{"id":347,"date":"2004-02-22T18:20:02","date_gmt":"2004-02-22T17:20:02","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/eric-dolphy-the-drive-bedrich-smetana-dalibor\/"},"modified":"2023-12-18T08:49:51","modified_gmt":"2023-12-18T07:49:51","slug":"eric-dolphy-the-drive-bedrich-smetana-dalibor","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/eric-dolphy-the-drive-bedrich-smetana-dalibor\/","title":{"rendered":"Eric Dolphy: The Drive \/\/ Bedrich Smetana: Dalibor"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"346\" data-permalink=\"https:\/\/www.kritische-masse.de\/logbuch\/wittgenstein-noch-einmal\/attachment-altes-bild-von-1992-aus-dem-berlin-mix-von-christian-marclay\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/02\/20040222-taubesohr.jpg?fit=220%2C289&amp;ssl=1\" data-orig-size=\"220,289\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Altes Bild von 1992 &amp;#8211; Aus dem Berlin Mix von Christian Marclay\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/02\/20040222-taubesohr.jpg?fit=220%2C289&amp;ssl=1\" class=\" alignright size-full wp-image-346\" align=\"right\" alt=\"Altes Bild von 1992 - Aus dem Berlin Mix von Christian Marclay\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/02\/20040222-taubesohr.jpg?resize=220%2C289&#038;ssl=1\" width=\"220\" height=\"289\" \/><\/p>\n<p>Heute nach mehrfachem Besehen des Giant-Steps-Films auch wieder die Dolphy-Packung (The Complete Prestige Recordings) herausgeholt. CD 2, Take 1: &ldquo;The Drive&rdquo; ganz &auml;hnlich wie Coltranes Giant Steps, abfallende Akkordbrechungen. Nicht ganz so harmonisch kompliziert, daf&uuml;r im Chrous mit kontrapunktischen Elementen, chromatische Linie in den Nebenstimmen. Wirkt dadurch sofort sehr substanzhaltig und erheischt Aufmerksamkeit. <\/p>\n<p><!--break--><\/p>\n<p>Das <strike>Bassist<\/strike> Cellist von CD 6 w&uuml;rde heute keine Aufnahmepr&uuml;fung mehr bestehen. Dennoch ziemlich spannend in der intonatorischen Verschiebung. Am Bass Joe Benjamin (noch nie geh&ouml;rt) und am Cello dann der legend&auml;re <b>Ron Carter<\/b> &#8211; <strike>habe noch nicht bemerkt, ob der spielt oder sich doch lieber im Zweifel die Ohren zuh&auml;lt<\/strike> und jetzt versemmelt der mir auch noch die Pointe. <\/p>\n<p> <b>Smetana, Dalibor.<\/b> Eine der besten Opern der Weltgeschichte. Handlung habe ich zwar noch immer nicht begriffen (es geht nat&uuml;rlich irgendwie um Macht, Freiheit und Liebe &#8211; also um den ganz gew&ouml;hnlichen Stoff, den man auf zweieinhalb Stunden ausdehnen kann). Aber die Musik, selbst in der klangtechnisch haarstr&auml;ubenden Aufnahme des Prager National Theaters unter Jaroslav Krombholc aus dem Jahr 1950, an keiner Stelle &ouml;de, langweilig oder unertr&auml;glich. Smetana, einer der Besten, wie die meisten b&ouml;hmischen Komponisten.<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Eric%20Dolphy%3A%20The%20Drive%20%2F%2F%20Bedrich%20Smetana%3A%20Dalibor https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Feric-dolphy-the-drive-bedrich-smetana-dalibor%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Eric%20Dolphy%3A%20The%20Drive%20%2F%2F%20Bedrich%20Smetana%3A%20Dalibor https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Feric-dolphy-the-drive-bedrich-smetana-dalibor%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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CD 2, Take 1: &ldquo;The Drive&rdquo; ganz &auml;hnlich wie Coltranes Giant Steps, abfallende Akkordbrechungen. Nicht ganz so harmonisch kompliziert, daf&uuml;r im Chrous mit kontrapunktischen Elementen, chromatische Linie in den Nebenstimmen. Wirkt dadurch sofort sehr substanzhaltig und erheischt Aufmerksamkeit. Das Bassist [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Eric%20Dolphy%3A%20The%20Drive%20%2F%2F%20Bedrich%20Smetana%3A%20Dalibor https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Feric-dolphy-the-drive-bedrich-smetana-dalibor%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":2921,"url":"https:\/\/www.kritische-masse.de\/logbuch\/schumann-goebbels-dolphy-und-mozart\/","url_meta":{"origin":347,"position":0},"title":"Schumann, Goebbels, Dolphy und Mozart","author":"huflaikhan","date":"24. Oktober 2009","format":false,"excerpt":"Heute ein anderer Ritt, nachdem gestern noch das Balanescu Quartett mit seiner Kraftwerk-CD zum Abwaschen nachlegen musste. Gut der Zender kann mit der vierten Sinfonie von Schumann schon ganz sch\u00f6n langweilen und die Musik ist wirklich richtig nervend. Wenn einem nichts mehr einf\u00e4llt, wiederholt man sich