{"id":9142,"date":"2018-02-16T21:52:29","date_gmt":"2018-02-17T05:52:29","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9142"},"modified":"2018-02-16T21:52:29","modified_gmt":"2018-02-17T05:52:29","slug":"norma-winstones-movie-music","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/02\/norma-winstones-movie-music\/","title":{"rendered":"Norma Winstone&#8217;s Movie Music"},"content":{"rendered":"<p><strong>Norma Winstone<\/strong>, <a href=\"target=\">Descansado: Songs For Films<\/a> (ECM)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-9146\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/02\/9399a6ebf37522bfe04a5d3a43e9f5d8.jpg\" alt=\"\" width=\"249\" height=\"249\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/02\/9399a6ebf37522bfe04a5d3a43e9f5d8.jpg 300w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/02\/9399a6ebf37522bfe04a5d3a43e9f5d8-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/02\/9399a6ebf37522bfe04a5d3a43e9f5d8-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/02\/9399a6ebf37522bfe04a5d3a43e9f5d8-200x200.jpg 200w\" sizes=\"auto, (max-width: 249px) 100vw, 249px\" \/>In an album striking for its quietness and its daring, British vocalist Norma Winstone and her augmented trio interpret music from motion pictures. The augmentation is important; Mario Brunello\u00e2\u20ac\u2122s cello and Helge Klaus Norbakken\u00e2\u20ac\u2122s percussion add breadth and depth to arrangements that buoy Ms. Winstone\u00e2\u20ac\u2122s flawless singing and the lyrics that she wrote for the recording. Clarinetist and saxophonist Klaus Gesing and pianist-arranger Glauco Venier continue their essential roles in the trio.<\/p>\n<p>The music comes from films of Vitorio De Sica, Jean-Luc Godard and Federico Fellini, among other directors. The earliest is Laurence Olivier\u00e2\u20ac\u2122s 1944 <em>Henry V<\/em>. Composers include Michel Legrand, Nino Rota, William Walton and Bernard Hermann. Six of the pieces have lyrics by Ms. Winstone. An example of her understanding of a film\u00e2\u20ac\u2122s mood\u00e2\u20ac\u201dfor music from Fellini\u00e2\u20ac\u2122s <em>Amarcord<\/em> (1973), she wrote a stanza capturing the film\u00e2\u20ac\u2122s melancholy:<\/p>\n<blockquote><p><em>I remember laughter on the air<br \/>\nFootsteps running through the empty square<br \/>\nMem\u00e2\u20ac\u2122ries of the past are all around<br \/>\nOn the ancient streets where ghosts are found<\/em><\/p><\/blockquote>\n<p>The delicacy required for the aural relationships between Ms. Winstone\u00e2\u20ac\u2122s voice and the instruments is impeccably observed by ECM engneer Stefano Almerio and producer Manfred Eicher. In its depth and balance, the sound quality is virtually a sixth member of the ensemble.<\/p>\n<p>And Ms. Winstone is perfect for the material. Or is it the other way around?<\/p>\n<p style=\"text-align: center;\">\n<p>Coming soon: We check in on other recent ECM releases.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Norma Winstone, Descansado: Songs For Films (ECM) In an album striking for its quietness and its daring, British vocalist Norma Winstone and her augmented trio interpret music from motion pictures. The augmentation is important; Mario Brunello\u00e2\u20ac\u2122s cello and Helge Klaus Norbakken\u00e2\u20ac\u2122s percussion add breadth and depth to arrangements that buoy Ms. Winstone\u00e2\u20ac\u2122s flawless singing and [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9146,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-9142","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9142","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=9142"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9142\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9146"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}