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Lee, Okkyung - Nihm CD Cover Art
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Okkyung Lee Nihm CD

 Okkyung Lee Discography of CDs

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Personnel: Okkyung Lee (cello); Shelley Burgon (harp); Doug Wieselman (clarinet); Sylvie Courvoisier (piano); Trevor Dunn (bass instrument); Tim Barnes , John Hollenbeck (drums, percussion); Ikue Mori (electronics).The Wire (p.59) - "Each piece can be heard as a movie for the ear. Indeed, it's difficult to listen to Lee's music without consciously drawing support from the visual imagination, but equally each is strong enough to stand alone."
Nihm Music


Detailed Nihm Music Information



List Price $15.97 (You save $2.88)
Category Rock/Pop Albums, Jazz CDs, Jazz Instrument, Classics (Silents / Avant Garde), Rock
Label Tzadik
Orig Year 2005
All Time Sales Rank   148079  
CD Universe Part number 6848163
Catalog number 7715
Discs 1
Release Date May 24, 2005
Studio/Live Studio
Mono/Stereo Stereo
Producer Okkyung Lee
Personnel Doug Wieselman - clarinet
Ikue Mori - electronics
Trevor Dunn - bass instrument
John Hollenbeck - drums, percussion
Tim Barnes
Okkyung Lee - cello
Sylvie Courvoisier - piano
Shelley Burgon - harp
Okkyung Lee Nihm Songs


Okkyung Lee Nihm Album Track Listing



1.On a Windy Day
2.That Undeniable Empty Feeling
3.Story of You and Me
4.Anything You Say, Anything You (Don't) Say
5.Returning Point
6.Home
7.Deep Blue Knot
8.Closed Window
9.Sky
10.4:37 Tuesday Morning
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Double Indemnity/Imitation Of Life: 1980-1981
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This re-release, on Atavistic's Unheard Music Series, includes the entirety of the quartet album Imitation of Life and three of the tracks of the Beresford/Honsinger duo album Double Indemnity (plus two outtakes), each originally issued on Y Records. On these recordings from 1980 and 1981, one hears a relatively early example of the conflation of the avant-garde jazz of the time with postmodern tendencies wherein humorous allusions to disparate musics were all the rage. Much of the music has a similar feel to what John Zorn and associates were up to in downtown New York City at the time. In the duets, Honsinger's wry and sour cello contrasts effectively with Beresford, who -- ...
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Soul Exposed
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Noble Beast
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A more organic and subdued outing than its predecessor, ARMCHAIR APOCRYPHA, 2009's NOBLE BEAST finds singer/violinist/guitarist Andrew Bird further refining his elegant, erudite brand of indie-pop. From the breezy, lilting opener "Oh No" to the wistful, strings-only "On Ho," the Chicagoan performer wanders purposefully through his own strange musical landscape, stopping off for fascinating moments such as the chiming "Fitz & Dizzyspells" and the percussive "Not a Robot, But a Ghost." Although Bird's lit-major lyrics and dynamic, classically-minded arrangements may scare off listeners looking for more immediate thrills, those who allow BEAST to work its magic will be happily entranced by its considerable charms. Released in 2007, Armchair Apocrypha proved that hyper-literate singer/songwriter, genre-bending violin player, and peerless whistler Andrew Bird had found the perfect middle ground between his increasingly austere solo sets and the full-band grandeur of his days with the Bowl of Fire, a strategy he repeats with similar results on Noble Beast, his fifth full-length solo offering and second collection for the Mississippi-based Fat Possum label. Bird, a classically trained violinist since the age of four, has skillfully integrated nearly everything with strings on it into his repertoire since his conversion from the Weill and Brecht-heavy days of Music of Hair, Thrills, and Oh! The Grandeur to the semi-mainstream indie pop of The Swimming Hour, but it's his seemingly limitless capacity for manipulation of the violin that dominates Noble Beast. Opening cut "Oh No," a track that Bird began releasing sketches of months before the album's street date, may be his most successful foray into the murky world of the potentially commercial pop song yet, boasting a chorus that points directly at the Shins while maintaining the artistic integrity of the loop-happy, meticulous craftsman who fans have been watching evolve since 2003's Weather Systems. What follows is a typically eclectic batch of material that reflect Bird's own musical time line. Tracks like "Masterswarm" and "Not a Robot, But a Ghost" are proof positive that he hasn't completely abandoned his swing jazz roots, "Fitz and the Dizzyspells" could very well provide audiences with their first opportunity to "bust a move" at a show, while "Nomenclature"'s ...
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