piyanisti olmuştur büyük ihtimalle. Daha önce hakkında 10-15 yazı yazdığım ve triosu ile caz dünyasını altüst eden Esbjörn Svensson’dan bahsediyorum. Önceleri çocukluk arkadaşı Magnus Öström ve Dan Berglund ile beraber kurduğu trio ile çalan ve zaman zaman Lina Nyberg gibi vokallerle albüm dolduran Esbjörn Svensson’un ACT ile ilişkisi, hayranı olduğum bir diğer ACT sanatçısı Nils Landgren’in ekibi Nils Landgren Funk Unit’in piyano ve klavyeden sorumlu departmanı olarak görev almasıyla başlar. Esbjörn Svensson, Funk Unit sonrasında trio kayıtlarını sonradan ACT’den çıkarır. Daha sonrasında arkadaşları ile beraber yaptıkları harika albümler ve inanılmaz canlı performanslarla firmanın dünya çapında en önemli müzisyenleri haline gelirler. 2008 yılında aramızdan vakitsiz ayrılışıyla ise Esbjörn Svensson müzik efsaneleri arasındaki yerini alır. Şimdilerde, grubun davulcusu Magnus Öström ve basçısı Dan Berglund yollarına kendi gruplarıyla yine ACT’den devam etmekteler. Bu arada, ACT Jubilee Night konserlerinde Esbjörn Svensson’un bestesi olan, üzerine Charlie Haden’in oğlu Josh Haden’in söz yazdığı, Seven Days of Falling albümünde vokal içeren ve vokal içermeyen iki halinin yer aldığı ve ACT albümlerinde ve Esbjörn Svensson’u anma konserlerinde defalarca seslendirilen Love is Real parçasının da seslendirildiğini ve ACT’in bu efsane ismine bir saygı duruşu gerçekleştirdiğini hatırlatayım.

1956 doğumlu Nils Landgren -kırmızı trombonlu adam- hem köklü ve dinamik ekibi Funk Unit ile hem de kadın caz vokallere yaptığı ve eşlik ettiği albümlerle İsveç Caz Okulu gibi çalışan bir müzisyen. Kendi liderliğinde ve ekibiyle ACT’den yaklaşık 25 albüm çıkardığı gibi, bir o kadar ACT albümüne de yapımcı veya konuk sanatçı olarak katkı sağladı. Buradan, ACT ile ilk anlaşma yapan müzisyenin Nguyen Le olmasına rağmen, Nils Landgren’in aslında ACT’nin en önemli ve köklü müzisyeni olduğu yorumunu yapabilirim. ACT’nin kurucusu Siggi Loch’dan sonra belki de adı en çok geçen müzisyen Nils Landgren. Bana göre, Almanya kaynaklı ACT çatısı altında bu kadar İsveçli müzisyen bulunmasında da Nils Landgren’in büyük katkısı var. Nils Landgren, bana göre yaşayan en iyi trombonculardan biri olduğu kadar en sıkı funk müzisyenlerinden. ACT öncesinde de oldukça aktif. İsveçli efsane Bengt-Arne Wallin’den olduğu kadar trombonist Eje Thelin’den de etkilenmiş. 1990’lı yıllardaki Baltic Jazz festivallerindeki sahne performansları ile jazz dünyasındaki haklı yerini almış. Özellikle ACT’den çıkan Funk Unit ile beraber yaptıkları canlı kayıtları mutlaka edinin derim. Esbjörn Svensson ile duo olarak kaydettikleri Swedish Folk Modern ve Layers of Light sadeliği ve güzelliği ile efsane ACT albümlerinden ikisidir. Lars Danielsson ve vibrafonist Cristopher Dell ile doldurdukları Salzau Music on Water da sıra dışı ve dinlenilmesi gerekenlerden bir diğeri. Bunların dışında not düşülmesi gereken en önemli albüm olarak Joe Sample ile beraber doldurdukları Creole Love Call albümünün adını vermem gerekiyor. Burada Nils Landgren en ciddi vokal performanslarından birini sergilemekte.

