Pierre Bensusan - Solilai (Stockfisch SF 8009) (GER 1981) (Vinyl 24-96 & 16-44.1)

Pierre Bensusan - Solilai
FLAC | NO LOG & CUE | Artwork | 24Bit: 373 MB | 16Bit: 234 MB
Cat#: Stockfisch SF 8009 | Country/Year: Germany 1981

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Info:

Pierre Bensusan - Solilai

Label: Stockfisch Records
Catalog#: SF 8009
Format: Vinyl, LP
Country: Germany
Released: 1981
Genre: Accoustic, Jazz, World

Tracklist:

A1 Nice Feeling
A2 Bamboulé
A3 Au Jardin D'Amour
A4 Santa Monica
B1 Suite Flamende Aux Pommes
B2 Milton
B3 Solilai
B4 Doatéa

Credits:

Flute, Saxophone - Didier Malherbe
Guitar, Vocals, Bass, Percussion - Pierre Bensusan

Discogs Url: http://www.discogs.com/Pierre-Bensusan-Solilai/release/2155942
Wikipedia Url (Artist): http://en.wikipedia.org/wiki/Pierre_Bensusan

Born in 1957 in Oran, French Algeria, he moved to Paris with his family when he was four years old. He took up the piano at the age of seven and, at the age of eleven, began to teach himself guitar. He signed the contract for his first album, Près de Paris, when he was just seventeen; it was released one year later, winning him the Grand Prix du Disque at the Montreux Festival. His many influences include Davey Graham, Larry Carlton, Django Reinhardt, Martin Carthy, Nic Jones, Ry Cooder, Big Bill Broonzy, Reverend Gary Davis, Mississippi John Hurt, Doc Watson, Jimi Hendrix, John McLaughlin, Bert Jansch, John Renbourn, Ralph Towner, Wes Montgomery, Pat Metheny and Paco de Lucía.

Pierre Bensusan has a reputation as something of an innovator in the field of solo acoustic guitar, including his use of the DADGAD tuning system, and his experimentation with electronics such as delays, distortions and volume pedals, which have been largely abandoned on recent tours. Stylistically, his playing exhibits remarkable dynamics and tone control, usually to be found only in the playing of high-profile classical guitarists. The sophisticated, highly syncopated bass lines incorporated into his counterpoint arrangements also set him apart from the main host of contemporary fingerstyle players.

His unique style of scat-singing more than makes up in warmth, inventiveness and charm what it lacks in technical ability and he has continued to work this semi-improvised style into his compositions, both pre-composed and improvised. He has collaborated extensively with saxophonist Didier Malherbe, but today his tours are largely solo. He also performed the song "ELM" for the Cowboy Bebop soundtrack Cowboy Bebop No Disc for Yoko Kanno.

In 2001 he released Intuite, his first new studio recording in eight years and his first totally acoustic one. It won him critical acclaim and was followed up with Altiplanos in 2005 (see below for full discography). He continues to write and tour, playing occasional gigs with French wind maestro Didier Malherbe, as well as holding guitar workshops and writing guitar books. Often referred to as the "Mozart of Guitar," Bensusan is considered a virtuoso player by other virtuosos, including Michael Hedges, who wrote a piece for Bensusan. After Hedges' death, Bensusan wrote and recorded the song "So Long Michael" in tribute to Hedges' own masterful work as a virtuoso player. wikipedia

Biography by Linda Kohanov

This French guitarist was actually born in Algeria and has long been fascinated with his North African roots as well as the Celtic folk traditions of western Europe. After making a name for himself as a folk musician in the late '70s, Bensusan began to incorporate jazz and classical elements into his music, creating a virtuosic, highly original style on the acoustic guitar.

Review by Ron Wynn

Pierre Bensusan did longer, more spirited numbers on this 1981 session, which was issued in America in 1993 by Dadgad. He played both acoustic and electro-acoustic guitar, as well as adding his own bass and percussive accompaniment at times. Bensusan stretched out on "Bamboule," "Suite Flamande Aux Pommes" and the title cut, doing more than slight melodic variations. He demonstrated a craft and ability indicating that he could be a fine improviser if so inclined. Those who have shied away from other Bensusan albums due to the lack of ambitiousness might try this one; it's the closest he's come on any CD to displaying significant jazz skills. 4,5/5 allmusicguide



Date of rip: 2010-09-12
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