Ecstasy by Besser and Bravura
REVIEWED BY SIMON SWEETMAN, MARCH 2008
Prolific American-born, New Zealand-based composer, Jonathan Besser returns with Ecstasy – a beguiling mix of classical musical forms and world music. Bravura is a unit that evokes the gypsy spirit one minute, touching on the minimalism and after-midnight delicacy of Mike Nock the next. This nine-track cycle (inspired by the love poetry of Jalal al-Din Rumi) is not at all impenetrable. The music wafts from the speakers, Miranda Adams’ haunting violin playing the lead one moment, master guitarist Nigel Gavin twisting the mood at times; Tatiana Lanchtchikova’s accordion and Besser’s own piano provide the glue. Touches of jazz float by, the modern classical feel is never so heavy as to alienate casual listeners and the playing is exquisite. In a decade of listening to Besser’s various projects this is my favourite so far – here’s hoping it achieves a wider audience.
REVIEWED BY NICK BOLLINGER, NZ LISTENER, DECEMBER 15, 2007
Titled Ecstasy, inspired by the words of an 800-year-old Persian poet and adorned in abstracted images of water, this album has the appearance of a New Age relaxation record but is much more exciting than that. The latest offering from Auckland-based Besser and Bravura is as colourful, emotional and tempestuously musical as anything the New York-born Jonathan Besser has presided over since he arrived here in the early 70s.
Bravura, the musical unit he has led since the turn of the decade, live up to their name, bringing their rich instrumental palette – accordion, guitar, violin and a deft jazz-inflected rhythm section – to nine Besser instrumentals, written in honour of the poet-mystic Rumi.
With their minor-ish modes and Moorish melodies, “Doubt” and “Atonement” conjure up a dark and ancient East. But there are sunny, playful moods as well, such as the delicious “Promise”, in which Besser drapes a beautiful folk tune across the type of rolling irregular rhythm that his group plays as naturally as breathing.
_____________________________________________________________________________
Emerald by Peter Haeder
REVIEWED BY GRAHAM REID, ELSEWHERE 2006
Guitarist Haeder -- who sometimes records as phaeder -- has certainly spread his talents widely: he's played avant-garde improvised music; made music for film and television; done an album of almost life-threateningly fast techno (Lotus Beat of 2003); and, as a longtime Buddhist, has recorded haunting deevotional chants. On Emerald however he pulls up a rack of mostly acoustic guitars and sits down for some fire-side melodies which are as enchanting as they are interesting. From another room it might sound like a Guitars by Moonlight album, but closer listening reveals that Haeder's melodies are much more complex than that. That said however, he never abandons the listener to become indulgent, and keeps the focus on developing his gentle tunes and teasing out their harmonies. Think Julian Bream rather than massage music in other words -- although these tunes are certainly also restful.
REVIEWED BY DIOGENES, WWW.KIWIREVIEW.CO.NZ - JULY 2006
We rarely get customer comments about any of the music we play, and this CD attracted the most comments of any CD I have played. EVER. This album is a joyful mix of tracks, that shows that the album description, for once, is accurate and not just marketing hype. All tracks were enjoyed as an ambient music for the shop that was never distracting, and just added to the relaxed atmosphere we have in the shop, at times bordering on a relaxation CD, without the extraneous whale-song, waterfalls or other organic sounds. This CD did all that on pure talent and musicianship.
_____________________________________________________________________________
Psalms of Exile and Return by Keith Hill
REVIEWED BY RAEWYN ALEXANDER, MAGAZINE - 12 NOVEMBER 2006
Beautifully produced book of writing inspired by the original Hebrew poetry of the Psalms and Songs of Songs. Hill’s first collection of poems follows the trials of an exile who eventually triumphs. Intriguing work, uplifting and worth reading, Hill’s poetry refreshes the meaning of ancient works while also relating age-old struggles to the present day. Much here to consider and enjoy.
REVIEWED BY TREVOR REEVES, SOUTHERN OCEAN REVIEW - 12 JULY 2006
This is Keith Hill's first poetry collection. He is an award-winning novelist and filmmaker. This is the first in the publisher's series exploring ideas and traditions that have shaped contemporary spirituality. Hill is influenced by the philosophy of G.I. Gurdjieff and 'Fourth Way' exponent, Abdullah Dougan. In his afterword Hill relates his poems to the traditions of Kabbalah, Sufism and mystic Christianity.
At first glance this book would appear to be a book of psalms and indeed, Hill did return to the ancient Jewish poets as a literary model. More specifically though, his influence is St. John of the Cross. If this sounds complicated, it is, but don't let that put you off. The early psalms are not sect-driven and, according to Hill, are vital to readers from all religious backgrounds today. His psalms are more of a 'secular' response to those ancient ones and as such, in my opinion, make good, interesting reading. But see for yourself; a book well worth getting.
