OVERHEARD CONVERSATIONS

GLEN HALL: SOPRANO SAX, TENOR SAX, FLUTE, BASS FLUTE; BERNIE KOENIG DRUMS, VIBES

Track details:

HELLO, HOW YA DOIN 4:45

THE NEWS ISN'T GOOD 4:05

TIME FOR A STIFF DRINK 5:36

GOT ME THINKIN' 4:51

LOOK AT HER! 5:40

TRUST ME 4:08

C'MON LET ME CHEER YOU UP 4:07

THINGS ARE LOOKING UP 6:42

FOR GEORGE 10:05

GIVE IT SOME TIME 3:33

I UNDERSTAND WHY YOU ARE SO MELANCHOLY 7:13

THAT'S WHAT FRIENDS ARE FOR 4:28

Total time 65:12

 ALL TRACKS COMPOSED BY HALL AND KOENIG, EXCEPT "FOR GEORGE" BY KOENIG

Recorded: STUDIO 105 LONDON ONTARIO CANADA

RECORDED BY RICHARD MOULE MASTERING BY RICHARD MOULE AND BERNIE KOENIG

PHOTOGRAPHS BY RICHARD MOULE

La formula del duo di sassofoni e percussioni non è la più usata, senza il contrabbasso e quindi completamente libera da linee che li vincolano. A provarci sono qui due musicisti canadesi, Bernie Koenig alla batteria ed al vibrafono e Glenn Hall al sax tenore, al sax soprano, al flauto ed al flauto basso. Sono due musicisti dalle biografie opposte: il sassofonista ha fatto la Berklee School a Boston ed inciso con nomi famosi quali Billy Hart o Cecil McBee, il percussionista invece è rimasto fermo per quindici anni per un incidente alla mano e poi ha ripreso sempre seguendo la sua inclinazione per le forme libere del jazz o dei concerti di batteria da solo. Insieme hanno trovato una strada in comune, questi dialoghi a due ispirati da pezzi di conversazioni ascoltati da qualche parte e ripresi per i titoli da dare ai brani.For Georgeè una dedica a George Gershwin, anche lui oggetto di discorsi al volo. La musica scorre leggera e frizzantina, senza atmosfere pesanti da free storico, da loro completamente superato. Si è scelta la libertà dell´esecuzione, atmosfere che scivolano prendendo pieghe sempre diverse fra uno strumento e l´altro così che la varietà tenga sempre desta l´attenzione. Sono musicisti esperti e lo dimostrano, Hall è travolgente al sax tenore, sognante al sax soprano, lirico ai flauti mentre Koenig più che accompagnare si pone come partner del dialogo, sia alla batteria che ai pochi brani in cui usa il vibrafono, strumento da lui padroneggiato con competenza. Molte le perle che i due ci danno da ascoltare, grazie alla varietà di strumenti scelti la musica procede attraverso cambi  di atmosfera, ma anche ricca di contenuti, reale. Difficile scegliere un brano  che rappresenti l´intero album, qui i due hanno saputo regalarci un  lavoro compatto dalla bellezza essenziale e senza trucco. Vittorio lo Conte http://www.musiczoom.it/?p=18697

TRANSLATION:

The formula for saxophone and percussion duo is not the most used , without

bass lines and therefore completely free from them binding . A try here are two Canadian musicians, Bernie Koenig on drums and vibraphone and Glenn Hall

tenor sax , soprano sax , flute and bass flute. These are two musicians with contrasting biographies : the saxophonist studied at the Berklee School in Boston and recorded with famous names such as Billy Hart and Cecil McBee, the percussionist instead remained stationary for fifteen years to an incident at hand and then resumed always following his inclination to the free forms of jazz or concert battery alone. Together they have found a common path, these dialogues inspired by pieces of conversations heard by some part and incorporated in the titles to be given to the tracks. ‘For George’ is devoted to George Gershwin, who was also the subject of conversation on the fly. The music flowing light and fizzy, without heavy atmosphere free from town, they completely exceeded. We have chosen freedom execution, taking atmospheres that slip folds are always different between one instrument and the other so that the variety always keep awake the listener’s attention . They are experienced musicians and it shows, Hall plays overwhelming tenor sax, dreamy soprano sax, lyrical flutes while Koenig, more than an accompanist is a partner for dialogue, both on kit and the few tracks on which he uses the vibraphone, an instrument he has mastered with skill . Many pearls that give us both from listen, thanks to the variety of instruments chosen the music proceeds through changes of atmosphere , but also rich content, real. Hard to pick a song representing the entire album, here the two have been able to give us a compact work from the essential beauty and no makeup.

