Stories Yet To Tell

Norma Winstone, Klaus Gesing, Glauco Venier

CD18,90 out of print

The return of the Grammy-nominated, Academie Du Jazz Prize-winning trio that gave us “Distances”, with another revelatory programme. As both singer and lyricist Norma has few contemporary peers: her words seem to float up from the music’s expressive core. And now she has a trio united by a profound feeling for song. The stark instrumentation – voice, piano, bass clarinet/soprano sax – seems never to limit their repertoire, but to encourage the players to explore widely, and to make musical use of the available space.

Jazz ballads find their place alongside adaptations of folk songs, and ‘chamber’ pieces influenced by classical or contemporary composition. Textures, colours and rhythms may be drawn from scattered, surprising sources, and even the hypnotic lulling of an Armenian cradle song has a role to play as Norma cross-references Christina Rosetti nursery rhymes with Tigran Mansurian’s adaptation of Komitas!

Featured Artists Recorded

December 2009, Artesuono Recording Studio, Udine

Original Release Date

20.08.2010

  • 1Just Sometimes
    (Norma Winstone, Armando Manzanero)
    06:10
  • 2Sisyphus
    (Norma Winstone, Klaus Gesing)
    05:05
  • 3Cradle Song (Hoy Nazan)
    (Norma Winstone, Komitas Vardapet)
    04:33
  • 4Like A Lover
    (Alan Bergman, Marilyn Bergman, Nelson Motta, Dori Caymmi)
    04:10
  • 5Rush
    (Norma Winstone, Klaus Gesing)
    04:48
  • 6The Titles
    (Norma Winstone, Klaus Gesing)
    04:00
  • 7Carnera
    (Norma Winstone, Glauco Venier)
    04:11
  • 8Lipe Rosiže
    (Glauco Venier)
    04:56
  • 9Among The Clouds
    (Norma Winstone, Maria Schneider)
    03:32
  • 10Ballo furlano
    (Giorgio Mainerio)
    03:18
  • 11Goddess
    (Norma Winstone, Wayne Shorter)
    05:09
  • 12En mort d'En Joan de Cucanh
    (Public Domain)
    02:15


“Stories Yet To Tell” is the second ECM album from the British-German-Italian trio that made the Grammy-nominated “Distances” (a recording which also won the Top Jazz Vocal CD prize of France’s Academie du Jazz and contributed to Norma Winstone’s winning of Germany’s Skoda Jazz Ahead Award for services to European jazz). If the awards have emphasized the trio’s remarkable singer, this is nonetheless a real band with a unique ensemble identity.

Norma Winstone, Glauco Venier and Klaus Gesing are three adventurous musicians united, in this project, by a profound feeling for song. The stark instrumentation – voice, piano, bass clarinet/soprano sax - seems never to limit their repertoire, but to encourage the players to explore widely, and to make musical use of the available space.

Jazz ballads, old and new, find their place alongside – for instance – adaptations of Friulian folk songs, and ‘chamber’ pieces influenced by classical or contemporary composition. Textures, colours and rhythms may be drawn from scattered, surprising sources: a thirteenth century Troubadour ballad, an Armenian cradle song and more.

The musicians play songs from Mexico’s Armando Manzanero to Armenia’s Komitas, to Wayne Shorter. What they take they make their own, much of the material they compose themselves, and most of the words are Norma’s. As both singer and lyricist she has few contemporary peers: her words seem to float up from the music’s expressive core.

The trio is a band in which creative responsibilities are very equally shared. Glauco Venier and Klaus Gesing have collaborated in musical projects since the mid-90s, including a long running duo. They invited Norma to join them for Italian concerts a decade ago and the singer soon recognized a potential for developing a trio music with its own specific character, meanwhile documented on three outstanding recordings: “Chamber Music” (Universal, released 2004), “Distances” (ECM, 2008), and the present disc, produced by Manfred Eicher in Udine in 2009.

As with its predecessors, “Stories Yet To Tell” reveals Venier and Gesing as gifted composers and distinctive instrumentalists. Venier’s choice of notes and his harmonizations are strikingly original, and Gesing has established his own methodology for bass clarinet in particular, vaulting between rhythm and melody functions, and matching textures and phrases with Winstone’s subtle voice.

From the beginning of her life in jazz, Norma Winstone has wanted to be part of the ensemble, rather than a frontwoman. She uses her voice ‘instrumentally’, to interweave improvised lines with her partners and participate in the blossoming harmony. When singing texts, she draws her fellow musicians ever deeper into the storylines sketched by the lyrics, until the plot is illuminated from three perspectives.
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2024June 02SendesaalBremen, Germany