■《纽约客》（The New Yorker）称提芙特．梅瑞特为「承载值得骄傲的乡村乐灵魂，延续著Dusty Springfield与Bobbie Gentry的艺术传统」
由古典钢琴家西蒙．黛娜史坦（Simon Dinnerstein）与歌手兼歌曲创作者提芙特．梅瑞特（Tift Merritt），两个不同音乐领域的音乐家联手合作，不仅探索了一般人孰悉的音乐领域，同时也为乐迷拓展了崭新的天地。
「夜之歌」主要收录全新创作的乐曲，包括了Brad Mehldau所写的”I Shall Weep at Night”与Patty Griffin所写的”Night”二重奏，以及提芙特．梅瑞特所创作的”Only in Songs”、 ”Still Not Home”、 ”Colors”、以及”Feel of the World”。另外还收录古典音乐的改编曲，包括舒伯特的艺术歌曲「夜与梦」（Nacht und Traume），以及巴哈的B小调「前奏曲」。另外还包含了世界首度录音，由的Daniel Felsenfeld创作的”The Cohen Variations”，以及由西蒙．黛娜史坦委託，根据她最喜爱的歌曲之一，Leonard Cohen创作的”Suzanne”所作的钢琴独奏曲。
被华盛顿邮报誉为「具有真实表现力的艺术家」的西蒙．黛娜史坦（Simon Dinnerstein）毕业於茱莉亚音乐院，师从钢琴名家彼得．塞尔金(Peter Serkin)。先前在Sony classical发行过两张颇受好评的钢琴演奏专辑。《纽约客》（The New Yorker）称提芙特．梅瑞特为「承载值得骄傲的乡村乐灵魂，延续著Dusty Springfield与Bobbie Gentry的艺术传统」。西蒙．黛娜史坦与提芙特．梅瑞特的合作，激盪出别致的音乐，风格清新令人耳目一新，许多细腻的音乐感触，只有女性音乐家才有办法婉转呈现。动人的音乐无须定义风格，邀您一起感受女性音乐家独有的音韵魅力。
夜之歌 / 西蒙．黛娜史坦(钢琴) / 提芙特．梅瑞特(演唱) Simone
Dinnerstein & Tift / Night
进口专辑 / CD / 1 片装
Label: Sony Classical – 88691976572
Format: CD, Album
Genre: Classical, Folk, World, & Country
Format: CD, Album
Genre: Classical, Folk, World, & Country
Review by Steve Leggett [-]
This is an unusual album on a lot of levels, born of the unlikely pairing of North Carolina folksinger and songwriter Tift Merritt (whose father taught her to play by ear) and Brooklyn classical pianist Simone Dinnerstein (Juilliard-trained), and given that it's a song cycle or symphony of sorts dedicated to night, and the deepest part of night at that, it would seem to be the perfect recipe for dreary pretension and artful pontifications. Well, Night isn't that, and it isn't exactly a folk album, either, or a classical one, but actually approaches a kind of sparse, airy pop, supported by only Dinnerstein's piano and Merritt's vocals, acoustic guitar, and harmonica. It definitely has a late-night feel, and it would almost be some kind of heresy to play this album on a bright, shiny day, unless it was right before the dawn of it. But somehow there's a brightness here, too, of the it's-always-darkest-before-the-dawn variety, and that's called hope, that after night comes day, that after darkness comes light. The album opens with a fine Merritt composition, the beautiful and wise "Only in Songs," which glides along on Merritt's unhurried Emmylou Harris-like voice, and one begins to realize that maybe this album isn't about night so much as it's nocturnal, full of a kind of cautious hush that still yearns and leans forward for the light. Other highlights on an album that is really all of a piece include a moving version of the traditional folk song "Wayfaring Stranger," Dinnerstein's "The Cohen Variations," which is built around variations on Leonard Cohen's song "Suzanne," and the set closer, a rather surprising cover of Johnny Nash's "I Can See Clearly Now," which leads the whole cycle out into the clearer light of daybreak. Somehow Night works as a treatise on its subject, a metaphor for traveling through darkness into the light, and a pleasing if low-key hymn to daily re-emergence and redemption. An unlikely pairing of artists leads here to an uncommon focus, and one gets the feeling that the duo might not be done. Surely an album called Day is called for to complete the cycle.
Release Date March 18, 2013
Genre Pop/Rock Classical
Styles Alternative Singer/Songwriter Alternative/Indie Rock Keyboard
Adult Alternative Pop/Rock Chamber Music Americana Classical
Recording Date June 6, 2012 - June 11, 2012
Tift Merritt and Simone Dinnerstein: Night
By Steve Horowitz 7 May 2013
Going gently into night
There was a time during the sixties when progressive rockers mixed all sorts of different musical styles together. Some of the earliest of these experiments connected classical music to rock and roll to create art rock, such as the Moody Blues’s Days of Future Passed.