SLAM e l’ultima apra la porta L'etichetta inglese Slam Records continua a sfornare ottimo jazz

contemporaneo, con una curiosità a tutto tondo per le più svariate soluzioni d'organico e dmbriche. ll sassofonista e flautista Glen Hall e il batterista e vibrafonista Bernie Koenig, canadesi,ad esempio, riprendono le fila del dialogo fiati-percussioni sperimentato per la prima volta da Coltrane, allo scorcio degli anni Sessanta. e Poi episodicamente riconsiderato da Roach e Shepp, Murray e Graves, e via citando, Formula rischiosa, quella di suonare senza strumenti armonici, ma deliziosamente sporta sul bilico del ri56h1e g dqll'azerdo. Come awiene in questo bel Overheard Convenotrons. Il pianista e diretlore David Haney è alla guida di un ribollente collettivo post-free, la Primitive Arkestra' in Live Dolphy's Hat. Poche istruzioni di base, e spazio a un suono improwisato di grande forza e flessuosità. Con il grande Julian Priester al trombone. lnfine un pìano solo dawero meditato e denso per Howard Riley, To Be Continued. Tra riccrdr dl Paul Bley e di John Taylor. (Guido Festinese)  file:///C:/Users/me/Downloads/Slam_aprile,_19.pdf

TRANSLATION

SLAM and the last one to open the door The English label Slam Records continues to churn out great jazz contemporary, with a curiosity to all-around solutions for the most varied of organic and dmbriche .  ll saxophonist and flutist and drummer Glen Hall and vibraphonist Bernie Koenig , Canadian, For example , take up the ranks of the dialogue wind - percussion experienced for the first time by Coltrane , the end of the sixties. and then episodically reconsidered by Roach and Shepp , Murray and Graves, quoting and so , Formula risky to play without harmonic instruments , but Extruded deliciously poised on the ri56h1e g dqll'azerdo . How awiene in this beautiful "Overheard Conversations" (SLAMCD 552). The director and pianist David Haney is the driving a seething collective post- free , the Primitive Arkestra "Dolphy 's Hat" (SLAMCD 549) . Few                 instructions basis , and space to sound improvised of great strength and suppleness, with the great Julian Priester on trombone . lnfine one floor and meditated really dense Howard Riley, "To Be Continued" (SLAMCD 293) . Among others, he has recorded with Paul Bley and John Taylor. (Guido Festinese )   file:///C:/Users/me/Downloads/Slam_aprile,_19.pdf

GLEN HALL & BERNIE KOENIG / Overheard Conversations (Slam Productions)

Tiens, un enregistrement canadien sous étiquette Slam, une rareté! Le saxophoniste ontarien Glen Hall (aussi à la flûte), en compagnie du batteur Bernie Koenig (aussi au vibraphone), dans une session studio constituée essentiellement d'improvisations à deux, plus une composition élégiaque du percussionniste. Une session convaincante, articulée, qui table sur des pièces courtes aux approches et à l'instrumentation variées.Hall s'avère en bonne forme, capable de force et d'âme, et Koenig a la polyvalence et la vivacité d'esprit pour le suivre.

Is that a Canadian recording on Slam Productions? Yep! Sax player Glen Hall from Ontario, with drummer Bernie Koenig, in a studio session consisting mostly of free improvisations, plus one elegy-like composition by Koenig. A convincing, articulate session focusing on short pieces with varied approaches and instrumentation (Hall also on flute, Koenig also on vibes). Hall sounds in very good shape, capable of strength and soul, and Koenig has the versatility and quick wits to follow him wherever he goes.

Francois Couture http://blog.monsieurdelire.com/2014/04/2014-03-31-howard-riley-omit-five.html