Inbox-ul tău este pe cale să sune bine!Cine nu își dorește reduceri preferențiale lună de lună?Tot ce trebuie să faci e să te înscrii mai jos cu adresa de e-mail.
Adresa ta de e-mail va fi prelucrata in conformitate cu Politica de Confidentialitate.
1974 John Abercrombie - chitara Jan Hammer - orga, sintetizatoare, pian Jack DeJohnette - tobe
This evergreen stands tall in the ECM forest. There is no sense of competition, only mutual reveling in a distinctly nuclear sound. One could easily call it fusion, but if anything it is fused with itself, for it has created every element it seeks to combine. Timeless indeed.
Youn Sun Nah - voce, kalimba Jamie Saft - pian, claviaturi Brad Jones - contrabas Dan Rieser - tobe Marc Ribot - chitara electrica si acustica
In “She Moves On” this chameleonic and delightful artist has reinvented herself once again.In South Korea Youn Sun Nah is a national celebrity. She first made her name in a musical, with a role in the Korean version of the successful German show “Line 1” – and that led to the blossoming of her solo career.
Miroslav Vitous - bas John Surman - bas clarinet, saxofon sopran si bariton Kenny Kirkland - pian Jon Christensen - tobe, percutie
"After two years of playing live together, this quartet under the Czech bassist's name issued its lone recording date for ECM in 1981. With John Surman on soprano and baritone saxophones as well as bass clarinet, Kenny Kirkland on piano, and drummer Jon Christensen, they deliver an often engaged though sometimes ponderous program.
Recorded in 1990, Barzakh was the ECM debut of Tunisian oud master Anouar Brahem, and an album that immediately captured the attention of press and public with its gracefulness and authority. “Phenomenal…this is pure Arab music, without ‘world music’ frippery,” wrote Karl Lippegaus in Stereo. Brahem is joined here by Bechir Selmi, the sensitive violinist from the Musical Ensemble of Tunis, and percussionist Lassad Hosni, whose earthy frame drum and speeding darbouka would come to be important components of later Brahem recordings including Conte de l’incroyable amour and Astrakan Café. Beyond the improvisatory brilliance, Barzakh gave notice also of Brahem’s gift for writing arresting themes and luminous melody, as illustrated by “Raf Raf”, “Parfum de Gitane”, “Kerkenah” and other pieces here.
Initially published in April 1991, vinyl is reissued in October 2017 as audiophile 180g pressing.
2018 Nik Bartsch - pian Sha - bas clarinet, saxofon alto Thomy Jordi - bas Kaspar Rast - tobe
Bärtsch speaks of a new-found freedom and flexibility in the approach to the material, with “greater transparency, more interaction, more joy in every performance”. The freedom here extends to revisiting earlier Bärtsch modules alongside new compositions including, for the first time on a Ronin record, a piece by reedman Sha. “We’ve spent a long time working on the new repertoire, really checking out and fine tuning all the details.”
Awase, a term from Aikido, means “moving together” in the sense of matching energies, a fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Ronin today. In the old band, Bärtsch often chose to present Björn Meyer’s flamboyant 6-string bass as a lead instrument. Thomy Jordi’s 4-string bass guitar tends to be deployed within the fabric of the pieces, creatively fulfilling a more traditional bass function and locking in with Kaspar Rast’s powerful drums. With Bärtsch also scaling back his own solo playing, listeners are encouraged to hear the whole music and its layered, shifting approach to interaction in new ways.
"Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Koln Concert. "
Stravinsky: The Firebird Suite, The Song of the Nightingale
Minnesota Orchestra, dirijeaza Eiji Oue
Produs de casa de discuri Reference Recordings, acest album este cu adevarat unul de referinta atat in ceea ce priveste interpretarea, cat si din punct de vedere al sunetului.
