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martes, 27 de diciembre de 2016

Jon Lord - Beyond The Notes (2004)


Abad Badie nos trae esta versión en CD y DVD de nuestro querido Jon Lord, en otro trabajo de puro rock sinfónico ya que el álbum nada tiene que ver con su antigua etapa de rockero, esta orientado fundamentalmente a los amantes de la música clásica, acompañado de Thijs van Leer al frente de la flauta. Haciendo grande al blog cabezón entre todos, aquí va otro aporte de y para nuestros amigos cabezones.

Artista: Jon Lord
Álbum: Beyond The Notes
Año: 2004
Género: Rock sinfónico
Duración: 69:14
Nacionalidad: Inglaterra


Lista de Temas:
01. Miles Away
02. De Profundis
03. One From The Meadow
04. Cologne Again
05. I’ll Send You A Postcard
06. The Sun Will Shine Again
07. A Smile When I Shook His Hand
08. November Calls
09. The Telemann Experement
10. Music For Miriam

Alineación:
- Koji Paul Shigihara / guitar
- Pete York / drums
- Stefan Pintev / violin
- Sam Leigh Brown / vocals
- Urs Fuchs / bass
- Rodrigo Reichel / violin
- Mike Routledge / viola
- Sabine Van Baaren / vocals (Background)
- Michael Heupel / flute
- Rolf Hoff Baltzersen / bass
- Miller Anderson / vocals
- Frida/ vocals
- Jon Lord / piano, keyboards
- Thijs Van Leer / flute
- Mario Argandona / percussion, vocals (Background), drums






Álbum oficial de estudio número cinco de Jon Lord, el gran músico inglés quien para esta realización lo acompañan Thijs van Leer, el gran guitarrista Koji Paul Shigihara, Pete York en batería) y toda una serie de buenos músicos, para dar vida a este "Beyond The Notes" (Más allá de las notas). 



Para el crítico José Fajardo, según un trabajo publicado en el periódico madrileño El Mundo, existen hitos en la carrera de Lord desde el afamado "Concerto for group and orchestra", llevado a cabo en el Royal Albert Hall y con la participación de los integrantes de Deep Purple y la Royal Philharmonic Orchestra de Londres, dirigida por Malcom Arnold. Esta obra, en la que se integran de manera armoniosa hard rock y música clásica, ha devenido un modelo imitado con posterioridad por otras bandas roqueras y metaleras. Y es que la trayectoria de Jon Lord como parte de la tropa Purple es tan impactante, que a veces se olvidan sus otros trabajos fuera de esta formación, en la que dicho sea de paso él militó hasta 2002. Así, vale recordar su primer fonograma como solista, denominado "Gemini Suite", realizado por encargo de la BBC. En 1978 editó el disco "Sarabande" que ya presentamos en el blog y se integró a la nómina de Whitesnake, la agrupación de David Coverdale y con el que se mantuvo hasta 1984, cuando al reaparecer Deep Purple, pasó nuevamente a ocupar su puesto de tecladista del grupo por espacio de 18 años, hasta que en el 2002 los abandonó de forma definitiva.

Beyond The Notes is a studio album by former Deep Purple keyboard player Jon Lord, released in 2004. It features guest appearances from Frida Lyngstad, Sam Brown (singer), Miller Anderson, Thys van Leer, Pete York, and Trondheim Soloists.
Un trabajo que no es de lo más conocido de su carrera pero se lo muestra pleno, emotivo, exuberante y desprejuiciado, particularmente me ha asombrado esta obra del bueno de Lord.




"Beyond The Notes" lo forman diez temas y como dato adicional y nota de color, les comento que uno de ellos llamado "The Sun Will Shine Again" es cantando por Frida (la ex Abba). Jon Lord y Frida se conocieron en Suiza en 1999 donde ambos residen y entablaron una estrecha amistad. Precisamente fué Frida la que le propuso a Lord que le compusiera alguna canción para este álbum y así surge "The Sun Will Shine Again" (una canción que, ya sea dicho de paso, particularmente hubiese dejado fuera de este disco).



