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Ketil Bjørnstad / Terje Rypdal - Life In Leipzig mp3 play

Ketil Bjørnstad & Terje Rypdal.

Ketil Bjørnstad (born 25 April 1952 in Oslo, Norway) is a pianist, composer and author  . On ECM, Bjørnstad has released the albums Life in Leipzig, Remembrance, Night Song, Vindings Music and La Notte. The albums Soloppgang/Sunrise (text by Edvard Munch) and A Passion for John Donne are written for choir and soloists, as well as Sanger om tilhørighet, where Bjørnstad continue his collaboration with the Norwegian singer and saxophone player Håkon Kornstad. In 2015, Bjørnstad has recorded a new album with Ole Paus, called Frolandia. He is also writing on a new novel, called The.

Complete your Ketil Bjørnstad, Terje Rypdal collection. referencing Life In Leipzig, CD, Album, ECM 2052, 175 5891. That said, there are very few recorded live performances between an electric guitarist and a pianist. Life in Leipzig is one. Recorded in 2005 by Germany's MDR radio as part of its broadcast of the city's jazz festival, this marks the debut live offering by pianist and composer Ketil Bjørnstad (and his first recording for ECM since 2000).

Composed By – Ketil Bjørnstad. 5. Easy Now. Composed By – Terje Rypdal. It is also the first time this wonderful duo with guitarist and composer Terje Rypdal has been documented on tape for release. These two artists have been working together since the 1993 when Water Stories, Bjørnstad's debut recording for ECM, was released.

Life in Leipzig is a live album by Norwegian pianist Ketil Bjørnstad and guitarist Terje Rypdal recorded in 2005 and released on the ECM label in 2008. All compositions by Ketil Bjørnstad except as indicated. The Pleasure Is Mine, I'm Sure (5:28) Composed by Terje Rypdal.

Life in Leipzig presents pianist Ketil Bjørnstad and guitarist Terje Rypdal in concert at Leipzig's Opera House, during that city's jazz festival in 2005, with music that will astound those unfamiliar with these players or the manner in which they interact. This performance is a snapshot of much history at the ECM label. Rypdal was present almost at its inception, playing on fellow Norwegian Jan Garbarek's Afric Pepperbird (ECM, 1971), following it up with his own eponymous recording in 1972

In its most liltingly classical incarnations, Bjørnstad's music can sound as if it is accompanying a romantic movie, but this live album - the first of his partnership with Terje Rypdal, though the two have been touring together since 1999 - exudes a fitful heat. The opening track moves from gripping low-piano thunderings and ghostly guitar wails to a trite descending treble melody over a vamp.

Ketil Bjørnstad, Terje Rypdal. 05:21 1. 4 Мб 320 Кб/с. 110. On this page you can download song Ketil Bjørnstad ft. Terje Rypdal - The return of per ulv in mp3 and listen online. Ketil Bjørnstad ft. Terje Rypdal - The return of per ulv. отключить рекламу. Watch music video "Ketil Bjørnstad ft. Terje Rypdal - The return of per ulv" online. Send lyrics Send translation.

Ketil Bjørnstad chronology. Life in Leipzig (2008). Flotation and Surroundings (6:42). Easy Now (4:35) Composed by Terje Rypdal. Notturno (Fragment) (1:01) Composed by Edvard Grieg. By the Fjord (3:06). Le Manfred/Foran Peisen (5:10) Composed by Terje Rypdal. The Return Of Per Ulv (5:20) Composed by Terje Rypdal.

Terje Rypdal is one of the biggest names in Norwegian jazz. Rock and beat music inform his improvising as much as jazz and the classical tradition. Except for a couple of brief passages it's a very strong album. Rypdal and Bjornstad manage to blend two instruments, Fender strat and acoustic piano, that don't always meld well in other hands. There are a couple of old faves of Rypdal's such as Return of Per Ulv and The Pleasure is Mine(?).

