{"id":33366,"date":"2017-11-18T12:00:20","date_gmt":"2017-11-18T11:00:20","guid":{"rendered":"https:\/\/www.tomajazz.com\/web\/?p=33366"},"modified":"2018-01-08T19:30:29","modified_gmt":"2018-01-08T18:30:29","slug":"365-razones-para-amar-el-jazz-un-album-opium-bill-dixon-franz-koglmann-steve-lacy-321","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-album-opium-bill-dixon-franz-koglmann-steve-lacy-321\/","title":{"rendered":"365 razones para amar el jazz: un \u00e1lbum. Opium (Bill Dixon, Franz Koglmann, Steve Lacy) [322]"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-33367 size-medium\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2017\/11\/Bill-Dixon-Franz-Koglmann-Steve-Lacy-Opium-2001-200x179.png\" alt=\"\" width=\"200\" height=\"179\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2017\/11\/Bill-Dixon-Franz-Koglmann-Steve-Lacy-Opium-2001-200x179.png 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2017\/11\/Bill-Dixon-Franz-Koglmann-Steve-Lacy-Opium-2001-62x55.png 62w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2017\/11\/Bill-Dixon-Franz-Koglmann-Steve-Lacy-Opium-2001.png 375w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Un \u00e1lbum: <strong>Bill Dixon, Franz Koglmann, Steve Lacy: <em>Opium<\/em><\/strong> (2001, Between The Lines Records [BTL 011]<\/p>\n<p>Si el jazz europeo tiene pilares sobre los que cimentarse, sostenerse y erguirse, uno de ellos, sin duda, es este \u00e1lbum: <i>Opium<\/i>. Editado en formato CD, recoge los dos primeros \u00e1lbumes en vinilo firmados por el trompetista austriaco Franz Koglmann, <i>Flaps<\/i> (Pipe Record, 1973) y <i>Opium For Franz <\/i>(Pipe Records, 1976). Ambos discos est\u00e1n descatalogados en vinilo y son piezas de coleccionistas. Esta edici\u00f3n en CD los re\u00fane y recupera, remasterizados, para los aficionados. Su escucha es una rara e intensa experiencia: jazz europeo de los \u201970. Adem\u00e1s cuenta con la participaci\u00f3n de Steve Lacy al saxo soprano y Bill Dixon a la trompeta. Los dos m\u00fasicos tambi\u00e9n aportan composiciones propias, dos de Lacy y una de Dixon.<\/p>\n<p>Los siete temas del \u00e1lbum fueron registrados en tres sesiones de grabaci\u00f3n, dos de ellas realizadas en Viena y una en Par\u00eds, con tres grupos de m\u00fasicos diferentes. El tema central del \u00e1lbum es \u201cFor Franz\u201d una larga pieza de diecisiete minutos firmada por Bill Dixon, la \u00fanica en la que Dixon participa.<\/p>\n<p>Seleccionado, comentado y disfrutado por\u00a0<strong>Juli\u00e1n Ruesga Bono<\/strong><\/p>\n<p>Bill Dixon: composici\u00f3n, trompeta; Franz Koglmann: direcci\u00f3n de arte, composici\u00f3n, trompeta; Steve Lacy: composici\u00f3n, saxo soprano; Stephen Horenstein: saxo tenor; Steve Horenstein: saxo; Toni Michlmayr: bajo; Aldo Romano: bater\u00eda; Alan Silva: bajo; Cesarius Alvim Botelho: bajo; Gerd Geiger: electr\u00f3nica.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un \u00e1lbum: Bill Dixon, Franz Koglmann, Steve Lacy: Opium (2001, Between The Lines Records [BTL 011] Si el jazz europeo tiene pilares sobre los que cimentarse, sostenerse y erguirse, uno de ellos, sin duda, es este \u00e1lbum: Opium. Editado en formato CD, recoge los dos primeros \u00e1lbumes en vinilo firmados<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-album-opium-bill-dixon-franz-koglmann-steve-lacy-321\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":33367,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17854,18155,5,20689,15517,1038],"tags":[11083,5569,4933,20467,20471,14712,20472,603,20468,20469,5365,20470],"class_list":["entry","author-pachi","post-33366","post","type-post","status-publish","format-standard","has-post-thumbnail","category-julian-ruesga-bono","category-365-razones-para-amar-el-jazz","category-grabaciones","category-razones-para-el-jazz","category-textos","category-contenidos","tag-alan-silva","tag-aldo-romano","tag-between-the-lines","tag-bill-dixon","tag-cesarius-alvim-botelho","tag-franz-koglmann","tag-gerd-geiger","tag-julian-ruesga-bono","tag-stephen-horenstein","tag-steve-horenstein","tag-steve-lacy","tag-toni-michlmayr"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2017\/11\/Bill-Dixon-Franz-Koglmann-Steve-Lacy-Opium-2001.png","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":32700,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-una-grabacion-lheure-bleue-franz-koglmann-282\/","url_meta":{"origin":33366,"position":0},"title":"365 razones para amar el jazz: una grabaci\u00f3n. L&#8217;Heure Bleue (Franz Koglmann) [282]","author":"Tomajazz","date":"9 octubre, 2017","format":false,"excerpt":"Una grabaci\u00f3n.\u00a0Franz Koglmann:\u00a0L'Heure Bleue\u00a0(HatOlogy, 1991) Seleccionado por Quinito L. Mourelle Con Franz Koglmann, Tony Coe, Klaus Koch, Burkhard Stangl, Misha Mengelberg \u00a0","rel":"","context":"En \u00ab*_Quinito L\u00f3pez Mourelle\u00bb","block_context":{"text":"*_Quinito L\u00f3pez Mourelle","link":"https:\/\/tomajazz.com\/web\/category\/quinito-lopez-mourelle\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/10\/Franz-Koglmann_LHeure-Bleue.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2854,"url":"https:\/\/tomajazz.com\/web\/franz-koglmann-lo-lee-ta-music-on-nabokov-2009\/","url_meta":{"origin":33366,"position":1},"title":"Franz Koglmann: Lo-lee-ta. Music on Nabokov (2009)","author":"Tomajazz","date":"30 junio, 2010","format":false,"excerpt":"El austriaco Franz Koglmann (1947) es una de las figuras a reivindicar del jazz europeo. Sin tener un gran reconocimiento a nivel popular, el haber grabado un pu\u00f1ado de obras m\u00e1s que notables entre los a\u00f1os 1986 y 1996 en el sello suizo HatOlogy, y ser el director art\u00edstico del\u2026","rel":"","context":"En \u00abGrabaciones...\u00bb","block_context":{"text":"Grabaciones...","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/grabaciones\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2852,"url":"https:\/\/tomajazz.com\/web\/top-ten-y-van-tres\/","url_meta":{"origin":33366,"position":2},"title":"Top Ten: &#8230;y van tres&#8230;","author":"Tomajazz","date":"1 julio, 2010","format":false,"excerpt":"Escuchar m\u00fasica. \u00a1Cu\u00e1ntas cosas pueden llegar a provocar el escuchar m\u00fasica! \"I Have A Dream\". David Weiss & Point of Departure. Snuck In (Sunnyside Records, 2010) \"Core\". Red Trio. Red Trio (Clean Feed, 2010) \"Break On Through\". Marc Ribot's Ceramic Dog Trio. Party Intellectuals (Pi Recordings, 2008) \"Vecctor\". 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