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Track Listings
| 1. Refrain 1 |
| 2. Ancor Che Col Partire |
| 3. Gia Piu Volte Tremante |
| 4. Care-Charming Sleep |
| 5. Accenti Queruli |
| 6. Weep, Weep, Mine Eyes |
| 7. As I Walked Forth |
| 8. Refrain 2 |
| 9. Refrain 3 |
| 10. She Loves And She Confesses |
| 11. Angelia Siete |
| 12. Have You Seen But A Bright Lily Grow |
| 13. Refrain 4 Amor Dov'e La Fe |
| 14. Care-Charming Sleep (2nd Version) |
| 15. Ancor Che Col Partire |
Product Description
Album Description
John Potter was for 17 years tenor singer with the Hilliard Ensemble as well as the group's conceptual thinker (the juxtaposing of old and new music in the Hilliard repertoire stemmed from Potter's influence). He was a key contributor to the Officium and Mnemosyne projects with Jan Garbarek. Saxophonist John Surman, one of the defining voices of European jazz, has been a crucial ECM contributor for three decades. Swiss violinist Maya Homburger came to prominence with period instrument orchestras such as The English Consort, and American lutenist Stephen Stubbs has been a key figure in the "early music" movement for 20 years. English bassist Barry Guy is well known as a composer, virtuoso performer and an innovator of free music; his ECM discs include the Evan Parker Electro-Acoustic Ensemble's new 'Memory/Vision' amongst others.
Recorded 2001
Personnel: John Potter - (voice), Stephen Stubbs - (chitarrone, baroque guitar), Maya Homburger - (baroque violin), John Surman - (soprano saxophone and bass clarinet), Barry Guy - (double-bass)
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Customer Reviews
So there you go, ECM. If you want to know why this CD achieves only a tenth of the sales it deserves, put it down to filing problems. Let's move on to the music.
The big question in my mind when first playing this was this: had the group already taken all the best songs of the period for 'In Darkness ...'? No, I don't think so. Actually, the songs here are more uplifting than those on 'In Darkness ...', which generally had a rather melancholy, Elizabethan air to them. But somehow I feel 'In Darkness ...' is still the better album, which is why I award this one four stars. I would prefer to hear more instrumentals, and to hear more from John Surman. The stand-out track for me is #13, 'Refrain 4' by Monteverdi, where the artists improvise around a very simple guitar-driven theme.
So there you go, ECM. If you want to know why this CD achieves only a tenth of the sales it deserves, put it down to filing problems. Let's move on to the music.
The big question in my mind when first playing this was this: had the group already taken all the best songs of the period for 'In Darkness ...'? No, I don't think so. Actually, the songs here are more uplifting than those on 'In Darkness ...', which generally had a rather melancholy, Elizabethan air to them. But somehow I feel 'In Darkness ...' is still the better album, which is why I award this one four stars. I would prefer to hear more instrumentals, and to hear more from John Surman. The stand-out track for me is #13, 'Refrain 4' by Monteverdi, where the artists improvise around a very simple guitar-driven theme.
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