![\"IW2009_1\"](\"https:\/\/tomasliska.com\/assets\/uploads\/sites\/1372\/2022\/11\/iw2009-1.jpeg\" "\\"IW2009_1\\"")
\n\tAnimal Music 2009<\/p>\n
Basov\u00fd virtuos a excelentn\u00ed s\u00f3lista od sv\u00e9ho absolventsk\u00e9ho koncertu figuroval v \u0159ad\u011b v\u00fdznamn\u00fdch jazzov\u00fdch kapel nejmlad\u0161\u00ed generace a cel\u00e9 ty roky si z\u00e1rove\u0148 vytrvale psal do \u0161upl\u00edku lehk\u00e9 a ji\u017en\u00edm v\u00e1nkem jasn\u011b poznamenan\u00e9 p\u00edsni\u010dky, kter\u00fdm na albu vtiskli \u017eivot modern\u00ed bandoneonista, tedy hr\u00e1\u010d na knofl\u00edkovou tahac\u00ed harmoniku, Daniele di Bonaventura s kytaristou Davidem Dor\u016f\u017ekou. Di Bonaventura p\u0159ich\u00e1z\u00ed ze sv\u011bta v\u00e1\u017en\u00e9 hudby, a\u010d k tradici bandoneonu pro tango, jak ji v Argentin\u011b ur\u010dil legend\u00e1rn\u00ed Astor Piazzolla, m\u00e1 daleko. Co\u017e ide\u00e1ln\u011b souzn\u00ed s l\u00edbezn\u00fdm zvukem Davida Dor\u016f\u017eky, kter\u00fd na desce hraje p\u0159edev\u0161\u00edm na akustickou kytaru – vesele a lehce, bez bolestiv\u00e9ho a patrn\u011b bytostn\u00e9ho b\u00e1snick\u00e9ho sev\u0159en\u00ed, kter\u00e9 dominuje jeho vlastn\u00edm alb\u016fm.<\/p>\n
By\u0165 t\u0159eba v m\u00edstech, kde sah\u00e1 po elektrick\u00e9 kyta\u0159e se zkreslen\u00edm, zvukem vzd\u00e1len\u011b p\u0159ipom\u00edn\u00e1 tvorbu Ameri\u010dana Pata Methenyho z devades\u00e1t\u00fdch let. Li\u0161kova vyzr\u00e1l\u00e1 autorsk\u00e1 hudba m\u00eds\u00ed prvky modern\u00edho jazzu a komorn\u00ed hudby s ozv\u011bnami flamenca, lusobrazilsk\u00fdch v\u016fn\u00ed i vesel\u00e9 a tolik samoz\u0159ejm\u00e9 jihomo\u0159sk\u00e9 muziky. Nam\u00edsto s\u00f3lov\u00fdch exhibic p\u0159edkl\u00e1d\u00e1 hudbu pr\u016fzra\u010dn\u011b \u010distou i jasn\u011b \u010ditelnou – trio hudebn\u00edk\u016f jako by ji ze sebe jen nechalo plynout.<\/p>\n
Invisible World je mimo\u0159\u00e1dn\u00fdm albem v kontextu vydavatelstv\u00ed Animal Music a z\u00e1rove\u0148 nahr\u00e1vkou s potenci\u00e1lem na to, aby oslovila i hudebn\u011b vn\u00edmav\u00e9, ale jazzem p\u0159esto nedot\u010den\u00e9 publikum. Tom\u00e1\u0161 Li\u0161ka Invisible World Animal Music, 2009. http:\/\/hn.ihned.cz\/c1-40062430-liskova-jazzova-deska-patri-k-tem-nejlepsim<\/a><\/p><\/blockquote>\n\tOta Svoboda – Tutti Magaz\u00edn<\/strong>
\n15.12.2009\nNov\u00e1 deska vydavatelstv\u00ed Animal Music, debut kontrabasisty Tom\u00e1\u0161e Li\u0161ky, se podle n\u00e1zvu zab\u00fdv\u00e1 sv\u011btem neviditeln\u00fdm – Invisible World. Excelentn\u00ed obal alba, a\u017e p\u0159esahuj\u00edc\u00ed parametry z\u0159ejm\u011b vzorov\u00e9ho ECM, odkazuje na sv\u011bt mikroskopick\u00fd. V\u0161ech t\u011bch organism\u016f, kter\u00e9 ob\u00fdvaj\u00ed zem\u011bkouli bez ohledu na to, \u017ee ka\u017ed\u00fdm krokem jich, my velc\u00ed, rozdrt\u00edme tis\u00edce. Okam\u017eit\u011b povstanou nov\u00ed bojovn\u00edci. J<\/p>\n