1958 doğumlu Lars Danielsson da ACT’nin simgeleşmiş bir diğer ismi. Lirik kontrbası ve çellosuyla yine o da kendi doldurduğu albümlerle olduğu kadar ACT’deki diğer sanatçıların projelerinde aldığı yerle biz ACT düşkünleri için unutulmaz isimler arasında. Bunun öncesinde çok önemli isimlerle kurduğu dörtlüsü ile beraber olduğu kadar dünyanın en önemli caz müzisyenleri ile de yaptığı kayıtlar bulunmakta. Özellikle son olarak Tigran Hamasyan ile beraber kaydettikleri Liberetto ile bize yakın ezgilere doğru yol aldığı için ülkemizde de çok beğenildi. Bu albüm için İstanbul’da konser bile verdi. Bu albüm öncesi çıkarmış olduğu, dahilinde Eric Harland’ın da adını görebileceğiniz Tarantella ve Lezsek Mozdzer ile duo olarak kaydettikleri Pasodoble albümleri ise ACT tarihine altın harflerle geçti.

Wolfgang Haffner ise bence harika davulculara sahip ACT’nin kayıtlarında bateride adına en çok rastladığımız müzisyeni ve mükemmel bir tekniğe sahip. Ben onu en çok Roberto di Gioia ve Dieter Ilg ile beraber kaydettikleri ve efsane isim Klaus Doldinger’e ithafen yaptıkları 2006 baskısı Abracadabra albümündeki harika tuşesi ile tanıyorum. Dillere destan sololara sahip bu önemli müzisyenin ACT’den kendi adına daha çok elektronik caz albümleri kaydettiğini görüyoruz. ACT Family Band’ın trompetçi üyesi Finlandiyalı genç yetenek Verneri Pohjola. Ben kendisini 2012’de ACT’den Aurora’dan sonra ikinci albümü olarak çıkan Ancient History albümü ile tanıyorum. Bu albümdeki Deism ve ACT Jubilee konserinde de çalınmış olan But This One Goes in Four besteleri ve Björk coverı Hyperballad yorumları dikkate değer.

Caecilie Norby ile tanışmam Lars Danielsson’un 2004 baskısı Libera Me albümünde beraber besteledikleri New Born Broken’daki vokal performansı ile oldu. Olgun, karakterli ve etkili bir ses rengine sahip olan Caecilie Norby, Danimarka doğumlu ve sadece caz müzik ile uğraşmıyor. Rock müzik sahnesinde de sevilen bir vokalist. Caecilie Norby’nin ACT’den çıkan ilk kendine ait çalışması 2012’de Lars Danielsson ile beraber yaptıkları Arabesque adlı albüm. Ancak bundan önce hem birçok ACT albümünde vokalist olarak performans vermiş hem de ACT’nin ünlü Magic Voices, Magic Nordic Voices gibi caz vokalleri bir araya getirdiği albümlerde kayıtlara sahip. ACT öncesinde farklı firmalardan da caz ve rock birçok albüm doldurmuş.

Fransız Céline Bonacino bariton saksofonda özelleşmiş ve triosu ile beraber ACT’den Way of Life albümünü çıkarmış. Bir Bariton saksafoncunun bir trioya liderlik etmesi pek alışagelmiş bir olgu değil. Yapılan müzik ile ilgili olarak da aynı şeyi söylemek mümkün. Oldukça minimal, bas/bariton çizginin çok hakim olduğu doğaçlamalarla dolu besteleri ve performansları var. Johan Norberg daha çok İsveç folk-world müzik türünde akustik eserler vermiş İskandinavyalı önemli bir gitarist. Nils Landgren ile beraber kurdukları Chapter Two adlı ikiliyle hem birçok canlı performans vermiş hem de ACT’den çıkan harika albümlere imza atmış. Bunun yanında yine İskandinavyalı saksafoncu Jonas Knutsson ile baraber ACT’den çıkan İsveç folk müziği türünde albümlere sahip.