Ahora Abad Badie nos trae este disco que está como perdido dentro de la trayectoria de músico, pero aquí lo revaloramos como corresponde, un lindo trabajo que viene a integrar la Biblioteca Sonora, que a esta altura ya es todo un lujo.
Vamos con algunos comentarios en inglés, yo no tuve mucho tiempo de escuchar el disco pero como siempre digo, valúenlo ustedes que tienen unos videítos para ello.


Organist Jon Lord supposedly left Deep Purple to retire and take it easy, after he'd spent much of his life recording and touring the world with Purple and other artists. But upon his exit from the band, Lord played gigs and issued albums on his own, such as 2004's Beyond the Notes. The split provided Lord with the opportunity to pursue some unexpected musical avenues, as the album sees a detour into soothing classical music. Gone is the blaring guitar through Marshall stacks and Lord's overdriven organ rocking back and forth -- in its place is the jazzy sound of "Cologne Again" a lovely piano ballad, and the string-heavy album closer, "Music for Miriam." While it's not unheard of for a rock musician to take the orchestral plunge, Beyond the Notes is one of the few instances where it works surprisingly well and doesn't come off as a mere detour.
Greg Prato


Keeping busy in retirement
Four years after the release of "Pictured within", Jon Lord decided it was time for him to make another solo statement. In the intervening period, he had played with an R'n'B/Blues rock band, but his studio activity was limited. By this time, he had retired from Deep Purple, primarily due to the rigours of touring. In a clear attempt to emphasise that he now sees himself as a composer as much as he does a performer, the sleeve image is of Lord with conductor's baton in hand.
The line up for the album is very similar to that on "Pictured within", including return appearances by Sam Brown, Thijs Van Leer and Pete York. Also present once again is what is best described as a small orchestra. From a pop history perspective, the most significant addition to the line up is Frida from Abba (reportedly a family friend), recording for the first time in 10 years.
The main difference between this album and the previous one is that there is much more vitality to the music this time around. We still have the reflective and melancholy sections, but they are interspersed with spirited passages of up-tempo sounds. Last time around, John was in mourning, here he is torn between the relief of having a blank sheet in front of him in terms of his future, and the trauma of leaving a band he had dedicated much of his life to. The second track, "De profundis" is dedicated by Jon to his departure, the piece capturing the melting pot of emotions perfectly.
Apart from some choral style voices on the opening "Miles away", the first vocals we encounter are on the third track "One from the meadow". This melodic 8 minute song finds Sam brown in typically fine form, delivering her own emotional lyrics beautifully. Her voice is nicely counterpointed by solo violin. "Cologne again" is the most dynamic solo composition by Lord in many years. It features a quasi-improvised organ section, complemented by some aggressive orchestration and the odd eastern sound.
Frida's voice on "The sun will shine again" is instantly recognisable, the piece allowing her to demonstrate the often under-appreciated talent she possesses. It seems ironic that the vast majority of long time Abba fans will be quite oblivious to what is undoubtedly one of her finest singing performances. Miller Anderson returns again to sing "November calls", his deep emotive voice suiting the song well. Incidentally, it is the lyrics of this song which provide the album title.
The title "The Telemann experiment" refers to a contemporary of Bach's, one of Jon's favourite composers as evidenced by his Bach references throughout his early solo work. Telemann also wrote in the Baroque style, and indeed was the more famous of the two in their day. This track actually takes us back to Lord's "Sarabande" album.
The album closes with "Music for Miriam", a reworked and lengthened version of a piece which appeared on "Pictured within", Miriam being Jon's late mother.
In all, an album which complements the previous "Pictured within". When heard together, the two albums work with each other to offer an even better experience than when heard individually. Whether Lord's aspirations as a serious composer will be recognised by future generations in the same way as his own influences (especially Bach) have enjoyed, is for future generations to decide. For now, we simply have to sit back and enjoy the music.
Bob McBeath

