| | Ernst Reijseger I Love You So Much It Hurts CD - Import Ernst Reijseger Discography of CDs
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/Franco D'Andrea.
Personnel: Ernst Reijseger (cello); Franco D'Andrea (piano).
Personnel: Ernst Reijseger (cello); Franco D'Andrea (piano).
The pairing of avant-garde cellist Ernst Reijseger with post-bop pianist Franco D'Andrea provides anything but predictable music. D'Andrea is unaccompanied for a boundary-stretching approach to Duke Ellington's "In a Sentimental Mood." The leader begins Cole Porter's "Night and Day" alone, gradually working through variations on repeated arco riffs until the pianist makes a delayed, sparse entrance. D'Andrea's percolating Latin-flavored "Two Colors" is more accessible, though with a constantly twisting theme. D'Andrea's rather freewheeling "Afro Abstraction" shows that he is completely comfortable in a free jazz setting, with Reijseger playing soft accompaniment and a bit of percussion on his instrument. Dutch pianist Misha Mengelberg contributed the quirky "Complex Eight," a humorous piece that defies the expected paths. Recommended. ~ Ken Dryden I Love You So Much It Hurts Music Ernst Reijseger I Love You So Much It Hurts Songs I Love You So Much It Hurts Review
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Under different circumstances, San Francisco-raised John DeVore aka J. DaVinci, might have become the Fillmore District’s premiere musical engineer. Maybe even their best-known NFL Star. But the Fillmore is a different place than what it used to be in the jazz heyday of Louis Armstrong and Billie Holiday. The Fillmore that raised young J. DaVinci was rife with turf wars, the inundation of crack cocaine, and horizontal violence. And it wasn’t even until three years ago that J. DaVinci was serious about a career in hip hop. But his talent and commitment to representing the reality of the streets could not be ignored. Now he’s ready to stake his claim as J. DaVinci, the MC. “I grew up in a single parent household. Pops was in jail damn near all my life,” he shares. Despite the enormity of his situation, he grew up in a house full of soul and classical music influence. In high school, he dabbled in drums, trumpet, and tuba in a school band that included peers that would eventually follow their rap dreams as well. But back home, the growing turf wars affected the direction of his ambition. Relationships with childhood peers changed, and DaVinci noticed its effect on his perspective. “You could have been playing in the sandbox with a nigga, but since he lives three blocks away, he forced to roll with dudes and not fuck with his ‘friends’,” he explains. Influenced by the success and accessibility of local rap stars that paved the way, such as San Quinn and JT the Bigga Figga, DaVinci knew that his love for music was no longer a hobby, but a viable means to put his talents to use. “Most rappers– the LL Cool Js, the Run DMCs – were kind of funny to me, “ he says. “I never took them seriously, until I met the dude from my neighborhood who rapped about shit that I see every day. That just hit close to home. If he could do it, I could do it.” This was in 1995, and from then on, DaVinci started working on his craft amongst other young men who were also hungry for the spotlight. Within a ten-block radius of Central Divisadero, where DaVinci calls home, there was intense competition in the rap scene. In his generation alone, San Quinn’s Done Deal Records family spawned young rappers such as Ya Boy, Bailey, and Big Rich, who would serve as his ...
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