Tracklist

The Sea V 8:01
The Pleasure Is Mine, I'm Sure 5:28
The Sea II 7:29
Flotation And Surroundings 6:42
Easy Now 4:35
Notturno (Fragment) 1:01
Alai's Room 1:38
By The Fjord 3:06
The Sea IX 5:23
Le Manfred/Foran Peisen 5:10
The Return Of Per Ulv 5:20

Versions

Category Artist Title (Format) Label Category Country Year
ECM 2052, 175 5891 Ketil Bjørnstad / Terje Rypdal Ketil Bjørnstad / Terje Rypdal - Life In Leipzig ‎(CD, Album) ECM Records, ECM Records ECM 2052, 175 5891 Germany 2008
UCCE-1101 Ketil Bjørnstad / Terje Rypdal Ketil Bjørnstad / Terje Rypdal - Life In Leipzig ‎(CD, Album) ECM Records UCCE-1101 Japan 2008
ECM 2052, B0010813-02 Ketil Bjørnstad / Terje Rypdal Ketil Bjørnstad / Terje Rypdal - Life In Leipzig ‎(CD, Album) ECM Records, ECM Records ECM 2052, B0010813-02 US 2008
ECM 2052 Ketil Bjørnstad / Terje Rypdal Ketil Bjørnstad / Terje Rypdal - Life In Leipzig ‎(CD, Album, Club) ECM Records ECM 2052 US 2008

Ketil Bjørnstad / Terje Rypdal - Life In Leipzig mp3 play

Performer: Ketil Bjørnstad

Title: Life In Leipzig

Country: Germany

Date of release: 2008

Style: Contemporary Jazz

Genre: Jazz

Size MP3: 1379 mb

Size FLAC: 1542 mb

Rating: 4.5 / 5

Votes: 101

Other Formats: MP2 WAV AU MP1 AUD TTA AAC

Related to Ketil Bjørnstad / Terje Rypdal - Life In Leipzig Albums

The Sinners from Mitar
Review by Thom JurekThere is an art to the duo performance -- many jazz artists have tried it and accomplished it beautifully in many settings, live and in the studio. That said, there are very few recorded live performances between an electric guitarist and a pianist. Life in Leipzig is one. Recorded in 2005 by Germany's MDR radio as part of its broadcast of the city's jazz festival, this marks the debut live offering by pianist and composer Ketil Bjørnstad (and his first recording for ECM since 2000). It is also the first time this wonderful duo with guitarist and composer Terje Rypdal has been documented on tape for release. These two artists have been working together since the 1993 when Water Stories, Bjørnstad's debut recording for ECM, was released. They have also traveled and performed together as a duo extensively; the depth of shared language that such familiarity and rapport brings is displayed in spades here. The material comes from both volumes of Bjørnstad's The Sea as well as Water Stories and Rypdal's Skywards and If Mountains Could Sing. There is also a fragment from Edvard Grieg's Notturno. As evidenced here, this was a magical evening: the sound is pristine, the instruments seem to remain in tune (Bjørnstad considers himself a hard hitter and was worried the Bösendorfer wouldn't hold his attack -- perhaps he's never heard Cecil Taylor's performances on this type of piano), and the communication between the two musicians is almost out of this world in its warmth, beauty, ferocity, and intensely emotional melodicism. If music can approach poetry -- and the pianist is a fan of the art form, even recording a tribute to Paul Celan -- then there is no doubt, the gorgeously recorded studio efforts within the Bjørnstad quartet on the aforementioned records notwithstanding, that this live set gets there seemingly effortlessly.The set begins with the dark, low-register rumble on the piano (the Bösendorfer has extra keys at the bottom) of "The Sea V." It is an ominous, dissonant way to begin a show -- to begin any recording, really. Rypdal allows his pedaled Fender guitar and twin Vox AC30 amps to offer some controlled feedback, a few razor-sharp notes, and then, as Bjørnstad begins to articulate the melody, the guitarist lightens also, still hovering in the background, offering texture and atmosphere as the theme of melody is asserted pensively and the blend of middle and higher registers articulates the song itself. Over eight minutes, the pair uses a rather simple melodic form to examine and sing in numerous harmonic registers, offering tension and release over and over, carrying the listener along through waves and stillness, yet each passage is different than the last. Rypdal, who has been writing plenty of classical music in the last decade or so, has lost none of his power as a jazz and rock guitarist. His sound is instantly recognizable, and all his notes and scales sting and climb before just pushing the melody through the noise. He is seldom talked about as a "guitar hero" in the same way some of his peers are, but he should be. His is one of the most original voices on the instrument in its history. As "The Sea V" exhausts itself after eight minutes, it is replaced seamlessly with "The Pleasure Is Mine, I'm Sure" from Rypdal's Skywards. The transition is seamless, though listeners have traveled a great distance already. The pianist asserts the melodic theme in expanded chord voicings, filling the entire range of the keyboard. But it's Rypdal with his sparse raging high notes who is actually articulating its finer points even as he attacks them. The beauty in his playing is that he doesn't need a flurry of notes or dashing up and down the neck with blinding speed to get his point across. He lets one fly every once in a while, but only as the tension and drama in a particular piece dictate."Flotation and Surroundings" offers some of that intensity and fury, though it never loses sight of the tune. This startling performance marks the end of the first half of the gig; the music has been continuous, as in a suite, for half an hour. A breath is taken and then Rypdal's "Easy Now" commences the next segment, whispering, halting, spacious, and springlike. The skeletal lyric lines go between the pair and eventually come into the clearing fully formed, and as sweetly sung as anything that is emotionally honest can be. Grieg's Notturno and Bjørnstad's "Alai's Room" are both less than two minutes in length and offer a kind of pastoral lull before the tension ratchets up again, but this time rapturously on "By the Fjord," which is almost a hymn. "The Sea IX" is a return to the lithe, languid beauty of an indescribable contradiction: that something so beautiful and majestic is also potentially terrifying, as a place of creation and destruction. The album ends with Rypdal's compositions "Le Manfred/Floran Peisen" and the scorcher "The Return of Per Ulv." The former is a guitar solo; it uses all of his effects pedals to paint the sound of a string orchestra as accompaniment to his feedback, loops, and open ringing drones. It begins with shimmers and whispers and becomes a tour de force, like the chorus of drunken angels singing in one gloriously rich yet riotous harmony, and then hushes itself before coming to a close. The latter is a sound rocker between piano and guitar. Both players allow this song to bring out the best of their collaboration. Easily identifiable changes and choruses are forcefully put forth, but there is no loss in the lyricism and grandeur of the song itself. Bjørnstad's solo is truly beautiful; it's all chords and theme. Rypdal paints around them, playing the melody and digging through it to find its nooks and crannies and prying it out of the inherent lyricism. His own solo goes against the grain and brings it down for a moment before letting it all fall out, and the intensity and communication are transcendent. The most amazing thing is that the entire set takes place in 54 minutes! What a contender this record is for one of 2008's finest recordings, and what a solid entry it is in the catalogs of both men.
The Sinners from Mitar
Review by Thom JurekThere is an art to the duo performance -- many jazz artists have tried it and accomplished it beautifully in many settings, live and in the studio. That said, there are very few recorded live performances between an electric guitarist and a pianist. Life in Leipzig is one. Recorded in 2005 by Germany's MDR radio as part of its broadcast of the city's jazz festival, this marks the debut live offering by pianist and composer Ketil Bjørnstad (and his first recording for ECM since 2000). It is also the first time this wonderful duo with guitarist and composer Terje Rypdal has been documented on tape for release. These two artists have been working together since the 1993 when Water Stories, Bjørnstad's debut recording for ECM, was released. They have also traveled and performed together as a duo extensively; the depth of shared language that such familiarity and rapport brings is displayed in spades here. The material comes from both volumes of Bjørnstad's The Sea as well as Water Stories and Rypdal's Skywards and If Mountains Could Sing. There is also a fragment from Edvard Grieg's Notturno. As evidenced here, this was a magical evening: the sound is pristine, the instruments seem to remain in tune (Bjørnstad considers himself a hard hitter and was worried the Bösendorfer wouldn't hold his attack -- perhaps he's never heard Cecil Taylor's performances on this type of piano), and the communication between the two musicians is almost out of this world in its warmth, beauty, ferocity, and intensely emotional melodicism. If music can approach poetry -- and the pianist is a fan of the art form, even recording a tribute to Paul Celan -- then there is no doubt, the gorgeously recorded studio efforts within the Bjørnstad quartet on the aforementioned records notwithstanding, that this live set gets there seemingly effortlessly.The set begins with the dark, low-register rumble on the piano (the Bösendorfer has extra keys at the bottom) of "The Sea V." It is an ominous, dissonant way to begin a show -- to begin any recording, really. Rypdal allows his pedaled Fender guitar and twin Vox AC30 amps to offer some controlled feedback, a few razor-sharp notes, and then, as Bjørnstad begins to articulate the melody, the guitarist lightens also, still hovering in the background, offering texture and atmosphere as the theme of melody is asserted pensively and the blend of middle and higher registers articulates the song itself. Over eight minutes, the pair uses a rather simple melodic form to examine and sing in numerous harmonic registers, offering tension and release over and over, carrying the listener along through waves and stillness, yet each passage is different than the last. Rypdal, who has been writing plenty of classical music in the last decade or so, has lost none of his power as a jazz and rock guitarist. His sound is instantly recognizable, and all his notes and scales sting and climb before just pushing the melody through the noise. He is seldom talked about as a "guitar hero" in the same way some of his peers are, but he should be. His is one of the most original voices on the instrument in its history. As "The Sea V" exhausts itself after eight minutes, it is replaced seamlessly with "The Pleasure Is Mine, I'm Sure" from Rypdal's Skywards. The transition is seamless, though listeners have traveled a great distance already. The pianist asserts the melodic theme in expanded chord voicings, filling the entire range of the keyboard. But it's Rypdal with his sparse raging high notes who is actually articulating its finer points even as he attacks them. The beauty in his playing is that he doesn't need a flurry of notes or dashing up and down the neck with blinding speed to get his point across. He lets one fly every once in a while, but only as the tension and drama in a particular piece dictate."Flotation and Surroundings" offers some of that intensity and fury, though it never loses sight of the tune. This startling performance marks the end of the first half of the gig; the music has been continuous, as in a suite, for half an hour. A breath is taken and then Rypdal's "Easy Now" commences the next segment, whispering, halting, spacious, and springlike. The skeletal lyric lines go between the pair and eventually come into the clearing fully formed, and as sweetly sung as anything that is emotionally honest can be. Grieg's Notturno and Bjørnstad's "Alai's Room" are both less than two minutes in length and offer a kind of pastoral lull before the tension ratchets up again, but this time rapturously on "By the Fjord," which is almost a hymn. "The Sea IX" is a return to the lithe, languid beauty of an indescribable contradiction: that something so beautiful and majestic is also potentially terrifying, as a place of creation and destruction. The album ends with Rypdal's compositions "Le Manfred/Floran Peisen" and the scorcher "The Return of Per Ulv." The former is a guitar solo; it uses all of his effects pedals to paint the sound of a string orchestra as accompaniment to his feedback, loops, and open ringing drones. It begins with shimmers and whispers and becomes a tour de force, like the chorus of drunken angels singing in one gloriously rich yet riotous harmony, and then hushes itself before coming to a close. The latter is a sound rocker between piano and guitar. Both players allow this song to bring out the best of their collaboration. Easily identifiable changes and choruses are forcefully put forth, but there is no loss in the lyricism and grandeur of the song itself. Bjørnstad's solo is truly beautiful; it's all chords and theme. Rypdal paints around them, playing the melody and digging through it to find its nooks and crannies and prying it out of the inherent lyricism. His own solo goes against the grain and brings it down for a moment before letting it all fall out, and the intensity and communication are transcendent. The most amazing thing is that the entire set takes place in 54 minutes! What a contender this record is for one of 2008's finest recordings, and what a solid entry it is in the catalogs of both men.