Night Sessions

Available in Audiophile 44.1kHz/24bit

Buy Album
Album Name Length Format Sample Rate Price
Night Sessions 1:12:20 $20.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 First Descent 1:17 44.1/24 Album only
2 Menino Jesus a Lappa 7:07 44.1/24 Album only
3 Recercar 1:13 $2.49 Buy
4 Can Vei La Lauzeta Mover 6:51 44.1/24 Album only
5 First Triage 6:58 44.1/24 Album only
6 Man In The Moon 7:30 44.1/24 Album only
7 Corpus Christi 2:54 44.1/24 Album only
8 Whistling In The Dark 5:24 44.1/24 Album only
9 Swart Mekerd Smethes 5:03 44.1/24 Album only
10 Fumeux Fume 3:23 $2.49 Buy
11 Hortus Ignotus 4:11 44.1/24 Album only
12 Mystery Play 3:40 44.1/24 Album only
13 I Sing Of A Maiden 3:57 44.1/24 Album only
14 Theoleptus 22 5:53 44.1/24 Album only
15 Second Descent 0:30 44.1/24 Album only
16 Second Triage 5:23 44.1/24 Album only
17 Prelude 1:06 44.1/24 Album only

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© ℗ 2013 ECM Records GmbH Under exclusive license to Decca Label Group, a Division of UMG Recordings, Inc.

From its inception, John Potter’s Dowland Project has drawn upon different musical traditions including those of ‘early music’ and improvisation. These “Night Sessions” emphasize the Project’s improvisational flexibility and resourcefulness, as the musicians create new music in the moment, sometimes with medieval poetry as inspirational reference and guide. There are also a number of ‘daytime’ pieces worked up. The oldest compositions are “Can Vei La Lauzeta Mover” – a love song by the 12th century troubadour Bernart de Ventadorn, and “Fumeux Fume” by the 14th century avant-gardist Solage. Two incarnations of the Dowland Project are heard here, the original band with Potter, Stephen Stubbs and John Surman joined by Barry Guy and Maya Homburger, and the revised line-up with Milos Valent on violin and viola.

Reviews
With this, its third mesmeric and magical album, the Dowland Project applies its modus operandi “ developing new realisations of early music through improvisation and experimental interaction “ to a selection of pieces from the early-13th to late-16th centuries. Purists may quibble, but the results are convincing and, more importantly, utterly compelling and ravishingly beautiful. - BBC Magazine