e ostatn\u011b z\u0159ejm\u00e9, \u017ee\u00a0nastupuj\u00edc\u00ed osobnost \u010desk\u00e9 sc\u00e9ny,\u00a0Tom\u00e1\u0161 Li\u0161ka v Amazonsk\u00fdch pralesech musel b\u00fdt. Aspo\u0148 duchovn\u011b. Proto\u017ee jeho novinka, to je \u010dist\u00e1 latina. Dovoluju si ho osobn\u011b p\u0159irovnat k d\u00e1vn\u00e9mu Egbertu Gismontimu. Ale na\u0161ly by se ur\u010dit\u011b i dal\u0161\u00ed vlivy. Ov\u0161em triem, kter\u00e9 dopl\u0148uje st\u00e1le proslulej\u0161\u00ed a lep\u0161\u00ed David Dor\u016f\u017eka na kytaru a u n\u00e1s nezn\u00e1m\u00fd Ital Daniele Di Bonaventura, kter\u00fd popotahuje bandoneon, pohybuj\u00ed p\u0159edev\u0161\u00edm n\u00e1lady zcela patrn\u011b vlastn\u00ed. P\u0159i k\u0159tu v Jazz Docku bylo z\u0159ejm\u00e9, \u017ee se tou muzikou bav\u00ed. Hudbou, kter\u00e1 je tak p\u0159\u00edjemn\u00e1 a p\u0159itom nevlezl\u00e1, a\u017e mraz\u00ed. A\u010dkoliv vlastn\u011b h\u0159eje.<\/p>\n
A kdy\u017e se v jedn\u00e9 v\u011bci p\u0159id\u00e1 Marta T\u00f6pferov\u00e1, zn\u00e1m\u00e1 sv\u00fdm latinsk\u00fdm sm\u011b\u0159ov\u00e1n\u00edm, je v\u011bc dokon\u010dena. Neviditeln\u00fd sv\u011bt Tom\u00e1\u0161e Li\u0161ky je naprosto ojedin\u011bl\u00fdm v\u00fdk\u0159ikem v \u010desk\u00e9m jazzu. Sm\u011brovkou k prochv\u011bn\u00ed, jak\u00e9 jsme snad u na\u0161ich muzikant\u016f je\u0161t\u011b neza\u017eili. Snad jen Zuzana Navarov\u00e1 dovedla navodit podobnou atmosf\u00e9ru. Zapome\u0148te na studenou Evropu, budocnost je v oteplen\u00ed!<\/p>\n
\nhttp:\/\/www.tuttimagazin.cz\/recenze\/cd-a-dvd\/toma-lika-invisible-world.html\n<\/figure>\n\t Ond\u0159ej Konr\u00e1d – Lidov\u00e9 noviny Jazz kontinent\u00e1ln\u00edch parametr\u016f <\/strong>21.12.2009<\/p>\n
A\u010dkoliv to m\u00e9dia obvykle pom\u00edjej\u00ed, zformovala se u n\u00e1s v posledn\u00ed dek\u00e1d\u011b nov\u00e1 jazzov\u00e1 generace, prol\u00ednaj\u00edc\u00ed se i s elitou st\u0159edn\u00edho v\u011bku. Ned\u00e1vn\u00e9 zalo\u017een\u00ed VO\u0160 p\u0159i Je\u017ekov\u011b konzervato\u0159i, prv\u00e9 v\u00fdhradn\u011b jazzov\u00e9 speci\u00e1lky, nese ovoce: vzd\u011bl\u00e1n\u00edm, technickou pr\u016fpravou i invenc\u00ed jsou absolventi na \u00farovni, jakou nepamatujeme a kter\u00e1 m\u00e1 kontinent\u00e1ln\u00ed parametry. O alba mlad\u00fdch jazzman\u016f se nejv\u00edc star\u00e1 zna\u010dka Animal Music. Po leto\u0161n\u00edch skv\u011bl\u00fdch titulech Beaty Hlavenkov\u00e9 (Joy For Joel) a Jarom\u00edra Honz\u00e1ka (Little Things) p\u0159i\u0161la na sklonku roku se dv\u011bma \u00factyhodn\u00fdmi debuty.<\/p>\n
