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LA TORRE | J'AI ESSAYE [No Comprende]

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Release 113 for Stripped Recordings comes out of London and producer La Torre, who appeared on Stripped Digital at the end of 2011 with his release "The Power". Here he presents his second offering "J'ai Essaye (No Comprende)" which features his Sasha supported Original Mix plus remixes from Richie Hawtin's tip for bigger things Dexter Ford & the aforementioned Sasha's tip for Producer of 2013 ThermalBear.

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Je vais essayer de vous faire un petit compte rendu de la conférence qui a duré deux bonnes heures!Avant de commencer, je vais faire un petit rappel sur ce qu’est le FVEP.

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So where does this new-found freedom come from? And is it something that Bach would have approved of? First of all, I think it is important to say that it is not something I did consciously. It developed over time and was brought on by many things: my exposure to the French harpsichord repertoire (Rameau and Couperin) in which rhythmic freedom is a necessity; my switch to Fazioli pianos whose luminous, powerful, and also ever so delicate sounds opened new worlds to me and allowed my imagination to take flight; my continued work on the Bach keyboard repertoire during which I never stopped learning; working with other like-minded musicians; listening to others who played Bach so straight that I wanted to scream; and, perhaps most of all, ten more years of life and all the emotions that come with it—a greater sense of joy and sorrow and ability to translate them into music.

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To celebrate the tour, Hyperion re-released that initial recording as a specially priced boxed set (). So you can imagine the surprise in the voice of Hyperion’s manager, Simon Perry, when I told him I wanted to record it again. ‘But why? It won so many accolades! How can I possibly sell another recording of it?’ I assured him that I played this music quite differently now, and since I was about to give so many performances, surely it would be the ideal time to have a new top-notch audio document of it. At first he agreed only if it were a ‘live’ recording, but that proved impossible to organize for various logistical reasons. In the end, I was delighted when he said I could go ahead with a studio session, this time in the renowned acoustic of the Jesus-Christus-Kirche in Berlin, and using my own Fazioli concert grand piano.

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