_____________________________________________________________________________
Inner Visions: An Evening of Films, Music and Poetry
REVIEWED BY ALI BELL, 17 NOVEMBER 2006
Inner Visions: Lovely images and sounds
Attar Media presented a two hour multi-media programme Inner Visions: An evening of short films, music and poetry at the Herald Theatre in Auckland on Thursday night, the 16th of November. The programme promised comic, tragic and mystic views of love, altered states of awareness, and the end of the world. The work was composed or chosen for the launch under the umbrella theme of love, “loosely based on the expression of spirituality, ” said Keith Hill, film-maker and writer, and one of the directors of Attar Media. All was one, as each individual work came together to form a cohesive programme.
The Films
Salt
The films were screened in the first half of the presentation, opening with Campbell Farquhar’s three minute long Salt. The film is funny and inviting with the melodious and attractive narrator’s voice, beautiful with soft colours and meaningful extreme close ups of eyes and skin. “I wanted everything to be very pale, very white, like potatoes and salt,” says Campbell about his film. “There’s no sense of realism. I wanted it to look like the opposite of television, even though it’s shot on digital video.” It’s about different combinations of people and sensuality rather than love perhaps, but lovely nonetheless. “It’s about passion,” Campbell says. “Maybe love is what comes next.”
Armageddon Redux
Armageddon Redux, by Dawn Tuffery and Keith Hill, is an animation with great written narrative techniques, and like Salt, it’s funny. The colours are rich – a deep blue and bright red in a metallic new world, down in the dirt. Keith approached Dawn Tuffery to animate his script, as he knew her work from tutoring her at Waikato University. “Not everyone likes doing animation,” she says of her working in the plastic, plastocene and gravel for the film. “It’s pretty masochistic.” The characters are familiar – but set in an after-oil-wars world, when a new Adam and Eve have to start humanity all over again. The humour and visual interest is accessible to all, with the bonus of tuning into God’s word.
Project: Five short movements
Campbell’s Project: Five short movements was dance meets body projections meets abstraction. The soundtrack was physically painful in places but it was visually dynamic and the realisation of projected-on skin was wonderful. “It’s good to challenge people’s ideas of what film music and soundtrack ought to be,” says Campbell. The dance was improvised, and Campbell used experimental film techniques with pinhole photography to create moving images. “Filming movement is really important to me. In the tradition of Len Lye, it’s one of the things film can capture really well,” he says.
Playing A Role
The entertainingly self-referential Playing A Role: a love story in the process of being made by Daniel Strang, is certainly interesting. Among great sets there is a gorgeous hotel. It’s an engaging date story, and by the time the protagonists finally unite, the film is made.
Performance Pieces: Music and Poetry
Mystical Poetry
Keith Hill led the second half with the delightful story of the historical medieval Indian poet Mirabai’s life, and some readings of her work - love poems to Krishna. They seemed very much on the earthly plan, with Krishna as lover. A romantic and passionate homage to the idea of the perfect God as a man, or to the very real idea that the best lover is the one in your mind. Or your spirit – depending on your sensibilities. Keith recited three of his mystical love poems, from his recent book of poetry published by Attar books, telling the story of his ancient middle-eastern seeker, Psalms of Exile and Return: A journey into the mystery of the spirit. Keith’s protagonist, the slave in exile from Babylonian rule, becomes a shepherd, and amongst his cries to Yahweh, he is eventually reunited with his love. Keith read (first lines quoted): “That night, in my tent, my existence was transformed”, from First Song of the Beloved: “Lift your face, my love, embrace this song of songs”, and The Shepherd Appreciates His Beloved: “I turn to my beloved, our eyes gently kiss”. They are truly lovely, and it was a treat to hear Keith recite.
Emerald
Peter Haeder on the electric guitar played three compositions from Emerald, with Howard Porter and Jason Slade on acoustic guitars. The music was dreamy, and in Peter’s words – part mediation and part surfing. The three men on stage were faced away from each other in their own physical worlds, but they come together beautifully in a clear, warm and natural sound.
Turn
Jonathan Besser and Bravura performed a selection of tracks from their new album Turn, as well as some new compositions entitled Ecstasy, and two pieces composed by Rabbi Zellman. It was a pleasure to watch and listen to the musicians, who seemed in ecstasy as they played so sensitively their gentle, jazzy fusion of musical flavours.
Chanting (Singularity)
The programme ended with amazing traditional Tibetan Buddhist chanting by Peter Haeder, as presented on Peter’s recent album, Singularity.
Great care and love was taken and given to present such a singular, visually and aurally resplendent programme.
