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“Chez es Saada “ is the name of an exciting Morroccan club with a fascinating, dream-like atmosphere, in Manhattan’s East Village. “Chez es Saada “ as well is the story of a young musician in New York who opens his mind to impressions and ideas which will change his life forever – his own story!
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Album Info available in: deutsch english |
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3logy of the same story
“Chez es Saada “ is the name of an exciting Morroccan club with a fascinating, dream-like atmosphere, in Manhattan’s East Village. “Chez es Saada “ as well is the story of a young musician in New York who opens his mind to impressions and ideas which will change his life forever – my own story! Lastly, “Chez es Saada“ is the musical translation of my experiences at the cultural hub of the world, the story of being amazed about things never seen before, music never heard before and emotions never felt before.
“Chez es Saada“ as title appears three times on the album, similar to a trilogy of the same story viewed from three different angles and three times in a different line-up: solo, quartet and with chamber orchestra.
Finding musicians who support one’s intentions probably is a life task. But with Matthieu Michel, who is one of my shining examples, with Klemens Marktl and Matthias Pichler, who almost have a telephatic sense for what i have in mind and with the chamber orchestra, „Feuerhaus“, for adding sounds and colors the piano just doesn´t provide, I could get my ideal composition.
Most of the originals I wrote during my time in NYC in 2003 and they reflect my emotional situation of that time. The rest of the pieces are selected, so that they help me to express something similar, e.g.: „Monk´s Dream“, which through its compositional nature offers the performer dream-like possibillities: music is leading into the unrealistic (atonal) like a surrealistic painting alienating some real situation with unrealistic details; „Peace “ by Horace Silver on the other hand deals with quiet you can experience at places you enjoy uncompromisingly, places like “Chez es Saada “.
MARTIN REITER, January 2005 |
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