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The Allmusic review by Scott Yanow states: "For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set ". [2]
"I that in Heill wes and Gladnes", also known as "The Lament for the Makaris", is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line repeats the Latin refrain timor mortis conturbat me (fear of death troubles me), a litanic phrase from the Office of the Dead .
LaFaro played on a borrowed instrument, while the pianist was quickly complaining of a headache, probably brought on by the strain in the studio." [ 3 ] Nonetheless, the resulting album turned out to be an influential and enduring classic that "brilliantly illustrates [Evans's] innovative concept of 'simultaneous improvisation.'" [ 4 ]
The tenor text is a modified quotation taken from the Book of Lamentations (1.2), the biblical lament about the fall of Jerusalem: Omnes amici ejus spreverunt eam, non est qui consoletur eam ex omnibus caris ejus. ('All her friends have scorned her; of all her beloved ones there is not one to comfort her.'),
Most notably, LaFaro's bass is promoted from a mere accompanying instrument to one of almost equal status to the piano, although not to the extent that it would be on later albums such as Sunday at the Village Vanguard. Evans said of LaFaro, "I was astounded by his creativity .... There was so much music in him, he had a problem controlling it. ...
“Hymn to Proserpine” is a poem by Algernon Charles Swinburne, published in Poems and Ballads in 1866. The poem is addressed to the goddess Proserpina, the Roman equivalent of Persephone, but laments the rise of Christianity for displacing the pagan goddess and her pantheon.
The poem "Li Sao" is in the Chuci collection and is traditionally attributed to Qu Yuan [a] of the Kingdom of Chu, who died about 278 BCE.. Qu Yuan manifests himself in a poetic character, in the tradition of Classical Chinese poetry, contrasting with the anonymous poetic voices encountered in the Shijing and the other early poems which exist as preserved in the form of incidental ...
The lament was transcribed by the scribe and poet Éamonn de Bhál. [4] The musicologist Liam Ó Noraidh published two fragments of Caoineadh Airt Uí Laoghaire in 1965, including the music; the first fragment was collected from Máire Bhean Uí Chonaill in Baile Bhuirne (Ballyvourney), County Cork, in 1941, and the second from Labhras Ó ...