'Jon Lord is addicted to harmony. Leaving Deep Purple meant leaving his best friends and a life that's "a bubble, a support system", as he himself puts it.
But putting an end to compromises did a world of good to keyboarder and composer Jon Lord. His latest album "Beyond The Notes" is the best proof of this. A free spirit blows through the ten tracks of the album. Pavanes and pop songs are peopled by musicians from drummer to violinist, from a rock band to members of a string orchestra. Oriental rhythms pushing classical melodies forward.
Jon Lord takes things seriously. Until he discovers something that does make him smile. "I call it 'Jon Lord music'. I think the Americans have a label for it - they call it 'classical cross-over'. So I'm going to call it 'crossical class-over'. There's elements of what I love out of orchestral music and there's elements of what I love out of jazz, and what I love out
of folk music and rock music. And you throw it all in and that's how you make the cake and experiment."
If you watch him at work in the studio, you quickly realise: Jon Lord loves people. He loves the 16 string players of the Trondheim Soloists just as much as his guitarist Paul Shigihara, keyboarder Matthias Krauss, bass player Urs Fuchs, and songstress Sabine von Baaren. He is friends with co-producer Mario Argandona, with songstress Sam Brown, and guest vocalist Miller Anderson. And of course he's friends with Anni-Frid Lyngstad. Anni who? Frida. Frida of Abba. Jon Lord wrote "The Sun Will Shine Again" for the Swedish lady.
"We became friends a few years ago. And once we'd become friends, she actually asked me if I'd write a song for her. Easier said than done. When you've got a voice that is that specific and that glorious. So, I took about three years doing it, and only really found the right song just a few months ago and played it to her and luckily, she liked it."
Jon Lord is sitting in an easy chair. His long white hair is held by a ponytail and an equally white beard surrounds his face. The eyes of this humorous man often wander off, rather bridging time than space. He thinks a lot about his past, his life - something that also results in "Beyond The Notes". "A Smile When I Shook His Hand" is his tribute to the late George Harrison. "George Harrison was a very, very close friend for many years and
one of those losses that are really hard to deal with. I miss him a great deal. The track is about the lightness and happiness I got from knowing that man."
Tony Ashton is another close friend whose loss Jon Lord had to face recently. To Jon Lord, this keyboarder, vocalist, and painter was like a brother. "I'll Send You A Postcard" is Jon's musical memorial for his friend.
"Music For Miriam" was written in 1995, the day after the death of Jon Lord's mother. This spontaneous composition was then performed during her funeral by a string quartet and was already released on the album "Pictured Within". Now, Jon Lord has rearranged this beautiful elegy. In a big orchestral arrangement, his mother's character seems to be better represented.
And another track serves coming to terms with the past: "De Profundis", "DP", treats his separation from Deep Purple. Is music a kind of therapy? Jon Lord laughs. It certainly is a way to help him make a new start.
Even though it seems easier to him to compose sad songs, Jon Lord hasn't lost his smile. "Telemann Experiment" is the best example for this: a serious piece of music at heart, Jon Lord here combines the style of the German Baroque composer Georg Philipp Telemann (1681-1767) with a Swedish polka.
The fact that "Beyond The Notes" was recorded in Germany underlines the artist's wish to tread new, own paths. Instead of working in one of the halls of fame of British music, Jon Lord chose the Hansa Haus Studios in Bonn, where he recorded his new album in June and July 2004.
"I lived down in Munich for a few months toward the end of the 70s. And I've always enjoyed the country. It seems to have taken me to its heart in a way that it understands that I'm not 'just' the keyboard player of Deep Purple, but that I have other musical aspirations outside of that, and this country seems to have understood that better than most."
But this doesn't mean Jon supports the idea of a European Union, on the contrary. "I don't want to be a European. I want to be an Englishman. And that's what the French say: Vive la difference. It's what makes us special, the difference between us."
When he left Deep Purple, his wife said: "It was high time." But it isn't Jon Lord's style to be hanging around at home. In October, his tour starts. And until then he has plenty of things to do. Most of all, practice the piano. The years spent playing the Hammond organ have slurred his piano technique.
The tour won't be simple. Including the 16 string players of the Trondheim Soloists, 25 musicians will be on stage. The focus will be put on the new songs from "Beyond The Notes", there will also be some of his compositions from the past 30 years, but no orchestrated versions of Deep Purple-songs. At least, not this time round.'

EMI Records




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