CD Speak Slowly je d\u00edtkem Infinite Quintetu, do n\u011bho\u017e \u010dty\u0159i \u201emla\u010fo\u0161i” pozvali zku\u0161en\u011bj\u0161\u00edho kontrabasistu Petra Dvorsk\u00e9ho, jen\u017e se nikdy nerozpakoval p\u0159ed ohled\u00e1v\u00e1n\u00edm nov\u00fdch ter\u00e9n\u016f. A o to bezpochyby jde trumpetistovi Miroslavu Hloucalovi, saxofonistovi Petru Kalfusovi, pianistovi Viliamu B\u00e9re\u0161ovi a buben\u00edku Martinu Nov\u00e1kovi. Jejich prost\u0159edky jsou ryze jazzov\u00e9, vztahuj\u00edc\u00ed se k postcoltraneovsk\u00e9mu sm\u011b\u0159ov\u00e1n\u00ed. Muzika v klasick\u00e9m kvintetn\u00edm obsazen\u00ed zachov\u00e1v\u00e1 zna\u010dn\u00fd prostor pro improvizace, kter\u00e9 se nen\u00e1padn\u011b prol\u00ednaj\u00ed s pevn\u011b vypsan\u00fdmi pas\u00e1\u017eemi trubky a alt- i sopr\u00e1nsaxofonu. Ty zase koresponduj\u00ed se z\u00e1kladn\u00edmi t\u00e9maty a vynal\u00e9zav\u00fdmi figurami rytmiky. Kdo zat\u00edm nezaznamenal, \u017ee se v Hloucalovi zjevil po del\u0161\u00ed dob\u011b brilantn\u00ed \u010desk\u00fd trumpetista, nav\u00edc autorsky plodn\u00fd, bude Speak Slowly zasko\u010den. Suver\u00e9nn\u00edmu hr\u00e1\u010di ov\u0161em kolegov\u00e9 zdaleka jen nesekunduj\u00ed a kapelu je t\u0159eba br\u00e1t coby rovnocenn\u00fd kolektiv. Pevn\u00e9 a z\u00e1rove\u0148 pru\u017en\u00e9, aran\u017e\u00e9rsky domy\u0161len\u00e9 spodky nahr\u00e1vek tvo\u0159\u00ed se s\u00f3lov\u00fdmi plochami ned\u011blitelnou jednotu.<\/p>\n
Zcela odjinud jde na v\u011bc vyhled\u00e1van\u00fd kontrabasista Tom\u00e1\u0161 Li\u0161ka, kter\u00fd vytvo\u0159il desku Invisible World s kytaristou Davidem Dor\u016f\u017ekou a italsk\u00fdm hr\u00e1\u010dem na bandoneon jm\u00e9nem Daniele Di Bonaventura. P\u0159i jej\u00edm poslechu si \u010dlov\u011bk p\u0159ipomene, jak si p\u0159ed \u010dtvrtstolet\u00edm \u0159\u00edkal nad Pat Metheny Group, \u017ee k tomuhle by m\u011bl n\u011bkdo nato\u010dit film. V Li\u0161kov\u011b p\u0159\u00edpad\u011b lze dodat: anebo vytvo\u0159it divadeln\u00ed p\u0159edstaven\u00ed.<\/p>\n
On s\u00e1m je p\u0159itom sta\u017een\u00fd do pozad\u00ed a jeho skladbami, prodchnut\u00fdmi latinsk\u00fdm duchem, hrav\u011b bloumaj\u00ed spoluhr\u00e1\u010di (plus zp\u011bva\u010dka Marta Topferov\u00e1 v Tierra de mis padres). Dor\u016f\u017eka, tentokr\u00e1t t\u00e9m\u011b\u0159 v\u00fdhradn\u011b akustick\u00fd, ukazuje, jak mu takov\u00e9 k\u0159ehk\u00e9 atmosf\u00e9ry vyhovuj\u00ed, a Bonaventura je v nich jako doma. Deset Li\u0161kov\u00fdch v\u011bc\u00ed m\u00e1 siln\u00e9 melodie, kolem nich\u017e mohou hr\u00e1\u010di krou\u017eit jako pt\u00e1ci ve v\u011btrn\u00fdch v\u00edrech, ob\u010das k\u0159\u00eddly v\u00fdrazn\u011b zam\u00e1vaj\u00ed, jindy jen elegantn\u011b placht\u00ed. M\u016f\u017ee to vypadat, jako by na nosn\u00e1 t\u00e9mata trio uvoln\u011bn\u011b improvizovalo, tak lehce muzika p\u016fsob\u00ed. Jde jen o zd\u00e1n\u00ed, ale pr\u00e1v\u011b v tom je zna\u010dn\u00e9 kouzlo p\u0159ekvapiv\u00e9 desky…<\/p>\n
\nhttp:\/\/www.lidovky.cz\/jazz-kontinentalnich-parametru-dac-\/ln_noviny.asp?c=A091221_000036_ln_noviny_sko&klic=234726&mes=091221_0\n<\/figure>\n\tLubom\u00edr Dor\u016f\u017eka – iDnes.cz<\/strong>