A multi-media performance by Attar artists and friends presented on Thursday 16 November, 2006, Herald Theatre, The Edge, Auckland, New Zealand
REVIEWED BY SIMON SWEETMAN, MARCH 2008
Prolific American-born, New Zealand-based composer, Jonathan Besser returns with Ecstasy – a beguiling mix of classical musical forms and world music. Bravura is a unit that evokes the gypsy spirit one minute, touching on the minimalism and after-midnight delicacy of Mike Nock the next. This nine-track cycle (inspired by the love poetry of Jalal al-Din Rumi) is not at all impenetrable. The music wafts from the speakers, Miranda Adams’ haunting violin playing the lead one moment, master guitarist Nigel Gavin twisting the mood at times; Tatiana Lanchtchikova’s accordion and Besser’s own piano provide the glue. Touches of jazz float by, the modern classical feel is never so heavy as to alienate casual listeners and the playing is exquisite. In a decade of listening to Besser’s various projects this is my favourite so far – here’s hoping it achieves a wider audience.
REVIEWED BY NICK BOLLINGER, NZ LISTENER, DECEMBER 15, 2007
Titled Ecstasy, inspired by the words of an 800-year-old Persian poet and adorned in abstracted images of water, this album has the appearance of a New Age relaxation record but is much more exciting than that. The latest offering from Auckland-based Besser and Bravura is as colourful, emotional and tempestuously musical as anything the New York-born Jonathan Besser has presided over since he arrived here in the early 70s.
Bravura, the musical unit he has led since the turn of the decade, live up to their name, bringing their rich instrumental palette – accordion, guitar, violin and a deft jazz-inflected rhythm section – to nine Besser instrumentals, written in honour of the poet-mystic Rumi.
With their minor-ish modes and Moorish melodies, “Doubt” and “Atonement” conjure up a dark and ancient East. But there are sunny, playful moods as well, such as the delicious “Promise”, in which Besser drapes a beautiful folk tune across the type of rolling irregular rhythm that his group plays as naturally as breathing.
_____________________________________________________________________________
Emerald by Peter Haeder
REVIEWED BY GRAHAM REID, ELSEWHERE 2006
Guitarist Haeder -- who sometimes records as phaeder -- has certainly spread his talents widely: he's played avant-garde improvised music; made music for film and television; done an album of almost life-threateningly fast techno (Lotus Beat of 2003); and, as a longtime Buddhist, has recorded haunting deevotional chants. On Emerald however he pulls up a rack of mostly acoustic guitars and sits down for some fire-side melodies which are as enchanting as they are interesting. From another room it might sound like a Guitars by Moonlight album, but closer listening reveals that Haeder's melodies are much more complex than that. That said however, he never abandons the listener to become indulgent, and keeps the focus on developing his gentle tunes and teasing out their harmonies. Think Julian Bream rather than massage music in other words -- although these tunes are certainly also restful.
REVIEWED BY DIOGENES, WWW.KIWIREVIEW.CO.NZ - JULY 2006
We rarely get customer comments about any of the music we play, and this CD attracted the most comments of any CD I have played. EVER. This album is a joyful mix of tracks, that shows that the album description, for once, is accurate and not just marketing hype. All tracks were enjoyed as an ambient music for the shop that was never distracting, and just added to the relaxed atmosphere we have in the shop, at times bordering on a relaxation CD, without the extraneous whale-song, waterfalls or other organic sounds. This CD did all that on pure talent and musicianship.
_____________________________________________________________________________
Psalms of Exile and Return by Keith Hill
REVIEWED BY RAEWYN ALEXANDER, MAGAZINE - 12 NOVEMBER 2006
Beautifully produced book of writing inspired by the original Hebrew poetry of the Psalms and Songs of Songs. Hill’s first collection of poems follows the trials of an exile who eventually triumphs. Intriguing work, uplifting and worth reading, Hill’s poetry refreshes the meaning of ancient works while also relating age-old struggles to the present day. Much here to consider and enjoy.
REVIEWED BY TREVOR REEVES, SOUTHERN OCEAN REVIEW - 12 JULY 2006
This is Keith Hill's first poetry collection. He is an award-winning novelist and filmmaker. This is the first in the publisher's series exploring ideas and traditions that have shaped contemporary spirituality. Hill is influenced by the philosophy of G.I. Gurdjieff and 'Fourth Way' exponent, Abdullah Dougan. In his afterword Hill relates his poems to the traditions of Kabbalah, Sufism and mystic Christianity.
At first glance this book would appear to be a book of psalms and indeed, Hill did return to the ancient Jewish poets as a literary model. More specifically though, his influence is St. John of the Cross. If this sounds complicated, it is, but don't let that put you off. The early psalms are not sect-driven and, according to Hill, are vital to readers from all religious backgrounds today. His psalms are more of a 'secular' response to those ancient ones and as such, in my opinion, make good, interesting reading. But see for yourself; a book well worth getting.