ACT’nin birçok ünlü müzisyeni ile kayda değer sayıda albüm yapan genç Alman piyanist Michael Wollny için söylenecek çok şey var. Liderlik ettiği [em] grubu ile birlikte yaptığı güzel albümlere yakın zamanda harika albüm Wasted & Wanted ile bir yenisini daha ekledi. Yakın zamanda bu albümün turnesi kapsamında İstanbul’a da bir ziyaret yaptı. ACT’nin yenilikçi yaklaşımlarının bir simgesi gibi bu müzisyen. Michael Wollny aklımda hep ACT’nin 2005 baskısı E.S.T. Viaticum’un arasından çıkan katalogun ilk sayfasında “Everything Must Change” sloganı altında gördüğüm fotoğrafı ile kalmıştır. (Michael Wollny [em] grubu ile beraber verdiği bu pozda dağınık saçlarıyla The Cure’un solisti Robert Smith’e çok benziyor bence) Bu fotoğrafın altında ACT: Young German Jazz adı ile yazılan yazı şöyle: “Kimse sadece caz dinleyerek büyümez. Caz müzisyenleri bile. Rock’n Roll, techno, folk, country, world, caz ve bazı diğer türler günümüz genç müzisyenlerini ciddi manada etkileyen geniş bir spektrum yaratırlar. Şimdi bütün bu formlar bir araya getirilebilir. Caz artık sadece armonik, yapısal veya doğaçlama prensiplere bağlı kalamaz. Geçmişte olduğu gibi caz belirleyici bir stil içerisinde tanımlanamaz. Farklı kaynaklardan beslenmesinden yola çıkarak özgürlük ve açık fikirlilik için eş anlamlar oluşturmalıdır. Biz, genç müzisyenleri sınıflandırma dışındaki müziğe ulaşmaları için destekliyoruz.“ Bu yazı her ne kadar, genç müzisyenlere yönelik gibi görünse de, bence ACT firmasının genel görüşlerini de ifade etmekte. ACT sanatçılarının albümlerinde bu fikirlerin izlerini sonuna kadar hissedebilirsiniz.

Özgürlük, çeşitlilik, yetenek, titizlik, sınıflandırılamazlık… Bunların hepsi bir araya geldiğinde özgünlük ve güzellik ile karşı karşıya kalmak çok normal. Siggi Loch için müzisyenler çok önemli. Hepsi birer inci... Müzisyenler bu müzik sever yapımcı tarafından özenle keşfedilir, kaydedilir ve dünyaya sunulurlar. Onlara sağlanan rahat ortam da, doğal olarak, mükemmel ve ruh dolu kayıtların ortaya çıkmasını sağlar.

Akbank Caz Festivali’nde beni en çok heyecanlandıran konser kesinlikle The ACT Jubilee Night konseri. Bizlere harika bir akşam yaşatacaklarına, o aşık olduğum müzik dünyasında şimdiye kadar defalarca çıktığım yolculuklardan bir diğerine beni tekrar çıkaracaklarına eminim. Bu konserin hemen öncesinde yine Lütfi Kırdar’da Miles Davis’in öğrencileri Larry Coryell, Darryl Jones, Joey DeFrancesco, Omar Hakim, ve Wallace Roney’den oluşan Miles Smiles ekibini de dinleme şansımız olacak. Başka bir deyişle, 7 Ekim Pazar günü İstanbul ve Lütfi Kırdar 4 saat içinde 10’dan fazla çok önemli müzisyeni birden ağırlayacak ve festival içerisinde festival yaşanacak.

http://www.youtube.com/watch?v=wLhDP0RYW6s&feature=related

http://www.youtube.com/watch?v=fWYR6fZRyww

http://www.youtube.com/watch?v=D7KXq6RJ0PA&feature=related

http://www.youtube.com/watch?v=PjcPFSXfqAQ

http://www.youtube.com/watch?v=3e5oNjTuz1o

http://www.youtube.com/watch?v=hxIuwe1mbmk

http://www.youtube.com/watch?v=dwWjBtNcdn4&feature=related

http://www.youtube.com/watch?v=83QPMamEfzI&feature=related

http://www.youtube.com/watch?v=nmTlG5xyA6Y

http://www.youtube.com/watch?v=ueHY8mwy4VE

http://www.youtube.com/watch?v=klKNLPkWp_I

http://www.youtube.com/watch?v=04j3R3sefyw

http://www.youtube.com/watch?v=kgEKIaRfRRw

http://www.youtube.com/watch?v=gRo_vzISgO0

Dip not olarak; Akbank Caz Festivali’nde Jens Thomas ve Rudresh Mahanthappa gibi harika iki ACT müzisyenini daha izleyebileceğimizi ve Kasım ayında bunlara ek olarak efsane Nils Landgren Funk Unit’in ve ACT’nin yükselen yıldızlarından (içerisinde Lars Danielsson’un da yer aldığı Baltic Gang’in piyanisti) Jacob Karlzon’un da (More adında çıkardığı yeni albümünün turnesi kapsamında) İstanbul’u ziyaret edeceklerini ekleyeyim.