\nP\u00edsni\u010dky latinsk\u00e9ho koloritu: poveden\u00fd debut jazzov\u00e9ho basisty Li\u0161ky<\/strong>
\n3.\u00a0prosince\u00a02009\nInvisible world, neviditeln\u00fd sv\u011bt, je pr\u00fd n\u011bco, co ka\u017ed\u00fd z n\u00e1s nos\u00ed v sob\u011b. To tvrd\u00ed Tom\u00e1\u0161 Li\u0161ka (1979), basista ov\u011bn\u010den\u00fd tituly z mezin\u00e1rodn\u00ed sout\u011b\u017ee ve \u0161pan\u011blsk\u00e9m Getxo a na mezin\u00e1rodn\u00edm workshopu v polsk\u00e9m Lesznu.<\/p>\n
Krom\u011b toho koncertoval v Bulharsku, ve Francii, v It\u00e1lii, Belgii, Rusku, v Jihoafrick\u00e9 republice, Maroku, ve \u0160pan\u011blsku, v N\u011bmecku \u010di Rakousku. Doma spolupracoval nap\u0159\u00edklad se zp\u011bva\u010dkou Yvonne Sanchezovou, s kytaristou a komponistou Rudym Linkou, se zp\u011bva\u010dkou Janou Koubkovou, s klav\u00edristou Najponkem nebo se skupinou Points. A\u017e dosud v\u0161ak nest\u00e1l v \u010dele vlastn\u00edho souboru. D\u00edky albu Invisible World – vy\u0161lo pod hlavi\u010dkou Tom\u00e1\u0161 Li\u0161ka Trio u firmy Animal Music – to ji\u017e neplat\u00ed.<\/p>\n
Ta nahr\u00e1vka nadto je Li\u0161kovou autorskou premi\u00e9rou. Album zapl\u0148uje deset jeho vlastn\u00edch skladeb. Jako partnery pro interpretaci si vybral kytaristu Davida Dor\u016f\u017eku (1980), v jeho\u017e triu rovn\u011b\u017e hraje, a italsk\u00e9ho bandoneonistu (pozn. red. – bandoneon je druh knofl\u00edkov\u00e9 tahac\u00ed harmoniky) <\/em>Danielleho di Bonaventuru (1966). Na toho narazil na albu kontrabasisty Miroslava Vitou\u0161e a poznal jej coby zku\u0161en\u00e9ho hr\u00e1\u010de, vzd\u011blan\u00e9ho v klasice a otev\u0159en\u00e9ho nejr\u016fzn\u011bj\u0161\u00edm \u017e\u00e1nr\u016fm. Poslal mu demonahr\u00e1vku, nato\u010denou doma v duetu s Davidem Dor\u016f\u017ekou (pozn. red. – vnuk Lubom\u00edra Dor\u016f\u017eky,\u00a0autora t\u00e9to recenze).<\/em> Bonaventurovy se zal\u00edbila osobit\u00e1 kombinace kontrabasu a klasick\u00e9, v\u00fdlu\u010dn\u011b akustick\u00e9, kytary a p\u0159ijel k nahr\u00e1v\u00e1n\u00ed.<\/p>\n
Paleta n\u00e1lad:<\/p>\n
Li\u0161kovy skladby maj\u00ed charakter melodicky v\u00fdrazn\u00fdch p\u00edsni\u010dek m\u00edrn\u011b latinsk\u00e9ho koloritu. Pozoruhodn\u00e9 je v\u0161ak p\u0159edev\u0161\u00edm jejich zpracov\u00e1n\u00ed. Na tuzemsk\u00fdch nahr\u00e1vk\u00e1ch nen\u00ed \u010dasto ke sly\u0161en\u00ed tak dokonal\u00e9, a p\u0159itom hrav\u00e9 a vynal\u00e9zav\u00e9 prostupov\u00e1n\u00ed t\u0159\u00ed hlas\u016f. Li\u0161k\u016fv kontrabas p\u0159ej\u00edm\u00e1 motivy Bonaventurova bandoneonu a rozv\u00e1d\u00ed je d\u00e1le, kytara to v\u0161echno spojuje a vybavuje ka\u017edou nahr\u00e1vku plynulost\u00ed a soudr\u017enost\u00ed. Album m\u00e1 jednotn\u00fd zvuk i n\u00e1ladu, ale jednotliv\u00e9 skladby jsou dostate\u010dn\u011b odli\u0161n\u00e9.<\/p>\n
