» » » Snarky Puppy & Metropole Orkest - Sylva (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz
Snarky Puppy & Metropole Orkest - Sylva (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz
Snarky Puppy & Metropole Orkest - Sylva (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Snarky Puppy & Metropole Orkest
Title: Sylva
Genre: Jazz, Modern Jazz, Jazz-Funk, Contemporary Jazz, Orchestral Jazz
Label: © Impulse! A Division of Universal Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: AcousticSounds
Duration: 00:54:29
Recorded: Dordrecht, Netherlands at Het Energiehuis on April 19 & 20, 2014


When Snarky Puppy won a Grammy in January of 2014, the question I was asked most was, Was this on your bucket list of things to do before you die? And my answer to each of them was, actually, no. I have only one thing on my list. The only thing I want to do before I die is make an album with an orchestra.
It had been a topic of discussion for three months at that time. During the October 2013 recording sessions for We Like It Here in Utrecht, our good friend Friederike Darius had invited two of the Metropole Orkest s managers to join us as guests. Within ten minutes of the performance s end, we had already crafted a plan to make a record together. Sometimes life is that easy. Not always, not most of time, but every once in a while, it is.
The last thing I wanted to do with this opportunity was turn it into a Snarky Puppy With Strings situation. While on tour in Germany in November, I snuck off to Berlin for a night to meet with conductor Jules Buckley and discuss possibilities for the material. We both agreed that a brand new piece of music written specifically for this hybrid ensemble would be the ideal scenario. I asked Jules, could I customize the instrumentation of the Metropole a bit? Of course I could. How about a lot more than a bit? No problem. Is it okay if I do the arranging on my own despite the fact that I ve never arranged for an orchestra and then just have you clean it up and make it sound like I know what I m doing? Perfectly fine with me. Is there anything I could ask you right now that would elicit a negative response? No.
If there were any way to sum up the tone and attitude of the entire experience, this conversation with Jules would just about do it. It went like that from start to finish. I wrote the music while on tour, in buses and on planes and in dressing rooms backstage before and after shows. Throughout the whole process, my governing concept was to try to capture the many sides and personalities of the only place where I feel truly connected to the earth as a human being. A place that is at once innocent, frightening, awe-inspiring, impenetrable, fragile, stoic, telling, a shelter, a labyrinth, a temple, a tomb, a sanctuary, a parliament, a prison. The forest.
I wanted it to be a suite, a single piece of music connected by a thread that could highlight the strengths of the Metropole- specifically, their stylistic versatility and incredible sense of groove and feel (a rarity in the orchestral world). Each movement is about a different forest I ve spent time in, from the mountains of Portugal to the swamps of Louisiana to the giant redwoods of northern California to the land behind my neighbor s house in Virginia to the dark wood that lived all of our heads as children, the one that we dreamt of being lost in, consumed by, and then woke up sweating, running to our parents room for reassurance.
My desire was to make everything about the album different from what we ve ever done and also from what is expected of an orchestral album. It was recorded 100% live, with no overdubs or studio magic to make things sound cleaner or thicker. 300 audience members joined us for four performances over two nights, wearing headphones in order to hear the music exactly as we, the performers, were hearing it. We stacked the low end of the orchestra with bass and contrabass clarinets and low brass and expanded the string section. We arranged set pieces and the physical bodies of the musicians to form a kind of integrated human-floral forest within which the audience would sit (I m still jealous of the people whose seats were inside of the string section). We tried to create a place where one could forget where they were and simply be surrounded by sound. --Michael League