Wednesday, 20 June 2012

Esbjörn Svensson Trio, From Gagarin's Point of View, 1999

This is one of the most important albums of Esbjörn Svensson Trio in my opinion. Before that, E.S.T. was known around Sweden and Scandinavia especially for their live performances and good albums from local labels such as Diesel and Dragon, however was not famous in Europe. After From Gagarin's Point of View was released in 1999 as their debut album from ACT, they became known especially in Europe as well as in USA. This album was actually recorded and released from Diesel before they signed a contract with Siggi (Siegfried) Loch of ACT. Siggi Loch discovered Esbjörn Svensson while he was playing with Nils Landgren Funk Unit and wanted to listen to their records. Siggi Loch mentioned in many interviews that after listening to From Gagarin's point of view he was very impressed and thought that he was listening to a great album. Therefore, he decided to release an album, which was already finished, in his own label for the first time. Considering the perfect links between pieces and usage of electronics (especially the title track) this album also can be classified as a milestone for the trio. You will see that following albums contain lots of things from From Gagarin's Point of View. All the compositions belong to the trio. There is no need to say that the record, mixing and master quality is perfect. The record and mixing was made (in two different periods) by Janne Hansson at Atlantis Studio in 1998, where ABBA has been recorded once upon a time. E.S.T. mentioned that they have learned lots of things during this recording session in this vintage equipped studio and after that they preferred to produce their albums on their own. It is very interesting that they were in this studio first time actually for a Danish musician's record at May 1998 and for the 3 hours that was left after that work they decided to record their own works. From Gagarin's Point of View is actually a product of these three hours. The mixing, overdub and some mastering was made at the second visit at Autumn 1998. The mastering was made by Johan Ekelund at Stereolab. As a side information; you can hear From Gagarin's Point of View piece in the advertisement of Focal Grande Utopia III. Let me give the song list:

Dating (Esbjörn Svensson Trio)
Picnic (Esbjörn Svensson Trio)
The Chapel (Esbjörn Svensson Trio)
Dodge The Dodo (Esbjörn Svensson Trio)
From Gagarin's Point of View (Esbjörn Svensson Trio)
The Return of Mohammed (Esbjörn Svensson Trio)
Cornette (Esbjörn Svensson Trio)
In the Face of Day (Esbjörn Svensson Trio)
Subway (Esbjörn Svensson Trio)
Definition of a Dog (Esbjörn Svensson Trio)
Southwest Lones (Esbjörn Svensson Trio)