Tempa se st\u0159\u00eddaj\u00ed: mezi pomalej\u0161\u00ed Bonami a Alegria en masca s dokonal\u00fdm st\u0159\u00edd\u00e1n\u00edm s\u00f3lov\u00fdch vstup\u016f je v \u00favodu zasazena pon\u011bkud vzru\u0161en\u011bj\u0161\u00ed Colour For You. N\u00e1sleduj\u00edc\u00ed Silent Talking otev\u00edr\u00e1 dramati\u010dt\u011bj\u0161\u00ed vstup s\u00f3lov\u00e9ho kontrabasu, kter\u00fd nastol\u00ed n\u00e1ladu tajupln\u00e9 ot\u00e1zky. Nejrozs\u00e1hlej\u0161\u00ed, sedmiminutov\u00e1 Nihemiah je sice klidn\u011bj\u0161\u00ed v n\u00e1lad\u011b, av\u0161ak vybuzen\u011bj\u0161\u00ed v intenzit\u011b vstupn\u00ed zvukov\u00e9 roviny. Ke skladb\u011b Tierra de mis padres si napsala \u0161pan\u011blsk\u00fd text Marta T\u00f6pferov\u00e1, zp\u011bva\u010dka \u010desk\u00e9ho p\u016fvodu, kter\u00e1 \u017eije v USA; na albu tvo\u0159\u00ed jedinou zp\u00edvanou nahr\u00e1vku a vzru\u0161en\u00fd latinsk\u00fd charakter je zde nejv\u00fdrazn\u011bj\u0161\u00ed. Strade deserte a Praga, jedin\u00e1 skladba Bonaventurova, je krati\u010dk\u00e9 s\u00f3lo nedoprov\u00e1zen\u00e9ho bandoneonu, kter\u00e9 p\u011bkn\u011b vystihuje n\u00e1ladu no\u010dn\u00edch opu\u0161t\u011bn\u00fdch ulic. Forever Lost z pera Davida Dor\u016f\u017eky je jazzov\u00e1 balada s n\u00e1ladou, dnes u\u017e p\u0159\u00edzna\u010dnou pro sv\u00e9ho autora a se z\u00e1v\u011brem s\u00f3lov\u00e9ho bandoneonu. Long Time Ago je duet kontrabasu a kytary. Z\u00e1v\u011bre\u010dn\u00e1 Etheric Moments m\u00e1 sv\u00fdm charakterem – s \u010dast\u00fdmi pomlkami a zast\u00e1vkami v zaduman\u00e9m sledu – asi nejbl\u00ed\u017ee k typick\u00e9 poetice proslul\u00e9 mnichovsk\u00e9 nahr\u00e1vac\u00ed spole\u010dnosti ECM.<\/p>\n
Debut Tom\u00e1\u0161e Li\u0161ky ve funkci \u201e”\u0161\u00e9fa”” i skladatele se prost\u011b vyda\u0159il a p\u0159i\u0159adil ho k nejv\u00fdrazn\u011bj\u0161\u00edm tuzemsk\u00fdm z\u00e1stupc\u016fm jeho jazzov\u00e9 generace.<\/p>\n
http:\/\/zpravy.idnes.cz\/pisnicky-latinskeho-koloritu-povedeny-debut-jazzoveho-basisty-lisky-1zg-\/kavarna.asp?c=A091203_162832_kavarna_bos<\/a><\/p>\n\t
Tony Emmerson – Prague Jazz<\/strong> Sunday, November 29, 2009<\/p>\n
There are many new, younger artists currently making music on the Czech jazz scene, including bass player Tom\u00e1\u0161 Li\u0161ka. He’s a busy guy, appearing on recordings by the likes of Matej Benko, Nika Diamant and Radek Krampl. He also plays live alongside Lenka Dusilov\u00e1 in the Eternal Seekers, and with award-winning quartet Points. Now he has a solo album out, Invisible World, and it is something rather different. Invisible World was recorded with a trio of Li\u0161ka on bass, David Dor\u016f\u017eka on (mainly acoustic) guitars and Daniele di Bonaventura on bandone\u00f3n.<\/p>\n