Several of the best works combined a female voice with classical themes and instrumentation, such as Judy Collins’s Wildflowers and In My Life. By the ‘70s, no one though twice about adding a French Horn solo or a violin string section to a song or having a rock performer use a classical trope into his or her compositions.
So the combination of classical pianist Simone Dinnerstein and Americana artist Tift Merritt collaborating on a bunch of classical, country, folk, jazz, and rock songs does not seem radically new as much as fundamentally old. After all, the sixties were five decades ago. That doesn’t make this a bad record. Originality can be overrated. It just makes it a curiosity, like when the Flaming Lips covered Pink Floyd’s Dark Side of the Moon. No one expected Wayne Coyne’s band to be better than the Brits; but they did presume the results would be cooler.
Merritt and Dinnerstein may or may not be cool, but the music is purposely cold. The two musicians sing and play as if they were performing at a concert hall. For the most part, the music is quiet, which seems appropriate on Schubert’s “Night and Dreams” and Henry Purcell’s “Dido’s Lament” but odd on Merritt’s self-penned compositions like “Feel of the World”. Merritt keeps her voice in check while Dinnerstein provides a formal backdrop to the love song. The passionate lyrics are tamed by the presentation, even as the music builds to a somber crescendo. Nevertheless, there is something beautiful happening. The song may take a backseat to the musical constraints, but that is kind of the point. Repression leads to a more beneficent, slower gratification.
The two try and do the same on the famous Billie Holiday tune, “Don’t Explain”, but this experiment is less successful. Holiday already used restraint to show deep feelings, and classicizing the effort detracts from the overwhelming emotionalism of the song. Both Merritt and Dinnerstein seem to be out of their elements and do not bring anything fresh to the standard.
However, on the more folk oriented tracks such as “I Will Give My Love an Apple” the formalizing process gives dignity to more vernacular expressions. The same is true of Merritt’s take on the traditional “Wayfaring Stranger”. The slowly enunciated lyrics make the words seem more heartfelt. On the opposite side, Dinnerstein’s version of Leonard Cohen’s “Suzanne” (commissioned by Dinnerstein and written by Daniel Felsenfeld) called “The Cohen Variations” reveals the pianist’s ability to point out the complexity of the seemingly simple tune by playing over and around the notes to showcase the melody’s venturesome splendor. There are flowers to be found among the refuse of the music that at first seems more conversational than poetic.
As such, Night is a mixed bag. The four Tift Merritt originals sound like Mary Chapin Carpenter-lite because of the laid back presentations and the Brad Mehldau cut written for this collaboration (“I Weep at Night”) suffers from the same problem. The closest the two come to letting go is on the closing track, Johnny Nash’s “I Can See Clearly Now”. It’s a little too late and really doesn’t swing as much as it should. Their version of Patty Griffin’s “Night” distills the atmospherics of the whole disc into something more profound. However, it can be difficult to listen to because it is so dark. What else would one expect from a song and record called Night?
Pianist Simone Dinnerstein and singer-songwriter Tift Merritt join forces for the first time in Night, a unique collaboration uniting classical, folk, and rock worlds, exploring common terrain and uncovering new musical landscapes.
Though Simone Dinnerstein (a Juilliard-trained classical pianist from Brooklyn) and Tift Merritt (a singer-songwriter from North Carolina whose father taught her to play by ear) could not come from more different musical backgrounds, when the two met they immediately realized that their passion for music and performance was kindred, if not the same. Night features new songs written especially for the duo by Brad Mehldau (I Shall Weep at Night) and Patty Griffin (Night), as well as Tift Merritts own songs (Only in Songs, Still Not Home, Colors, Feel of the World), and classical selections (an arrangement of Schuberts Night and Dreams, Bachs Prelude in B minor). The album also includes the world premiere recording of The Cohen Variations by Daniel Felsenfeld, a solo piano piece commissioned by Dinnerstein based on one of her favorite songs, Leonard Cohens Suzanne.
Executive Producer – Tessa Fanelsa
Guitar, Vocals, Harmonica – Tift Merritt
Piano – Simone Dinnerstein
01. Only In Songs [03:42]
02. Night And Dreams [03:53]
03. Don't Explain [04:12]
04. Dido's Lament [03:02]
05. I Shall Weep At Night [04:49]
06. Wayfaring Stranger [03:38]
07. Prelude In B Minor From The Clavierbuchlein [01:33]
08. Still Not Home [03:15]
09. I Will Give My Love An Apple [01:46]
10. Colors [03:31]
11. The Cohen Variations [06:42]
12. Night [03:02]
13. Feel Of The World [04:34]
14. I Can See Clearly Now [03:24]
15. In The Evening (From Fantasiestucke, Op. 12) [04:04]
16. Trouble [03:59]
17. Apres Un Reve [02:10]