Dating: It is like an introduction to this great album. The main theme of this song is also the main theme of first three songs. The entrance is made by the bass then it is accompanied by the piano. After that, we hear a minimalist percussion that is developed in time. The piano improvises the main theme. The initial melody is played back and continuously linked to the next piece.
Picnic: The piece starts like the same theme with the first piece but with a faster and more hopeful tempo. The melody is just like a picnic. The dialogue between drum/percussion and bass is used for improvisation. The end of the piece is again linked to the next piece. I think these linked pieces are partitions of E.S.T.'s one single performance.
The Chapel: A great entrance following the previous piece's melody is made by the piano. We hear strange and interesting sounds coming from the drums. Bass only gives the basic notes with a smooth and melodic tone. The piece's main theme is very dramatic as if it is explaining an old but forgotten place.
Dodge The Dodo: The triplet ends just before the fourth piece and a very energetic piece starts a new series. A very aggressive drum rhythm accompanies a soft double-bass and offensive piano. The double bass is sometimes played by bow and passed through distortion. The piano is usually touched from inside. Dan Berglund improvises the main theme by his bow at the middle without the piano. Esbjörn's touches to the piano signals the ending of the first act of improvisation then with the increase in tension in the piano we again hear the same melody in the entrance. The trio's sound gets crowded through the end by means of drum and bass. Going to the end we hear a transistor radio sound which links the first part of the series to the second.
From Gagarin's Point of View: We feel like watching a space movie with the transistor radio sound coming from the previous piece and the cool drum and bass rhythm in this song. The piano, bass and drum are calm. After the end of the first 2 minutes we start to hear electronics much more. This is literally a great composition and a must listen of the album. The transistor radio in the beginning makes the last partition.
The Return of Mohammed: This piece has a link with the Mohammed Goes to Newyork pieces in the album When Everyone Has Gone, 1993.
Cornette: The short entrance is made by introducing the main theme very fast. This is almost a main stream jazz piece. The improvisation is directed by the piano. You will not believe the speed of Esbjörn Svensson. He sometimes touches to the inside of the piano during this fast partitions. Dan Berglund experiments on the double-bass creating interesting sounds.
In the Face of Day: A melancholic melody is played by the piano first. We hear a small piece of the same theme once again from double-bass. There is a little rise in the tension near to the end of the first half triggered by Esbjörn, but it stops with percussion of Magnus Öström. The members carry a soft melody just after that. The touches of Esbjörn to the piano are as soft as silk. Magnus Öström prefers using brushes in such performances with small movements. Dan Berglund takes the role as the main theme. The tension is tried to be increased from time to time but the softness is certain throughout the piece.
Subway: A double-bass played with a bow makes the introduction by a very dramatic theme. The piano is on the background with cold notes. Magnus Öström's percussion is processed. It seems that Dan Berglund uses a little effect for his bass. Esbjörn creates really interesting notes from the piano consistent with his accompaniments.
The Definition of a Dog: Detached from the previous melody, this is an energetic and fast jazz piece. The piano has been improvising almost during the whole song. We hear the main theme while they are giving breaks. Besides, all members are in a good synchronization. The last minutes belong mostly to the drum and bass which is deeply accompanied by piano. Magnus Öström's performance here is just perfect. This piece became later one of the favorites of the trio in live performances.
Southwest Loner: The end is begun by a long piano partition which is later accompanied by just brushes touching to the drum-set. Dan Berglund is heard at the last minute with only main notes. I love such endings.

Try these samples but I strongly recommend you listen to the albums from a good equipment 'cause they deserve it:

http://www.youtube.com/watch?v=XMCkSuaBMbU

http://www.youtube.com/watch?v=seGEc7lNYjo

http://www.youtube.com/watch?v=DZExCaBb0EU

http://www.youtube.com/watch?v=DYL_Xe0r6jc&feature=related

You can read my other posts about E.S.T. and their albums:

Esbjörn Svensson Trio, The Best Trio of All Times:
http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-best-trio-of-all_13.html

The review for When Everyone Has Gone:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-when-everyone-has.html

The review for Winter in Venice:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-winter-in-venice.html

The review for Good Morning Susie Soho:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-good-morning.html

The review for Strange Place For Snow:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-strange-place-for.html

The review for Seven Days of Falling:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-seven-days-of.html

The review for Viaticum:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-viaticum-2005.html

The review for Tuesday Wonderland:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-tuesday.html

The review for Leucocyte:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-leucocyte-2008.html

The review for 301:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-est-301-2012.html

Wednesday, 13 June 2012

Esbjörn Svensson Trio, 301, 2012

This was a real big surprise for E.S.T. fans. When we heard that there are lost records belonging to Esbjörn Svensson Trio from 2007 we really felt like to have found a treasure. What does an E.S.T. fan expect from such an album? Actually, for me, if there were only a short piece of solo of Esbjörn Svensson recorded and mixed qualitatively and released 4 years later then he passed away it would be enough. Well, if you tell me that you have found so many records that can fill an album and already mixed by Esbjörn himself then I start to cry. 301 is such an album that made me cry. It was recorded during the same period with Leucocyte in the same studio; Studios 301 in Sydney Australia. In the interview of Magnus and Dan in Jazzwise of April 2012 Magnum says: “It had been sitting there all that time. Esbjörn did most of the editing on Leucocyte, so where we listened to all that material before, I was not that careful, maybe. So when we came to listen to it again I was really surprised that it was on such a level. It sounded so fresh, so I was really happy about it, that we had some good quality material for release.” It is very different than Leucocyte and other albums. I agree that you hear Leucocyte from time to time but different than all other albums you hear every album of E.S.T. in the album 301. The recording and mixing was made by Ake Linton. The recording is made at Studios 301 in Sydney. The mastering was made by Claes Persson. The mixing and mastering was made at Bohus Sound Recording in Gothenburg, Sweden. The album was released in 2012 by ACT records. The album was also printed on a double LP. As far as we have learned from Magnus and Dan in their last interviews, it is difficult to release another album from early records. That can be the last. Let me give the list of the songs and my comments:

Behind The Stars (Svensson / Berglund / Öström)

Inner City, City Lights (Svensson / Berglund / Öström)

The Left Lane (Svensson / Berglund / Öström)

Houston, The 5th (Svensson / Berglund / Öström)

Three Falling Free Part I (Svensson / Berglund / Öström)

Three Falling Free Part II (Svensson / Berglund / Öström)

The Childhood Dream (Svensson / Berglund / Öström)

Behind The Stars: We recognize our legendary pianist Esbjörn Svensson just after his first touch. A very deep and sorrow murmuring of him is heard. Besides, we hear very deep bass effects beating on the background. Dan Berglund sometimes use his bow to accompany Esbjörn. This is a very soft beginning for the album. Considering to what we have listened in the first track, we can say that the ambience is similar to the Leucocyte but this album is much softer and calmer from all perspectives. The end is linked to the next song.

Inner City, City Lights: The beginning is made by a sound like an openning window. The brushes of Magnus Öström play the drums over a single tone (signal-like) piano. We sometimes hear a transistor radio. The effect, to which I have called the openning window, is heard again between percussions. The double bass produces deep basses. Esbjörn starts to produce a distorted piano (he sometimes hold the pieces inside the piano again for a cold tone) A single tone of high frequency (probably produced from a double-bass played by bow) stays on the background. This background sound is the same with the one in last piece of Leucocyte Ad infinitum. This is certainly a link with the Leucocyte. There is a link with the name of this piece and one of Magnus' poems in the liner notes of E.S.T. Live in Hamburg.

The Left Lane: This is a well known E.S.T. style piece. Trio simply gives the main theme in the entrance then starts to improvise by increasing the tension especially by drums. It is very meaningful that this song is here in that album. It carries lots of memories, having sounds spread over all the albums. As I have mentioned before, 301 is different from other albums for it is carrying all the history of E.S.T. It is linked to both Leucocyte and When Everyone Has Gone. I know these are last records of the group and if Esbjörn were alive they would probably release another album from another record but this last record has a real meaning to be the last one. E.S.T. calms down in this piece for the last three minutes. The last minute is a double-bass solo. The last twenty seconds is just composed of fading brush beats.

Houston, the 5th: An electronic sound is dominant in the whole piece. This composition or performance has something to do with space or spacecrafts. This may be relevant with the fact that NASA is in Houston. We rarely hear a musical partition.

Three Falling Free Part I: The end of the previous experimental electronic piece is linked to the piano solo at the entrance of this piece. The bass starts to accompany piano by long notes. Magnus Öström's percussion is granular and soft. We hear deep murmurings from Esbjörn Svensson. The trio starts to improvise after the third minute.

Three Falling Free Part II: Some beats of Magnus Öström is carried from the ending of the previous piece. This is a great solo entrance from our great drummer. He totally improvises with spontaneous movements and feelings. Listen to that partition carefully before the entrance of the piano, he is just awesome. The piano play some cold and inanimate notes here giving a little tension to the performance. One hand gives the tension by a fast partition while the other is playing a slow changing melody. The bass enters the stage with distortion like an electro-guitar. Then the body of the piece is developed. Now they can start to improvise. Listen to these great performance from beginning to end carefully. Near to the end we really feel like listening to metal music. Magnus Öström and Dan Berglund carry the song to some strange places for jazz again. Check that distortion of the bass. I have decided that they are crazy! The last notes feel like a free fall of a plane to the ground.

