On all of these tracks, Margolis’s additive layering of samples produces harmonies that fluctuate between the apparently concordant and discordant, often getting denser as the piece develops. E (and sometimes why) layers long-bowed tones from the viola d’amore with Schmid’s voice All for Al(frun) is built up of overdubs of Schmid and electronics Diapason, Maybe has as its foundation Monique Buzzarté’s trombone drones. Each of the three uses a different voice as a kind of urtext. The Diapason, Maybe, along with the title track and All for Al(frun) exemplify this. Because of the tunings and instruments used, the harmonies have a microtonal flavor-they seem to roll, pitch and yaw somewhere in the spaces between equal-tempered harmonies. Both definitions come into play throughout this album, which documents a well-conceived and -accomplished virtual collaboration between Margolis and the Trio Scordatura (Elisabeth Smalt, viola d’amore Bob Gilfrun, keyboard and laptop and Alfrun Schmid, voice), a Netherlands-based ensemble dedicated to exploring novel harmonic relationships through the use of just intonation or tunings that aren’t based on conventional twelve-pitch equal temperament.Ī recurring theme throughout E (and sometimes why) is the layering of long tones into emergent harmonies that shift and swell over time. Diapason can be defined as either the just octave of Pythagorean tuning, or a great upsurge in harmony. This new, fascinating two-disc set from If, Bwana (Al Margolis) could easily have been named for its last track, Diapason, Maybe. And the more soul/pop based music of their final albums together.If, Bwana: E (and sometimes why) If Bwana (Photo credit: kubia) Even though the Carpenters who not as creatively involved in this song as they normally were,it set up the more soul/disco influence Karen Carpenter solo material recorded a couple of years later. Rather than being in her usual reflective and somewhat sad vocal mood, she gave this song the female equivilant of Frank’s sensual and amorous vocal delivery. One of the best things about “B’wana She No Home” is that its the bluesy Calypso jazz/funk vibe Michael Franks set up in his composition brings out another side of Karen Carpenter vocally. And then,after Karen’s final chorus of the song,he plays a bop styled improvised sax solo as the song fades out. Tom Scott joins in with his sax breaks on the second refrain. On the choruses,this guitar gets more fuzz filtered. Ron Tutt’s bossa/calypso drumming (with Tommy Vig and Jerry Steinholtz on percussion and congas),Joe Osborn’s slinky and flamboyant bass line along with Peter Jolly’s piano make up the intro and refrain of the song-along with Tony Peluso’s bluesy electric guitar. The hit they had was a version of Klaatu’s “Calling Occupants (Of Interplanetary Craft)” But the song that really got me here was the Michael Franks composed opener “B’wana She No Home”. The duo produced the album with a variety of contemporary jazz songwriters and musicians. The result was the 1977 album Passage. Not only did it contain no drumming from Karen,but no songs written by Richard either. This happening at a time when both desired to mature as artists and change up their sound. While at first not always evident,Karen Carpenter’s love of rhythm proved very significant for The Carpenters a bit later on.īy 1977,Karen’s anorexia and Richard’s prescription drug addiction kept them from being too musically involved. As instrumentalists, Karen especially came out of being a jazz drummer. That is…not entirely true on the last part. And would likely be exhibit A for “devoid of funk” to the ears of many. As such,The Carpenters are still only very loosely considered to be a rock act. And were a duo who helped define what we now know as the easy listening sub genre. The late Karen Carpenter and her brother Richard dominated the early 70’s pop charts and radio.
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