To save you all a trip to Wikipedia, the bandone\u00f3n is a concertina-type instrument, invented in Germany but now associated with Argentinian dance bands. There are some additional contributions – Marta Topferova sings on one track and Tom\u00e1\u0161 Reindl plays percussion on two – but apart from that it is just the three of them making music together. What they have created with Invisible World is an intricate and intimate album. The studio-recorded tracks have a live feel about them, but it is the feel of a fireside or a chamber concert rather than one played in a large hall. It is mellow and poignant, blending jazz with touches of folk, country and tango. Each note is played to be heard, not lost in a solid structure of sound. It’s a contemplative album, with spacey arrangements that allow the music to breathe.<\/p>\n
The first track, “Bonami” (T. Li\u0161ka), gives a clear idea of what this album is about. Acoustic guitar picks at a clear, Latin-tinged melody, Li\u0161ka plays tight and syncopated melodic bass, and di Bonaventura adds the drawl of bandone\u00f3n, occasionally running in unison with Dor\u016f\u017eka and occasionally taking the lead. The acoustically sensitive recording conveys the impression of music being created at close quarters: a clear sense of fingers pulling on strings and hitting buttons. Li\u0161ka is a strong presence on the album, occasionally going for the burn with a solo but mostly leading from the back. He’s always working there, throwing in interesting patterns and tones, never settling for being pedestrian.<\/p>\n
The lack of a drummer means that it is often his work that keeps the beat and suggests structure. It also means that there is more space from him to manoeuvre as a one-man rhythm section, and so he can stretch out comfortably without being intrusive or clashing with anyone else at the low end. It is his bass patterns that keep driving things forward, emerging to provide extra emphasis and withdrawing when not required. It was a brave decision by the bassist to record like this, rather than with a conventional Trio or Quartet, but he handles it with style and maturity. “Alegr\u00eda en masca” (T. Li\u0161ka) and “Silent Talking” (T. Li\u0161ka) both feature Tom\u00e1\u0161 Reindl on tabla and udu, lending them even more of a \u201e”world music”” feel.<\/p>\n
The former is a legato slice of yearning, and the use of sweet and simple electric guitar as well as percussion gives it a bigger band feel. The latter begins slower and simpler, very bass driven, with the other instruments echoing and complimenting the thick, twangy notes before rising up in elegant ensemble playing.<\/p>\n
It is not all slow stuff on this album: “Nihemiah” (T. Li\u0161ka) lifts the pace, and “Strade deserte a Praga” (D. di Bonaventura) is a brief (1:11) shimmering interlude. “River Way” (T. Li\u0161ka) rolls along like its name suggests, and again features some good interplay between acoustic guitar and bandone\u00f3n. This device, rarely found on a a Czech jazz album, works as a lead instrument as well as being able to provide sharp chordal accompaniment and elongated washes of sound.<\/p>\n