The Childhood Dream: This is a wonderful and emotional ending to a great album. The melody carry you to your childhood. The bass and piano talk to each other very softly and intimately.

Try these samples:

http://www.youtube.com/watch?v=mLpVozdEnA0

http://www.youtube.com/watch?v=pUGBzReNDI8
You can read my other posts about E.S.T. and their albums:

Esbjörn Svensson Trio, The Best Trio of All Times:
http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-best-trio-of-all_13.html

The review for When Everyone Has Gone:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-when-everyone-has.html

The review for Winter in Venice:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-winter-in-venice.html

The review for From Gagarin's Point of View:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-from-gagarins.html

The review for Good Morning Susie Soho:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-good-morning.html

The review for Strange Place For Snow:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-strange-place-for.html

The review for Seven Days of Falling:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-seven-days-of.html

The review for Viaticum:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-viaticum-2005.html

The review for Tuesday Wonderland:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-tuesday.html

The review for Leucocyte:

http://fatih-erkan.blogspot.com.tr/2012/06/esbjorn-svensson-trio-leucocyte-2008.html

Esbjörn Svensson Trio, Leucocyte, 2008

This masterpiece came after we lost Esbjörn Svensson in 2008. The masters were given to the ACT on May 15. Then the trio were at a concert in Russia on May 30. Everybody was depressed on learning that the new inspiration of jazz from Scandinavia passed away in a diving accident on June 14, 2008. More important than everything about music, he was married and father of two sons. We, his family, his friends and probably Dan Berglund and Magnus Öström tried to accept the situation. Leucocyte was released in legacy of Esbjörn Svensson. It was thought to be the last album of E.S.T. by fans until we met 301 in 2012. The members of the trio also probably assumed this album as the last one considering the last interview on Jazzwise of April 2012. They thought that Leucocyte was everything that was already mixed and ready for release from the 9 hours record in Sydney days in 2007. However they suddenly saw in 2011 that this was not the case. Leucocyte is a very important album not only for being a legacy album, but also with its progressive and electronic structure for being a new breakout in Nordic jazz. When I was caught at home by my wife during the first listening session, she thought that I have turned back to my high school times and started to listen metal music. Let me tell you some genres that come in to my mind while listening to Leucocyte: Jazz, Gothic Rock, Metal, Pop, Progressive Rock, Psychedelic Rock, Classical... Especially the last four pieces will give you agony with their philosophies, musical structures and possible meanings. The distorted voice, which is especially played during the the third piece and met you at different instants throughout the album, is created by Magnus Öström I think. I strangely feel like this voice belongs to a man under the sea. More than that I have created strange links in my mind to think that the last piece is ended by wave sounds fading in time. I know that I am exaggerating and there may be no intention, but that's how i feel. The recording and mixing was made by Ake Linton. The recording was made in 301 Studios in Sydney. The mixing was made by Dragan Tanaskovic. The mastering and mixing was made in Bohus Sound Recording. The album was released in 2008 by ACT. ACT also printed a double LP for this album and let me say that this is the first LP record of ACT. I see this as a tribute to Esbjörn Svensson. Let me ask a question to you before giving names and my comments of the pieces: What kind of a creativity can put an empty record of 1 minute long with the name "in the meantime" referring the time between birth and death?

Decade (Svensson / Berglund / Öström)
Premonition I. / Earth (Svensson / Berglund / Öström)
Premonition II. / Contorted (Svensson / Berglund / Öström)
Jazz (Svensson / Berglund / Öström)
Still (Svensson / Berglund / Öström)
Ajar (Svensson / Berglund / Öström)
Ab initio (Svensson / Berglund / Öström)
Ad interim (Svensson / Berglund / Öström)
Ad mortem (Svensson / Berglund / Öström)
Ad infinitum (Svensson / Berglund / Öström)

