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Holon

Holon

February 5, 2008

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Product Details

  • Original Release Date: February 5, 2008
  • Release Date: February 5, 2008
  • Label: ECM
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 55:40
  • Genres:
  • ASIN: B0013AT1PG
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Best Sellers Rank: #102,989 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.7 out of 5 stars
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See all 18 customer reviews
Still, end result is that at the end of the album I hit repeat, gotta hear this strange stuff again.
David (design matters) Robbins
Great interplay,excellent bass lines ,wonderful and spacious piano playing from Nick Bartch and his quintet with energy rythm and warmth.
blueish
This album is truly amazing and has been on heavy-rotation in my player since the day it reached my mailbox.
Simone Oltolina

Most Helpful Customer Reviews

40 of 40 people found the following review helpful By TSK on February 18, 2008
Format: Audio CD
If you know and love Nik Bartsch's Stoa, you're sure to feel the same about Holon, which is, in effect, Stoa 2. Outside of the fact that Bartsch plays only acoustic piano on Holon; the reedman known as Sha has added alto sax to his clarinets; and there's a more pronounced Middle Easternish feel to some of the writing, Holon picks up exactly where Stoa's jazz/minimalism left off. Bartsch has called this style Zen funk, but there's a lot more Zen than funk in the mixture. This isn't funk in the chicken 'n' grits manner--it's more like wiener schnitzel und sauerkraut. The Ronin band might be likened to a weird blend of Kraftwerk and Steve Reich (I'd say the James Brown comparison that's sometimes made is way too far a stretch), running like humanized clockwork on complex repetitive patterns that, though precise as all hell, are never machinelike. Conventional solo space is distinctly limited in this kind of music, as you'd expect, but the electric bassist gets a nice turn or two, and he's chiefly responsible throughout for funking up the Zen.
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26 of 27 people found the following review helpful By Simone Oltolina on May 3, 2008
Format: Audio CD Verified Purchase
*THE CONTEXT...*
In the world of jazz 'avant-garde' there are two main currents: on one hand, you have the musicians who are simply content with re-enacting the canon (Cecil Taylor, Ornette Coleman, Sun Ra, sometimes to amazing results it must be said) while on the other there are those who prefer to push the envelope by going, if ever slightly, beyond the boundaries of the genre.

Mostly this is done by combining jazz with 'other things', i.e., influences coming from different musical fields. Hence, a lot of experimentation mixing jazz with electronics, hip-hop, minimalism, indie rock, etc.
While this 'mixing' concept is in no way new (didn't bossa nova stem from the jazz+latin music formula?), it can often produce exciting results.
Matthew Shipp work with Thirsty Ear, ups and downs notwithstanding, is a good example (or at least a widely publicized one)

*...AND THE ACTUAL REVIEW*
Nik Baertsch's Ronin Quintet does the same, fashioning a record that borrows from minimalism, funk (especially in the use of bass), IDM and, just like some other reviewer noted, middle-eastern motifs.
He (Nik) calls this concoction 'Zen Funk', I call it 'good enough to deserve 5 stars'.

Each composition is based on hypnotic piano modules (think of minimalist repetition) played by Baertsch himself. This is the foundation on which the other instruments play, either by building the groove or by showing amazing interplay and exciting solos.

This album is truly amazing and has been on heavy-rotation in my player since the day it reached my mailbox. Kudos to NB for pushing the genre to new directions and, most importantly, for delivering such an exciting record.
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24 of 25 people found the following review helpful By David J. Ohanlon on March 27, 2008
Format: Audio CD
Not having listened to Stoa, I really had little idea what to expect here. I looked at the somewhat strange titles & thought maybe I was in for a John Cage-esque experience & although certainly there are elements of Cage, there's much more of Steve Reich, Christian Wallumrod & even Esbjorn Svensson here, meaning that whilst every piece is structured such that you can often predict when an established, largely minimalist pattern is going to change, you're often surprised as to exactly how this happens & where the change leads. In virtually all cases, the changes are exciting, engaging & never one-off (ie. each piece changes instrumentation, mood & dynamic several times &, apart from three brief blazing saxophone interludes in Module 45, these are never abrasive). Further, the Middle Eastern modes of Module 44 were a delight.
If there's to be a minor criticism, I found the 14' 51" second piece took a little TOO long (6' 57" to be exact) to change out of its initial Reich-esque pattern, which, on just this one occasion, fell on the wrong side of the thin dividing line between rivetting/mesmerising & annoying/repetitive minimalism.
Minor criticism(s) aside, an excellent album.
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6 of 6 people found the following review helpful By vivek savant on April 24, 2009
Format: Audio CD
....if they were signed to ECM!!! One of the top 5 releases of the decade....shoulder to shoulder with Claudia Quintet's equally captivating For. Loosely conceptualized around six piano based modules, this is far from your usual atmospheric driven ECM sound. This become obvious minutes into the second track, when the hypnotic ambience is traded for groovy 6-string electric bass lines atop a killer piano vamp and an even more lethal phat hi-hat/snare hits. Adding to this dimension is the sound of the bass clarinet, grooving in a way not heard since the days of the Mwandishi recordings. Definitely Eicher's trademark production is still present here, but there is less emphasis on space while leaning more towards the improvised jams one associates with say 70s jazz-rock experiments. Brilliant.
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4 of 4 people found the following review helpful By Karl W. Nehring on July 7, 2009
Format: Audio CD
Swiss pianist Nik Bärtsch is back with his ensemble Ronin, featuring Sha on bass clarinet, contrabass clarinet, and alto saxophone; Björn Meyer on bass; Kaspar Rast on drums; and Andi Puato on percussion. Back too are the snappy song titles such as "Modul 42"and "Modul 41...37." What is new on this outing is the increased emphasis on acoustic sounds, with Bärtsch now employing an acoustic piano. Overall, though, the music has the relentless rhythmic pulse and minimalist structure that characterized the group's ECM debut recording, Stoa.

Perhaps because of the sound of the acoustic piano, however, Holon makes a different musical impression than did Stoa, the newer release sounding more like jazz and less like minimalism. When I reviewed Stoa back in Issue 105 of The $ensible Sound, I said it sounded more like jazz than classical minimalism; with Holon, that claim can be made more emphatically, meaning that Holon is the release more likely to be embraced by more traditional jazz fans.
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