“Tierra de mis padres” (“The Land of my Parents”, T. Li\u0161ka \/ M.Topferova) is complemented by brooding, breathy Spanish vocals from Marta Topferova. It reeks of Latin tragedy and the call of destiny: longing, sunsets, regrets, returning to home to die, the usual sort of stuff.<\/p>\n
“Etheric Moments I.” (T. Li\u0161ka) is the longest track and it brings the album to a fitting conclusion. It contains the same mix of sadness and celebration that permeates the whole recording. There are shifts in mood and theme, sometimes rich and sometimes sparse, sometimes gentle and sometimes dissonant, and it is perhaps the most musically challenging piece in this collection. The big-finish clich\u00e9 is eschewed, the final bow consciously understated In some respects this album is not what you would expect from a Czech jazz musician. Invisible World sounds more influenced by South America than by Central Europe, and while it contains strong jazz elements it not the most straightforward album to classify.<\/p>\n
It is pleasant music to have on in the background without offending anyone, but with close listening the fine details of craftsmanship make themselves known. Invisible World is also interesting, innovative, technically superior, and a satisfying listen. In that respect it is exactly what you would expect from a Czech jazz musician. For his d\u00e9but album Tom\u00e1\u0161 Li\u0161ka has not taken the safe option. I, for one, like that. http:\/\/praguejazz.blogspot.com\/2009\/11\/cd-review-invisible-world.html<\/a><\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"
Animal Music 2009 Bonami (Tom\u00e1\u0161 Li\u0161ka) Colour For You (Tom\u00e1\u0161 Li\u0161ka) Alegr\u00eda an Masca (Tom\u00e1\u0161 Li\u0161ka) Silent Talking (Tom\u00e1\u0161 Li\u0161ka) Nihemiah (Tom\u00e1\u0161 Li\u0161ka) Tierra De Mis Padres (Tom\u00e1\u0161 Li\u0161ka \/ Marta Topferova) The Truth about Unspeakable Things(Tom\u00e1\u0161 Li\u0161ka) River Way (Tom\u00e1\u0161 Li\u0161ka) Strade Deserte a Praga (Daniele di Bonaventura) Forever Lost (David Dor\u016f\u017eka) Long Time…<\/p>\n","protected":false},"author":935,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7428","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/pages\/7428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/users\/935"}],"replies":[{"embeddable":true,"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/comments?post=7428"}],"version-history":[{"count":0,"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/pages\/7428\/revisions"}],"wp:attachment":[{"href":"https:\/\/tomasliska.com\/en\/wp-json\/wp\/v2\/media?parent=7428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}