Decade: A dark and melancholic introduction of the album is given by the solo piano of Esbjörn Svensson.
Premonition I. / Earth : This is literally a sophisticated masterpiece of nearly 18 minutes. An electrically supported and distorted piano tone and a constant bass are heard in front. On the background we sometimes hear a feedback-like tone. Magnus Öström uses some percussion equipment here with a minimalist concept. The bass keeps on following the same rhythm and rarely play the melody. Esbjörn Svensson's piano should be carefully analysed. It has both distortion and reverberation. I know this record is made when he is alive and you find this as an exaggeration but I really feel like I am listening to a piano playing under the sea. After the first half the trio decides to increase the tension and Magnus set the fire by moving on the drum set. A constant cymbal crash gives the rhythm. Oh my god, three of them are improvising at the same time. This is a masterpiece of a genre I have invented (sorry EST has invented): Progressive Neoclassic Free Jazz. In last two minutes, we are left by some electronics sounding like a dying body (it can be a drowning one) and a snare drum gradually decreasing the number of beats in each period then disappearing. The last minute is just the feedback-like tone heard at the beginning and the ending is linked to the next song by a transistor radio tone.
Premonition II. / contorted : The entrance is made by the constant rhythm of the bass and Esbjörn Svensson's piano. It goes on from where the previous one left us. In this song we see a very extraordinary electronic effect. It's like a dolphin or whale's sound at first sight but when you listen to it carefully you understand that it is produced from a man's voice. I know it is strange but it is like a man's crying under the water. That's what I have felt and I still could not be sure whether they intentionally made it or not. Although I have links with Dan Berglund and Magnus Öström through social networks, I could not and will never ask this question to them. I always feel like crying when listening to that song. The piano and bass duo in the second half is just perfect. I should again mention that Esbjörn Svensson, Dan Berglund and Magnus Öström are wonderful musicians and they are literally contemporary legends. They are my jazz heroes.
Jazz: At first, some electronic sounds are heard (like two metals are rubbed with each other) Then the piano gradually enters to the scene while the drum and bass are accompanying to it. Consistent with the name, this piece is a summary of E.S.T. Jazz. The tension is relatively high. Piano improvises the main theme while drum and bass are following a walking line.
Still: Again some electronics are used on the base of piano and bass. Sounds feel like coming from under the sea, or else we can say that they are robotic. Above all we actually hear a melancholic piano performance. Drum set accompanies to the others with a very minimal rhythm (just the metronome I think). Esbjörn Svensson's piano reminds us Erik Satie. On the background we hear Dan Berglund's bow-played double-bass that is passed through electronics. The piece travels from melancholy to emotion but in a real dark color. You feel like you lose somebody important for you.
Ajar: A short break of piano solo, similar to the first piece of the album... Esbjörn shows us his virtuosity with soft and dynamic touches.
Ab initio: Welcome to a new era, in which a new jazz form will be produced. This last four pieces of the album are kind of a musical philosophies rather than just music. The names are in latin; Ab initio, Ad interim, Ad mortem, Ad infinitum. The English words are; Birth, Meantime (Life), Death and Infinity. You can assume Meantime as the Life since the time between birth and death is the life. The first piece literally gives you the feeling of birth. Its entrance is made by an aggressive drum&bass and some electronics. After the introduction the piano starts to play from behind of a distorted noisy double-bass and percussion. Everything is crowded and confused just like in birth. A dark melody is played by piano. The bass noise is always there, symbolically refers to the things that you can never run away from.
Ad interim: This is “in the meantime”, “time between” or "temporary" in Latin. In the concept of this album, in which this piece is between initial and death, we can call it “Life”. This 1 minute record is empty, which means that the interval of life is, kind of empty, considering the importance of the birth and death.
Ad mortem: This is the death in Latin. You will really feel the death in this 13 minutes piece whose first half is just full of overlapped distortions and unstable and atonal sounds. We are left with a calm electronic double-bass sound and a piano tone playing deeply (feels like coming from under the sea) at the second half. I think the first part is the aggressive and painful part of the death. The second part is full of tranquility that is saying that the life is ended and this is where we are. This is the fact. You can cry, you can long for your precious belongings, but this is the fact. The end of the piece is very melancholic and will most probably make you cry a little. This wonderful melody at the end linked to the next piece with gong-like sound.
Ad infinitum: This is infinity in Latin. The gong sound is continuing for 1 minutes in the entrance after which we hear a background voice-like sound giving an extraterrestrial feeling. Above all we hear a constant piano tone then the sounds become mixed with each other. It fells like the music is immersed in water gradually or falling free into the infinity.