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Darryl Brenzel (Saxophone, Arranger)/Mobtown Modern Big Band: The Re-(W)rite of Spring

> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Introduction -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: The Augurs of Spring - Dances of the Young Girls -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Ritual of Abduction -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Spring Rounds -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Ritual of the River Tribes -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Procession of the Sage -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: The Sage -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part I: Adoration of the Earth: Dance of the Earth
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Introduction -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Mystic Circles of the Young Girls -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Glorification of the Chosen One -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Evocation of the Ancestors -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Ritual Action of the Ancestors -
> Le sacre du printemps (The Rite of Spring) (arr. D. Brenzel) - Part II: The Sacrifice: Sacrificial Dance

Track List

>ReWrite of Spring: Part One. Adoration of the Earth. Introduction, The
>ReWrite of Spring: Part One. Adoration of the Earth. Dances of the Young Girls, The
>ReWrite of Spring: Part One. Adoration of the Earth. Ritual of Abduction, The
>ReWrite of Spring: Part One. Adoration of the Earth. Spring Rounds, The
>ReWrite of Spring: Part One. Adoration of the Earth. Ritual of the Rival Tribes, The
>ReWrite of Spring: Part One. Adoration of the Earth. Procession of the Sage, The
>ReWrite of Spring: Part One. Adoration of the Earth. The Sage, The
>ReWrite of Spring: Part One. Adoration of the Earth. Dance of the Earth, The
>ReWrite of Spring: Part Two. The Sacrifice. Introduction, The
>ReWrite of Spring: Part Two. The Sacrifice. Mystic Circle of the Young Girls, The
>ReWrite of Spring: Part Two. The Sacrifice. Glorification of the Chosen One, The
>ReWrite of Spring: Part Two. The Sacrifice. Evocation of the Ancestors, The
>ReWrite of Spring: Part Two. The Sacrifice. Ritual Action of the Ancestors, The
>ReWrite of Spring: Part Two. The Sacrifice. Sacrificial Dance, The (The Chosen One)

Album Remarks & Appraisals:

When Mobtown Modern Music Series curator Brian Sacawa invited Darryl Brenzel to adapt Igor Stravinsky's radical orchestral ballet "The Rite of Spring" for a modern 17-piece jazz big band, no one really knew what was going to happen. There were, after all, riots at the piece's 1913 Paris premiere. Fortunately, when Brenzel's creation was unveiled at Baltimore's Metro Gallery on May 12, 2010, the audience kept to their seats in rapt attention, consumed by a work as boldly unconventional as Stravinsky's original.

Album Notes

Audio Mixer: Mark McLaughlin.

Liner Note Author: Darryl Brenzel .

Recording information: Metro Gallery, Baltimore, Maryland (05/12/2010).

Photographer: Robert McIver Jr.

A number of jazz arrangers have been drawn to major classical works to reshape them into something that retains the essence of the original works yet introduces variations and improvisation. The challenge is for the interpreter to create a compelling, memorable adaptation, not usually an easy task. Darryl Brenzel chose one of the most demanding works of the 20th century, Igor Stravinsky's ballet "The Rite of Spring," then added an additional twist, recording it live in front of an audience during its premiere performance in 2010 at the Metro Gallery in Baltimore, Maryland, which took place about a month after he completed his work. The Baltimore musicians who make up the Mobtown Modern Big Band give their all throughout this concert, which successfully blends elements of its original score with Brenzel's new conception, though it stretches out a good deal longer than original ballet, clocking in at around 74 minutes. Anyone who is familiar with the orchestra setting of "The Rite of Spring" and has an open mind about reworking classical music will find much to enjoy in "The Re-(W)Rite of Spring." The solos are usually fairly brief, with more emphasis on the colorful ensembles. Unlike Stravinsky's premiere performance of "The Rite of Spring," with loud protests from the audience about this dissonant, groundbreaking music, Brenzel's audience obviously appreciates the mastery of the arranger's new take on the nearly century-old ballet. One question remains: will this be a one-time performance or something that future jazz orchestras perform in concert? ~ Ken Dryden



Reviews

Rites of Swing
I normally avoid musical mash-ups like the plague, especially classical-jazz hybrids, which to my ears always mesh about as well as oil and water. But I was immediately intrigued when I spotted this disc at my local record store. Stravinsky’s music has always appealed to me in part because of its minor-key intensity, unpredictable melodic and harmonic progression, rhythmic propulsion and those occasional ineffable passages that groove in a manner not dissimilar to jazz. “The Re-(W)rite of Spring,” I’m happy to say, more than met my expectations, thanks to the mad genius behind this project, Darryl Brenzel: alto saxophonist, director of the Mobtown Modern Big Band and arranger extraordinaire. Brenzel somehow managed to translate Stravinsky’s visionary ballet so that its idiosyncratic contours are clearly recognizable, yet emerge in music that is written — and performed — in a manner that is clearly jazz. Brenzel’s charts for this reinterpreted “Rite” are by turns harsh and aggressive, lyrical and intimate. More important, they conjure a consistent groove and create plenty of organic space for some hot solos by the Mobtown mob, notably Steve Lesche on guitar, Pat Shook on tenor sax and Michael Johnston on flugelhorn. Ultimately, this is less avant-garde classical than dark-toned big band jazz that would likely put a smile on Gil Evans’ face. It might even earn a hereafter nod from Stravinsky himself.
Submitted on 10/10/12 by Dean Brierly 
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