Terje Rypdal - electric guitar, keyboard, synthesizer Palle Mikkelborg - trumpet, fluegelhorn, RMI, tac piano, ring modulator Sveinung Hovensjo - basses Jon Christensen - drums, percussion
Terje Rypdal’s Waves (recorded 1977) announced the beginning of the Norwegian guitarist’s association with Danish trumpeter Palle Mikkelborg, which continues to this day. The album also introduced one of Terje’s most enduringly popular pieces, “Per Ulv.” “Rypdal’s album is a series of sonic excursions ranging from the expressionist to the impressionist…” wrote Record World. “Rypdal’s guitar and Mikkelborg’s trumpet are well-matched, with Manfred Eicher’s typically superb production putting it all in focus.”
Initially published in January 1978, vinyl is reissued in October 2016 as audiophile pressing taken from the original analog tapes.
Ralph Towner - chitara clasica, double-six John Abercrombie - chitara acustica, , electrica, mandolina electrica
John Abercrombie is unique among guitarists in that whenever he becomes enraptured his sound becomes neither louder nor more pronounced but becomes somehow mysterious, liberated. Ralph Towner, on the other hand, revels in the crackling ruptures that so characterize his playing. Yet these roles seem reversed in this follow-up to the duo’s Sargasso Sea. A far more fragile carnation than its predecessor, it seems to forego the usual bag of tricks in favor of something more, as the album’s title would imply, reflective. This is especially apparent in the three improvisations with which the set list is dotted, and nowhere more so than in “Late Night Passenger,” where Abercrombie’s laddered filaments provide stunning berth for the other’s muted, jangling starlight. [ ecmreviews ]
Lansat cu ocazia aniversarii lui Zubin Mehta, Decca a reeditat acest album in colaborare cu Pro-Ject Audio Systems ( inregistrare din 1975 ). Vinil de 180 grame, machetare grafica identica cu originalul, masterizare speciala facuta dupa benzile master la Abbey Road Studios.
Esbjorn Svensson - pian, claviaturi, electronice Dan Berglund - bas, electronice Magnus Ostrom - tobe, percutie, electronice
Despite the fact that 2008’ Leucocyte, would be the Esbjörn Svensson Trio's final album due to the tragic scuba diving accident that killed Svensson, this was a band that had traversed such wide musical territory they deserved a retrospective treatment simply to sum up what had transpired between the release of 1993’s When Everyone Has Gone and that premature finale. While this 70-minute single disc doesn’t contain any unreleased material, or pre-1999 material (in favor of presenting the trio’s fully developed aesthetic), it is beautifully compiled. [ AllMusic ]
Esbjorn Svensson - pian, claviaturi, electronice Dan Berglund - bas, electronice Magnus Ostrom - tobe, percutie, electronice
It's too easy to fall into the trap of calling the last recording by a recently deceased artist "his best ever" or "a fitting end to his recorded legacy," but in the case of the final release by Swedish jazz superstars e.s.t. before their titular leader, pianist Esbjörn Svensson, died in a tragic diving accident in June, 2008, it's the only way to describe it. Leucocyte is an album that's like nothing the trio has released before, yet it possesses the unmistakable personality that caused the group to rise from obscurity in the mid-1990s to rock star-like fame (at least, in relative jazz terms) in recent years with albums including Tuesday Wonderland (ACT, 2006) and the particularly noteworthy Live in Hamburg (ACT, 2007).
Culled from two days of free improvisations recorded in an Australian studio in the middle of a tour, it's proof that, despite the production veneer that gave earlier albums like Viaticum (ACT, 2005) a pop-like sensibility, e.s.t. was, at its heart, an improvising band. Many of its compositions—sometimes complex writing that remained completely accessible, but other times profoundly lyrical music of spare simplicity—stemmed from ad hoc days spent experimenting in recording studios. But while the group would normally take the results and shape them into more defined form, Leucocyte is presented as it was recorded—with, of course, the additional post-production that always broadened the group's aural landscape into something that drew on elements as far-reaching as Keith Jarrett, Radiohead and Motorhead.
