Peter Lipa - Moanin' (Opus 1984)
For more than one decade the singer Peter Lipa belongs to
the prominent interpreters of the Czechoslovak jazz. The first wide
acknowledgement he achieved with the group Blues Five - one of the most
noteworthy bands of the second half of the sixties, together with which
he gave a great number of successful concerts. The essential part of
their repertory was blues to which Peter Lipa has remained faithful
until today.
The significant chapter of Peter Lipa's career were years of the collaboration with the Revival Jazz Band. Here he has the possibility to try out - and very successfully - the feeling of swing, loose phrasing and the sense of collective improvisation.
Their joint successful campaign culminated with concert performances all over Europe. Peter Lipa's effort to master the whole jazz scale universally has made him cooperate also with musicians oriented to more contemporary jazz streams. He performs with a whole range of outstandind representatives of our jazz (with G. Jonaš, L. Gerhardt, E. Viklicky, VV-system or with the Czechoslovak quintet). But not only with ours. For example, being the guest of Polish jazz bands P. Lipa made several concert tours of Poland (Spotkania wokalisatow jazzowych, Jazz Jantar, Jazz Jamboree). Continuous improvement of the quality of his singing and intensive concert activity have given him also official recognition (very good position achieved in the category of European jazz singers in the inquiery of the journal Jazz forum - lastly, in the year 1982, the fourth place -, the Tip of the journal Melodie 1980).
The year 1980 was significant for P. Lipa: the two new bands came into being, both important for him. Together with the guitar-player Luboš Andršt he founded the "federal" Lipa-Andršt Blues Band and with the pianist Peter Breiner the Peter Lipa Combo.
The Blues Band - it is first of all the return to old loves, to tried "twelves" and to the simple but effective straightforwardness. The Blues Band - it's also collective, where the whole must "plug", where the collective playing gives joy.
The Combo - it is something different. Here Peter Lipa has much larger space as a soloist as well as possibilities to experiment not only with his own expression but also with genre orientation. In the person of the pianist and composer Peter Breiner he has found the spontaneous co-player for the realisation of his projects.
If we've spoken about the realisation of the projects, it's necessary to mention also another feature of Peter Lipa - his jazz universalism. He is for example the founder and indefatigable organisator of Bratislava Jazz Days, which have already become a significant undertaking. He is simply everywhere where the word jazz is at least uttered.
Peter Lipa's first profile records can be compared to writer's debut. He makes the best of his old loves, completes and, a little bit, also balances. Therefore we can found here compositions of authors very remote to one another, as far as the genre is concerned. But they are connected by different Lipa's interests and above all by his singing. He synthetizes expressive elements of Negro singing and knows how to "strike off" all crystallized jazz streams.
Peter Lipa - as every right jazz singer - affirms that he doesn't sing but plays. He plays the oldest musical instrument - human voice. Perhaps he is right. Because in his case the old principle of music instruments - the older the better - is true.
Recorded in studio May 1983
A1 Here comes the night
A2 Got to get you into my life
A3 Rain
A4 Tell all the world about you
A5 One note samba
A6 Me and my friend miss lonelyhearts
B1 Dead end street
B2 My album
B3 Night train
B4 Nature boy
B5 Moanin'
For more than one decade the singer Peter Lipa belongs to
the prominent interpreters of the Czechoslovak jazz. The first wide
acknowledgement he achieved with the group Blues Five - one of the most
noteworthy bands of the second half of the sixties, together with which
he gave a great number of successful concerts. The essential part of
their repertory was blues to which Peter Lipa has remained faithful
until today.The significant chapter of Peter Lipa's career were years of the collaboration with the Revival Jazz Band. Here he has the possibility to try out - and very successfully - the feeling of swing, loose phrasing and the sense of collective improvisation.
Their joint successful campaign culminated with concert performances all over Europe. Peter Lipa's effort to master the whole jazz scale universally has made him cooperate also with musicians oriented to more contemporary jazz streams. He performs with a whole range of outstandind representatives of our jazz (with G. Jonaš, L. Gerhardt, E. Viklicky, VV-system or with the Czechoslovak quintet). But not only with ours. For example, being the guest of Polish jazz bands P. Lipa made several concert tours of Poland (Spotkania wokalisatow jazzowych, Jazz Jantar, Jazz Jamboree). Continuous improvement of the quality of his singing and intensive concert activity have given him also official recognition (very good position achieved in the category of European jazz singers in the inquiery of the journal Jazz forum - lastly, in the year 1982, the fourth place -, the Tip of the journal Melodie 1980).
The year 1980 was significant for P. Lipa: the two new bands came into being, both important for him. Together with the guitar-player Luboš Andršt he founded the "federal" Lipa-Andršt Blues Band and with the pianist Peter Breiner the Peter Lipa Combo.The Blues Band - it is first of all the return to old loves, to tried "twelves" and to the simple but effective straightforwardness. The Blues Band - it's also collective, where the whole must "plug", where the collective playing gives joy.
The Combo - it is something different. Here Peter Lipa has much larger space as a soloist as well as possibilities to experiment not only with his own expression but also with genre orientation. In the person of the pianist and composer Peter Breiner he has found the spontaneous co-player for the realisation of his projects.
If we've spoken about the realisation of the projects, it's necessary to mention also another feature of Peter Lipa - his jazz universalism. He is for example the founder and indefatigable organisator of Bratislava Jazz Days, which have already become a significant undertaking. He is simply everywhere where the word jazz is at least uttered.
Peter Lipa's first profile records can be compared to writer's debut. He makes the best of his old loves, completes and, a little bit, also balances. Therefore we can found here compositions of authors very remote to one another, as far as the genre is concerned. But they are connected by different Lipa's interests and above all by his singing. He synthetizes expressive elements of Negro singing and knows how to "strike off" all crystallized jazz streams.
Peter Lipa - as every right jazz singer - affirms that he doesn't sing but plays. He plays the oldest musical instrument - human voice. Perhaps he is right. Because in his case the old principle of music instruments - the older the better - is true. Recorded in studio May 1983
A1 Here comes the night
A2 Got to get you into my life
A3 Rain
A4 Tell all the world about you
A5 One note samba
A6 Me and my friend miss lonelyhearts
B1 Dead end street
B2 My album
B3 Night train
B4 Nature boy
B5 Moanin'
