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ramboy 12
€12.00
Jodi Gilbert: voice, dulcimer
Michael Moore: clarinets, alto
saxophone, tin whistle, melodica
Alexei Levin: piano, accordion
Ernst Glerum: bass
Michael Vatcher: drums




 








 

1. Bingo (group improvisation) 0:28 
2. The Cuckoo (trad. American) 2:46 
3. Eau De Cologne (Moore) 2:18 
4. Jovano Jovanke (trad. Macedonian) 8:35 
5. Slicing Silence [Sinister Singing] (Gilbert) 5:12 
6. Interlude (group improvisation) 1:09 
7. Fancy (F. Poulenc, text: W. Shakespeare) 2:57 
8. Bus Without A View (Moore) 4:41 
9. My Lagan Love (trad. Irish) 3:24 
10. Mori, Zlata (trad. Macedonian/Bulgarian) 3:01 
11. What Goes Around Comes Around (group improvisation) 1:13 
12. Ishi (Moore) 3:59 
13. Saleer Leur Gul (Moore) 1:16 
14. Watertracks (Moore) 3:38 
15. Waving Body Parts (Hans Buhrs) 4:25 
16. Shoots And Ladders (group improvisation) 2:35 
17. Balloon (Paul Termos, text: e.e. cummings) 2:37 
18. Trugnal Mi Yane Sandanski (trad. Macedonian/Bulgarian) 4:15 
19. Come All Ye Fair And Tender Ladies (trad. American) 5:58 
20. Clean Sweep (group improvisation) 0:14


Recorded March 11, April 18, May 24, 1997,
 Studio Leroy, Amsterdam









   

A very eclectic mix of folk and original compositions and improvisations
featuring the voice of Jodi Gilbert. With Alexei Levin, Ernst Glerum 
and Michael Vatcher."

A combination of folk and improvised music is a credible option, as Ken Hyder's fusion group Talisker so memorably demonstrated. The Voice is the Matter pursues these strands, but keeps them more or less discrete. So, on one track Jodi Gilbert lends her voice to a traditional Appalachian number. On others she sings Macedonian and Bulgarian folksongs, and the Irish air "My Lagan Love". Elsewhere, she scats in sub-Shelly Hirsch mode. Moore, Glerum and Levin, with occasional help from drummer Vatcher, show equivalent versatility, shifting from abstract freeplaying to gentle chamber pieces, broadly reminiscent of ZNR. The result is an attractive patchwork, which sounds entirely consistent internally, despite its variousness."

The Wire, October 1998