Esbjorn Svensson - pian, claviaturi, percutie Dan Berglund - bas, percutie Magnus Ostrom - tobe, percutie
Anybody who wants the quintessential Esbjörn Svensson gig (if they're fans, that is - EST's music is viewed as a slick hit-formula by some improv fundamentalists) can tick this CD as a must. EST's mix of jazz-ballad delicacy, rock melodrama, subtle electronic colouring, and hypnotic Jarrett and Mehldau-inspired extemporisation consistently produces powerful live shows. [ The Guardian ]
Vijay Iyer - pian Stephan Crump - bas Marcus Gilmore - tobe
It's almost impossible not to consider Accelerando by pianist Vijay Iyer's working trio with bassist Stephen Crump and drummer Marcus Gilmore a companion to 2009's excellent Historicity. Its obvious similarities are that it places a handful of originals alongside a host of cover versions. These come from well-known artists from the worlds of jazz, 21st century dance music, and R&B. But there are key differences, too: for starters, this trio has been together longer; nowhere does that matter more than it does in jazz. The intuitive interplay and collective mindset that this trio possesses are exponentially more mature than they were on Historicity, despite its sharpness and musical acumen. [ Thom Jurek ]
Barre Phillips - contrabas End to End is a solo bass album by one of the great pioneers of the idiom. Over the last fifty years Barre Phillips, California-born but long a resident of France, has periodically issued solo recordings, considering them the musical equivalent of diary entries (the first one, in 1968, was called Journal violone), updates on his ever-evolving relationship to his chosen instrument. This one, he says, will be the last of his albums in this format, so it is of special interest to those who have followed the story so far and, indeed, to anyone wishing to hear a masterful improviser at work, refocussing lessons learned in the course of a long, creative life. “It’s the end of a cycle,” says Barre, now 83, of the present recording. “Not a summing up, but the last pages of a journal that began fifty years ago.”
Jimmy Giuffre - saxofon tenor, clarinet Paul Bley - pian Steve Swallow - contrabas
Acest dublu album reprezinta reeditarea albumelor "Thesis" si "Fusion", inregistrate la Verve Records (remixate, remasterizate si cu cateva piese nepublicate anterior).
The music is Giuffre at his finest -- at that point, finding a language with his two collaborators, pianist Paul Bley and bassist Steve Swallow (who hadn't made the permanent switch to electric then) -- that was outside even the avant-garde at the time, yet in the tradition enough for some listeners and critics to be able to hold onto as modern jazz. Both recordings make use of a profound use of subtlety in gesture -- this is more true of Giuffre and Bley than Swallow, but without a drummer, the guy had a tough gig to hold down -- and a creative use of space, one that allowed for a free contrapuntal interplay between musicians while keeping their distance in order to keep the music in front of them. In other words, space was used as a way to communicate what not to do rather than what to play. [ AllMusic ]
Keith Jarrett - pian Jan Garbarek - saxofon tenor Palle Danielsson - bas Jon Christensen - tobe
AllMusic: "In addition to his solo piano concerts and the American group he led that featured tenor saxophonist Dewey Redman, Keith Jarrett was also busy in the mid-'70s with his European band, a quartet comprised of Jan Garbarek on tenor and soprano, bassist Palle Danielsson, and drummer Jon Christensen. Due to the popularity of the haunting "My Song," this album is the best known of the Jarrett-Garbarek collaborations and it actually is their most rewarding meeting on record. Jarrett contributed all six compositions and the results are relaxed and introspective yet full of inner tension."
Daca vrei sa fii la curent cu noutatile din showroom, stirile din lumea Hi-Fi, evenimentele si concusurile pe care le organizam, da-ne un like pe Facebook:
iar daca vrei sa ai acces imediat la clipuri cu review-uri, tips and tricks si prezentari de produse, da-ne un subscribe pe canalul nostru de YouTube:
AVstore utilizeaza cookies pentru functionarea corecta a platformei, masurarea traficului si functionalitati care ne permit sa iti prezentam un continut particularizat in functie de preferintele tale. Pentru retragerea acordului pentru cookies, te rugam sa consulti Politica de Cookies. De asemenea, te invitam sa parcurgi Politica noastra de Confidentialitate, ce a devenit aplicabila incepand cu data de 21 August 2018. DA, INTELEG
90
93
Pret Promo Craciun:
Urmareste-ne pe Facebook si Google+
si vei avea acces la: