Petros Klampanis | Contextual

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Jazz: Contemporary Jazz World: Mediterranean Moods: Featuring Bass
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Contextual

by Petros Klampanis

A sonic portrait of the double bass.
Genre: Jazz: Contemporary Jazz
Release Date: 

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Tracks

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1. Thalassaki
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2:24 $1.29
2. Skylark
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4:04 $1.29
3. The Necessary Blonde
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5:47 album only
4. Basscope
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1:51 $1.29
5. Countdown
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4:58 $1.29
6. Lilly's Promenade
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4:55 album only
7. Mingum
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8:47 $1.29
8. Blue Cave
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2:39 $1.29
9. Blackbird
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3:31 $1.29
10. Basscape
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4:06 $1.29
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ABOUT THIS ALBUM


Album Notes
PETROS KLAMPANIS – CONTEXTUAL
(Inner Circle Music, INCM021)

"An amazing project."

Greg Osby, saxophonist, composer, producer.

"Contextual is one of the most exciting records I have heard from a bassplayer in years. The writing and playing is excellent, with a very good sound and a wide spectrum of musical ideas."

Arild Andersen, bassist, composer

"Excellent writing and playing. I especially like Petros' aggressive melodicism, beautiful intonation, and uniquely personal string writing."

Drew Gress, bassist, composer.

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Petros Klampanis draws a sonic portrait of the double bass in his debut album “Contextual” set to be released on April 18th, 2011 by Inner Circle Music.
Much like an impressionist painter alters his color palette depending on how light falls upon his subject, bassist and composer Petros Klampanis alters the musical context in every track of his album in order to point out different characteristics of the double bass.
Adding to the album’s aural and textural smorgasbord is an array of renowned guest musicians that expose different functions of the bass, making every piece of music project and glisten like a unique gemstone.
Standing out is the inconspicuously brilliant arrangement of “Blackbird” featuring the nocturnal vocals of jazz singer phenomenon Gretchen Parlato. Petros Klampanis knows how to create intimacy in his duet with former teacher and guitar master Paul Bollenback in their rendition of John Coltrane’s notorious “Countdown”, as well as “Mingum”, an original composition inspired by the great Charles Mingus, this time interplaying with pianist David Berkman. The album would not be complete without the string quartet arrangement of the “The necessary Blonde”, written by the master electric bassist Gary Willis. In “Basscape” Petros Klampanis mutates into a percussionist as he taps on the double bass spruce wooden shell with singular skill.
Representing the composer’s unique orchestration device, the double bass orchestra-recording the instrument in multiple overdubs-are “Basscope” and “Blue Cave”, the latter imprinting the emotion of the composer while swimming at the chameleon-esque waters of the Blue Cave of Zakynthos, the Greek island he calls home. And coming back to the first track of the album, Petros Klampanis invites us into his childhood in “Thalassaki” and takes us on a journey into the sound and culture of the Greek Islands.
Story behind the music-much of the music was recorded during the artist’s [many European tours] [where he used a] mobile recording system that enabled him to track double bass in the oddest of places, thus allowing him to digitally carve his musical impulses into perpetuity.
In his debut album “Contextual”, it goes without saying that Petros Klampanis, a current New-Yorker with a vigorous presence in the city’s jazz clubs and venues, has shown us only a glimpse of what is yet to come. This CD is a stunning debut and we are very lucky to have caught it.


Reviews


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Apostolos

Refreshing and versatile
Mr. Klampanis’ work demonstrates an extraordinary versatility in moods and style. A multidimensional approach that includes folk, jazz standards and original compositions filtered primarily through a variety of string solos. From the one hand “Skylark” takes new dimensions (in a doublebass solo) and beloved tunes as “The necessary blond” take cinematic dimensions. In the latest ( track#3) the string arrangement redefines the composition and elevates it to unprecedented levels; a unique rhythmic arrangement that blends a Grappelli-esque hue, offered by the first violin, with harmonic fugatos, reminiscent of the jazzy string groups often used by Michel Legrand since the late 60s. Certainly Mr. Klampanis cinematic moods are expanding on track #6 and his virtue in composing comes right after with a tribute to Mingus (#7). The CD offers a remarkable attempt in differentiating this work from others and the final result is as refreshing as it could be.