einfach. Vivaldi kannte wenigstens\u2026","rel":"","context":"In \"Alfred Harth\"","block_context":{"text":"Alfred Harth","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/alfredharth\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":9845,"url":"https:\/\/www.kritische-masse.de\/logbuch\/vaterland-aus-blasinstrumenten-und-einem-akkordeon\/","url_meta":{"origin":347,"position":1},"title":"Vaterland aus Blasinstrumenten und einem Akkordeon","author":"der huflaikhan","date":"25. Juni 2024","format":false,"excerpt":"Datenschutz ist eine Zier, aber es gilt auch Unwissenheit mit Wissenschaft gepaart: Ungl\u00fcck mit Macht. Eric Dolphy heute im Radio. Wie man vom Musikinstrumenten- zum Fahrradbau kommt.","rel":"","context":"In &quot;Angriff auf \u2026&quot;","block_context":{"text":"Angriff auf \u2026","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/angriffauf\/"},"img":{"alt_text":"Ich prangere das an. Neuko\u0308lln. Berlin. Warum \u00a9 MH","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/06\/Ich-prangere-das-an.-Neukoelln.-Berlin.-Warum_-%C2%A9-MH.jpg?fit=1080%2C1080&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/06\/Ich-prangere-das-an.-Neukoelln.-Berlin.-Warum_-%C2%A9-MH.jpg?fit=1080%2C1080&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/06\/Ich-prangere-das-an.-Neukoelln.-Berlin.-Warum_-%C2%A9-MH.jpg?fit=1080%2C1080&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/06\/Ich-prangere-das-an.-Neukoelln.-Berlin.-Warum_-%C2%A9-MH.jpg?fit=1080%2C1080&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/06\/Ich-prangere-das-an.-Neukoelln.-Berlin.-Warum_-%C2%A9-MH.jpg?fit=1080%2C1080&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":297,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003-topps-und-flopps\/","url_meta":{"origin":347,"position":2},"title":"2003 in Topps und Flopps","author":"huflaikhan","date":"20. Dezember 2003","format":false,"excerpt":"Es geh\u00f6rt sich nicht und doch passierts jetzt zum ersten Mal. Eine Liste mit sch\u00f6nen Dingen, die sich im letzten Jahr ergeben haben. Bei Nennungen handelt es sich daher nicht zwingend um Neuheiten. Musik Corinne Douarre: Virages Bernd Begemann: Rezession Baby! the broken beats: the weather beats the rhythm Iannis\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003-topps-und-flopps\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":343,"url":"https:\/\/www.kritische-masse.de\/logbuch\/giant-steps\/","url_meta":{"origin":347,"position":3},"title":"Giant Steps","author":"huflaikhan","date":"21. Februar 2004","format":false,"excerpt":"hei\u00dft ein St\u00fcck von John Coltrane aus dem Jahr 1959. Michal Levy, ein israelischer Student, hat dazu ein kongenialen Film gemacht, den man sich auf einer Seite von Illegal-Art wegsaugen kann. 110 MB als MPEG2 f\u00fcr 2 Minuten und ein bisserl, die es aber in sich haben. Musik, visualisiert auf\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8497,"url":"https:\/\/www.kritische-masse.de\/logbuch\/gigantische-schritte-1920-1960-2000\/","url_meta":{"origin":347,"position":4},"title":"Gigantische Schritte (1920 \/ 1960 \/ 2000)","author":"der huflaikhan","date":"9. Oktober 2014","format":false,"excerpt":"L\u00e4ngst ein Klassiker, kennt diese Animation von Michal Levy trotzdem wahrscheinlich nicht jeder. Muss man ja auch nicht. Der Film ist von 2002 und selten zu sehen (hier aus dem Cache bei Google in hoher Qualit\u00e4t). Denn bald nach Ver\u00f6ffentlichung gab es offenbar Probleme mit den Rechten an der Musik.\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1560,"url":"https:\/\/www.kritische-masse.de\/logbuch\/gratis-heisst-nicht-umsonst\/","url_meta":{"origin":347,"position":5},"title":"Gratis [hei\u00dft nicht umsonst]","author":"huflaikhan","date":"23. Dezember 2005","format":false,"excerpt":"Langsam muss man an Weihnachtsgeschenke denken, wenn man denn jemand kennt, dem man solche Freude bereiten will. Passend flattert ein Propekt herein, eine Gratis-CD versprechend. Nein, keine gew\u00f6hnliche CD, eine Gold-Collection-CD soll es denn sein. Und nochmals nein, es handelt sich nicht um ein neues CD-Format in dieser formatgierigen Welt.\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/gratis-heisst-nicht-umsonst\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/347","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=347"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/347\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=347"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=347"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}