National Art Treasure Box,

das Konzept:

English Version

French Version

Die Überlegung war, Musik ist ein Schatz, etwas Wertvolles, und wir sollten unsere Schätze an einem besonderen Ort aufbewahren. Die Treasure Box hat die gleichen Maße wie das Cover einer Vinyl Langspielplatte, sie kombiniert die Größe und Möglichkeiten der Gestaltung des älteren Formats mit der Soundqualität moderner CDs. Verschiedene Künstler haben die ersten Treasure Boxes entworfen, jede Box ist ein handgemachtes Unikat. Die erste Ausgabe hat den Titel: Celestrial Communicated Orchestra at Uncool Festival 2001 playing "Resolution 57".

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treasure box review in new penguin guide to jazz on c/d-- VOLUME 7

from celestrial communcations orchestra entry (a separate entry from the
silva entry), page 279:

(****)
"these remarkable albums were recorded over two concerts in may 2001 at the
uncool festival in poschiavo, switzerland. the odd title refers to a 1987
house of representatives resolution introduced by congressman john conyers
jr of michigan 'respecting the designation of jazz as a rare & valuable
national american treasure.' the text of the resolution is performed on
both concerts by ijeoma thomas & establishes a utopian context for these
large--scale improvisations.
silva assembled his orchestra well before the concerts to allow rehearsal
time as well as personal space for the members to interact. a measure of
the chemistry so developed is the 26 minute 'soon' on disc four of the
series; this was a spontaneously composed & harmonized composition, & the
only non-improvised element of these performances. all the rest were led &
conducted live by silva, who also played synthesizer. his gestures & body
movements direct every parameter of the music: pitch, dynamics, tempo, & the
density of sound. suffice it to say that with so many players of this
temperament, the sound is very dense indeed. these, though, are much better
representations of the orchestra's potential than past recordings. silva
effectively disbanded the CCO in 1989 to concentrate on other projects. his
eremite recordings with the sound visions orchestra (see under silva entry)
was a return to this kind of work & clearly reawakened the bassist's
interest in such projects.
the ensemble includes musicians who have been closely associated with the
leader in other formations: bobby few was a member of the center of the
world (a quartet which also numbered frank wright & muhammad ali); johannes
bauer had played with the bassist in traditions; kidd jordan knew him from
the TTT ensemble; marshall allen was a friend from sun ra days. raphe malik
was ill & was replaced by itaru oki. such close associations pay dividends.
describing the music is almost impossible. so large are the sections of
HR57 in its various incarnations that any generalization is impossible, but
the sound has a strong, almost primitive quality which perhaps recalls
silva's association with albert ayler in his later days. the pun on
'celestial' & 'terrestrial' in the ensemble's name is telling; this is not
entirely earthly fare, but it is not floating 'space' music either.
however, just as sun ra learned a great deal fromhis association with
fletcher henderson, so silva isn't so very far from the great bandleaders of
a later generation. if once can image the albert ayler group guesting with
the stan kenton band, that isn't very far from reality. we have found these
fascinating sets aurally 'difficult,' sometimes frustrating, but packed with
moments of majestic power & even a certain frail beauty. as an assertion of
jazz's authority & position in american culture, these four hours of music
are unequalled, though some may find the whole package a hefty outlay.
an astonishingly beautiful object, even leaving aside the music inside, each
copy of the strictly limited treasure box is unique. all 383 copies are
hand-painted, making them instantly collectable artifacts as well as
documents of some of the most powerful free music around. --cook &
morton, penguin guide to jazz on c/d