Karl Jenkins
The Best Of Adiemus The Journey
Записано: июнь-июль 1998
Дата релиза: 4 января, 2000
Рекорд лэйбл: Higher Octave
Общее время звучания: 75.53 мин
Качество: EAC, mp3, 320 kbps, 44100 Hz, 16 bit joint stereo
Размер архива: 170.62 Мб
Команда
Karl Jenkins -
Conductor, Producer, Orchestration
Mary Carewe -
Vocals
Hanya Chlala -
Portraits
Declan Colgan -
Compilation
Kirsten Cowie -
Assistant Engineer
Simon Fowler -
Portraits
Amanda Gazidis -
Photography, Cover Photo
Nick Harris & The Soundbarriers -
Assistant Engineer, Mixing Assistant
Mervi Hiltunen -
Vocals
Helen Hodkinson -
Executive Producer, Associate Producer
Jody Barratt Jenkins -
Percussion
Eric Jordan -
Engineer, Assistant Engineer
Anna-Mari Kahara -
Vocals
Dick Lewzey -
Engineer, Mixing
London Philharmonic Orchestra -
Performer
Russell Mills -
Artwork, Art Direction, Design
Steve Price -
Engineer
Jenkins Ratledge -
Producer
Mike Ratledge -
Programmed Percussion
Frank Ricotti -
Percussion
Sade Rissanen -
Vocals
Sheila Rock -
Portraits
Mia Simanainen -
Vocals
Miriam Stockley -
Vocals
Nina Tapio -
Vocals
Mike Taylor -
Quena
Gary Thomas -
Engineer, Assistant Engineer
Pamela Thorby -
Recorder, Gemshorn
Riikka Vayrynen -
Vocals
Michael Webster -
Design Assistant
Трэклист
01. Adiemus
02. Cantus Inaequalis
03. Kayama [Radio Edit]
04. In Caelum Fero [Radio Edit] - London Philharmonic Orchestra
05. Hymn
06. Cantilena - London Philharmonic Orchestra
07. Cantus - Song of the Trinity [Edit]
08. Cantus - Song of the Plains [Edit]
09. Elegia
10. Chorale VI + Cantus-Song of Aeolus
11. Chorale I (Za Ma Ba)
12. Cantus-Song of Tears
13. Rain Dance [Edit]
14. Ein Wiener Walzer (A Viennese Waltz)
15. Corrente (Courante)
16. Zarabanda (Saraband)
17. La La Koora (Landler)
18. Beyond the Century - London Philharmonic Orchestra
19. Adiemus [1999 New Version]
Amazon.com
Karl Jenkins's mix of classical orchestration and world-music elements first gained notoriety through a Delta Airlines TV commercial. The female choir singing faux African chant and the bright, uplifting music resonated with viewers, making the album Songs of Sanctuary an enormous commercial success. Jenkins followed up with Cantata Mundi, and Dances of Time, also bestsellers. Now the Higher Octave label has compiled the best of this electronica artist's Adiemus projects with The Journey. Full of Jenkins's sweeping orchestral sounds, pseudo-ethnic chant from Miriam Stockley and friends, and layered world rhythms, this album acts as a great introduction to this unique New Age music. --Karen K. Hugg
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Concept
Each Adiemus album is a collection of song-length pieces featuring harmonised vocal melody against an orchestral background. There are no lyrics as such, instead the vocalists sing syllables and 'words' invented by Jenkins. However, rather than creating musical interest from patterns of phonemes as in scat singing, the language of Adiemus is carefully stylised so as not to distract the listener's attention from the pitch and timbre of the voice - for example, as in African languages, syllables ending in consonants are rare. The core concept of Adiemus is that the voice should be allowed to function as nothing more than an instrument, a post-modern approach that has become something of a trend in recent choral writing, for example Vangelis's score for the film 1492: Conquest of Paradise (1992). The word Adiemus itself sounds like (but is spelt differently to) a Latin word meaning 'We will draw near'; Jenkins claims to have been unaware of this.