Brooklyn's Snarky Puppy jazz-funk collective have become one of modern music's bright lights. Sylva, their debut for Impulse, is their fifth live album and eighth overall. It is unlike anything else in their catalog thus far, yet it embodies all the things they do so well: R&B, fusion, NOLA second line, soul-jazz, and more. It is a concert collaboration with Utrecht's Metropole Orkest; a single work comprised of two suites. The first four tracks make up the first, while the last two comprise the second. Sylva realizes composer/bassist Michael League's dream for Snarky Puppy: to work on a cinematic, orchestral scale without resorting to a watered-down "with strings" exercise. Their trademark edges -- in arrangement, improvisation, and groove quotient -- all remain intact. Fans may experience initial hesitation during the opening strains of the set's overture "Sintra." It contains repetitive, moody strings and winds before the band's horns enter on a Latin tinge and rhythms follow suit. The Metropole's horns join and it all starts to swirl, ending on the fat crescendo that introduces the slinky jazz-funk of "Flight." It features more familiar traits, with spidery synth and Rhodes, vamping guitars, and layers of staggered percussion and B-3 as its engine. "Atchafalaya" sounds exactly like its title: swampy, sweaty NOLA horn funk with stinging electric guitars and popping stacks of percussion as its hallmarks. "The Curtain" is over 15 minutes long. It employs intimate post-bop, symphonic rock, big-band funk, dancefloor stomp, cosmic fusion, and classical elegance. Sylva's closer is the nearly 20-minute "The Clearing." Debussy-ian impressionism may introduce it, but lithe, shimmering R&B, swinging, fat-horned progressive big band (think Clarke-Boland), greasy, blackbone-slipping alley funk, trancey Miles-esque fusion, and Wardell Quezergue-styled NOLA horn grooves wind out of it. This sprawler ratchets down before rebuilding toward a swaggering climax with brass, guitars, bass, drums, and B-3 all on stun. Sylva may not be the dance party face of Snarky Puppy, but there is one within it. League writes not only tor the strengths in his band, but also those of the Metropole Orkest -- they are not only able to "hang" with Snarky Puppy, they push them -- hard. Many acts have attempted collaborative exercises like this, but few -- if any -- have pulled them off. Musical sophistication meets the gritty danger of live performance; execution matches ambition with crackling energy and soulful expression. --AllMusic Review by Thom Jurek



Tracklist:
1. Sintra 03:32
2. Flight 06:03
3. Atchafalaya 06:04
4. The Curtain 15:09
5. Gretel 04:21
6. The Clearing 19:23


Snarky Puppy:
Michael League - electric bass and Moog keybass
Bob Lanzetti - electric guitar
Mark Lettieri - electric guitar
Chris McQueen - electric guitar
Bill Laurance - piano, Wurlitzer, and Moog
Cory Henry - organ, clavinet, and Moog
Justin Stanton - Fender Rhodes, Moog, clavinet, piano, and trumpet
Jay Jennings - trumpet and fl ugelhorn
Mike “Maz” Maher - trumpet and fl ugelhorn
Chris Bullock - tenor sax, clarinet, and bass clarinet
Nate Werth - percussion
Robert “Sput” Searight - drums

Metropole Orkest:
Conductor - Jules Buckley
1st Violin - Arlia de Ruiter (concertmaster), Vera Laporeva, Denis Koenders, David Peijnenborgh,
Pauline Terlouw, Casper Donker, Ruben Margarita, Tinka Regter, Seijia Teeuwen, Ewa Zbyszynska
2nd Violin - Merijn Rombout, Herman van Haaren, Wim Kok, Feyona van Iersel, Pauline Koning,
Polina Cekov, Merel Jonker, Christina Knoll
Viola - Mieke Honingh, Norman Jansen, Julia Jowett, Isabella Petersen, Iris Schut, Lex Luijnenburg
Cello - Maarten Jansen, Emile Visser, Jascha Albracht, Annie Tangberg, Charles Watt
Double Bass - Erik Winkelmann, Arend Liefkes, Tjerk de Vos
Flute - Janine Abbas, Mariël van den Bos, Nola Exel
Clarinet, Bass Clarinet, Contrabass Clarinet, and Saxophone - Paul van der Feen, Leo van Oostrom,
Leo Janssen, Werner Janssen, and Max Boeree
Horn - Pieter Hunfeld, Rob van de Laar, Fons Verspaandonk, Elizabeth Hunfeld
Trombone - Jan Oosting, Vincent Veneman, Jan Bastiani
Bass Trombone - Martin van den Berg
Tuba - Ries Schellekens
Percussion - Murk Jiskoot, Frank Warndenier



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