_____________________________________________________________________________
Inner Visions: An Evening of Films, Music and Poetry
REVIEWED BY ALI BELL, 17 NOVEMBER 2006
Inner Visions: Lovely images and sounds
Attar Media presented a two hour multi-media programme Inner Visions: An evening of short films, music and poetry at the Herald Theatre in Auckland on Thursday night, the 16th of November. The programme promised comic, tragic and mystic views of love, altered states of awareness, and the end of the world. The work was composed or chosen for the launch under the umbrella theme of love, “loosely based on the expression of spirituality, ” said Keith Hill, film-maker and writer, and one of the directors of Attar Media. All was one, as each individual work came together to form a cohesive programme.
The Films
Salt
The films were screened in the first half of the presentation, opening with Campbell Farquhar’s three minute long Salt. The film is funny and inviting with the melodious and attractive narrator’s voice, beautiful with soft colours and meaningful extreme close ups of eyes and skin. “I wanted everything to be very pale, very white, like potatoes and salt,” says Campbell about his film. “There’s no sense of realism. I wanted it to look like the opposite of television, even though it’s shot on digital video.” It’s about different combinations of people and sensuality rather than love perhaps, but lovely nonetheless. “It’s about passion,” Campbell says. “Maybe love is what comes next.”
Armageddon Redux
Armageddon Redux, by Dawn Tuffery and Keith Hill, is an animation with great written narrative techniques, and like Salt, it’s funny. The colours are rich – a deep blue and bright red in a metallic new world, down in the dirt. Keith approached Dawn Tuffery to animate his script, as he knew her work from tutoring her at Waikato University. “Not everyone likes doing animation,” she says of her working in the plastic, plastocene and gravel for the film. “It’s pretty masochistic.” The characters are familiar – but set in an after-oil-wars world, when a new Adam and Eve have to start humanity all over again. The humour and visual interest is accessible to all, with the bonus of tuning into God’s word.
Project: Five short movements
Campbell’s Project: Five short movements was dance meets body projections meets abstraction. The soundtrack was physically painful in places but it was visually dynamic and the realisation of projected-on skin was wonderful. “It’s good to challenge people’s ideas of what film music and soundtrack ought to be,” says Campbell. The dance was improvised, and Campbell used experimental film techniques with pinhole photography to create moving images. “Filming movement is really important to me. In the tradition of Len Lye, it’s one of the things film can capture really well,” he says.
Playing A Role
The entertainingly self-referential Playing A Role: a love story in the process of being made by Daniel Strang, is certainly interesting. Among great sets there is a gorgeous hotel. It’s an engaging date story, and by the time the protagonists finally unite, the film is made.
Performance Pieces: Music and Poetry
Mystical Poetry
Keith Hill led the second half with the delightful story of the historical medieval Indian poet Mirabai’s life, and some readings of her work - love poems to Krishna. They seemed very much on the earthly plan, with Krishna as lover. A romantic and passionate homage to the idea of the perfect God as a man, or to the very real idea that the best lover is the one in your mind. Or your spirit – depending on your sensibilities. Keith recited three of his mystical love poems, from his recent book of poetry published by Attar books, telling the story of his ancient middle-eastern seeker, Psalms of Exile and Return: A journey into the mystery of the spirit. Keith’s protagonist, the slave in exile from Babylonian rule, becomes a shepherd, and amongst his cries to Yahweh, he is eventually reunited with his love. Keith read (first lines quoted): “That night, in my tent, my existence was transformed”, from First Song of the Beloved: “Lift your face, my love, embrace this song of songs”, and The Shepherd Appreciates His Beloved: “I turn to my beloved, our eyes gently kiss”. They are truly lovely, and it was a treat to hear Keith recite.
Emerald
Peter Haeder on the electric guitar played three compositions from Emerald, with Howard Porter and Jason Slade on acoustic guitars. The music was dreamy, and in Peter’s words – part mediation and part surfing. The three men on stage were faced away from each other in their own physical worlds, but they come together beautifully in a clear, warm and natural sound.
Turn
Jonathan Besser and Bravura performed a selection of tracks from their new album Turn, as well as some new compositions entitled Ecstasy, and two pieces composed by Rabbi Zellman. It was a pleasure to watch and listen to the musicians, who seemed in ecstasy as they played so sensitively their gentle, jazzy fusion of musical flavours.
Chanting (Singularity)
The programme ended with amazing traditional Tibetan Buddhist chanting by Peter Haeder, as presented on Peter’s recent album, Singularity.
Great care and love was taken and given to present such a singular, visually and aurally resplendent programme.
A multi-media performance by Attar artists and friends presented on Thursday 16 November, 2006, Herald Theatre, The Edge, Auckland, New Zealand