Instrumentation and performers
The session singer Miriam Stockley performed the vocal parts on the first four albums. Additional vocals were provided by Mary Carewe on all but Dances of Time, which saw the introduction of the Finnish Adiemus Singers (who would later reappear on Vocalise). Extra vocals and the chorus effects were created by overdubbing multitracked recordings of the singers (in some cases up to forty times) and varying the speed of the tape. Stockley was described by Jenkins as central to the Adiemus project due to her range and intonation, however for reasons that remain unclear she was not re-engaged for Vocalise.
The Songs of Sanctuary orchestra consisted of a string section augmented by various ethnic percussion instruments, with occasional further additions such as bells, a recorder and a quena. Mike Ratledge, with whom Jenkins had played in Soft Machine, contributed to the first album as well. Jenkins added brass and woodwind for Cantata Mundi, and continued to add more diverse instruments such as acoustic guitar on later albums. From Songs of Sanctuary to Dances of Time, the London Philharmonic Orchestra was used; Jenkins later formed his own Adiemus Orchestra to perform on The Eternal Knot recordings, returning to the LPO for Vocalise.
Musical style
Though there has been considerable evolution over the course of the project, the musical language of Adiemus draws heavily on classical and world music. Jenkins follows conventions of tonality up to a point - his harmony is derived from gospel and African music, decorated with functional dissonances such as suspensions and with greater freedom of movement between loosely related key areas. He often employs unusual time signatures, with a slow 3/2 being very characteristic along with 6/8, 9/8 and even 5/8 (Cantus Inaequalis from Songs of Sanctuary). The percussion section, when used prominently, typically gives the pieces an upbeat, tribal-like rhythm.
The underlying mood of Adiemus is energetic and uplifting, complemented by pieces with what Jenkins describes as an ecclesiastical mood. Many listeners identify the sound of Adiemus with New Age or Celtic music; indeed The Eternal Knot is an explicitly Celtic-themed album that formed the sound-track for the S4C documentary The Celts. In classical music circles Adiemus has struggled to distance itself from the chill out quasi-genre, but the earlier albums are considered important crossover works nonetheless.
Audience
Songs of Sanctuary was a huge commercial success, topping classical album charts. It is considered by critics to be the quintessential album, on which Jenkins' vision succeeds to the greatest extent with the fewest resources. Though none of its successors has achieved the same critical acclaim, Adiemus acquired a cult following and maintained a place in mainstream consciousness through its use in TV commercials, in particular the track Adiemus in a Delta Airlines commercial, and Cantilena from Cantata Mundi in a recent Cheltenham & Gloucester commercial.
http://en.wikipedia.org/wiki/Adiemus
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Biography by Jason Ankeny
Ethno-classical project Adiemus was spearheaded by composer/conductor Karl Jenkins, a longtime member of prog-rock innovators the Soft Machine. The concept originated as a piece Jenkins penned for Delta Airlines television commercial, its fusion of ethnic vocals and orchestral backing proving so popular with consumers that a full-length Adiemus album, 1995's Songs of Sanctuary, was created with the aid of vocalist Miriam Stockley and the London Philharmonic Orchestra. The record was a hit on both popular and classical charts, and was followed in 1997 by Adiemus II—Cantata Mundi; Adiemus III: Dances of Time appeared a year later and Adiemus, Vol. 4: The Eternal Knot was issued in early 2001.
Review by Heather Phares
The Journey: The Best of Adiemus collects radio and album versions of some of the group's memorable blends of classical and world-music elements. The album features a nice mix of extended pieces like "Chorale VI + Cantus: Song of Aeolus" and "Beyond the Century" and concise melodies like "Adiemus," "Cantus — Song of Tears (Edit)," "In Caelum Fero (Edit)," and "Hymn." The Journey also includes a new version of the group's signature song, "Adiemus," offering something different for fans as well as a good introduction to their popular new-age music.
Charts&Awards
Year: 2000
Album: The Journey: The Best of Adiemus
Chart: Top New Age Albums
Peak: 4
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