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Colin Vallon - pian Patrice Moret - contrabas Julian Sartorius - tobe
It's simple: any music fan seeking something quite "different" from contemporary instrumental music -- and specifically from conventional notions of the "jazz piano trio" -- should investigate Switzerland's Colin Vallon Trio.. [ Thom Jurek, All Music ]
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.
Paolo Fresu - trompeta, flugelhorn Richard Galliano - acordeon, bandoneon Jan Lundgren - pian
The Long Wait is Over. Mare Nostrum presents 'The Sound of Europe'….. Part Two.Sardinian trumpeter Paolo Fresu, French accordionist Richard Galliano and Swedish pianist Jan Lundgren form the trio “Mare Nostrum” (meaning our sea, and the Romans' name for the Mediterranean). This band forges connections between the discrete musical cultures of its three protagonists.
Countless listeners worldwide have been captivated by their music, by this distinctive 'sound of Europe.'When the first album “Mare Nostrum” appeared in 2007, critics in many countries were unanimous in their opinion that these three musicians had succeeded, they had found their way to forging something of timeless beauty. This “lyrical jazz ensemble with a keen sense of composure” (Downbeat, USA) had created “a wonderful album of genuine warmth”
2016 Nik Bartsch - pian Sha - bas clarinet, contrabas clarinet Kaspar Rast - tobe, percutie Nicolas Stocker - tobe, percutie Etienne Abelin - vioara Ola Sendecki - vioara David Schnee - viola Solme Hong - violoncel Ambrosius Huber - violoncel
Few musicians have continued to hone a concept as singularly unique and instantly recognizable, irrespective of context, as that being explored by Swiss pianist Nik Bärtsch since he first formed Mobile with Don Li, Kaspar Rast and Mats Eser in 1997. First emerging on record in 2001 with Ritual Groove Music (Self-Released, reissued Ronin Rhythm, 2006), Bärtsch has evolved three very different contexts with which to explore the confluence of trance-inducing minimalist elements with rigorous, ritualistic compositional constructs, a deep interest in Japanese culture and other musical touchstones. While all three contexts—in addition to the all-acoustic Mobile, Bärtsch has performed and recorded as a solo pianist, as well as with the more elastic and jazz/funk-centric Ronin—share common DNA-level elements, each context is also different: refracting Bärtsch's underlying architectures through a series of disparate prisms.
1989 Shankar - vioara dubla Zakir Hussain - tabla Vikku Vinayakram - ghatam Jon Christensen - tobe
Multi-instrumentalist L. Shankar’s fascinating evolution as a musician and composer took yet another intimate turn with M.R.C.S. Dedicated to Shankar’s father, V. Lakshminarayana, it also boasts master percussionists Zakir Hussain (tabla), Vikku Vinayakram (ghatam), and drummer Jon Christensen. The depths of the album’s experiences are forever aquatic, as in the opening “Adagio,” which floats Shankar’s double violin insights on a dark and winding current. Filmic and vivid, its gauche stretches a fine canvas for the pigments that follow.
“All I Care” marries the rhythmic edge of “March” (an interlude from Christensen) with Shankar’s cosmic pizzicato and gossamer comet trails, the latter reaching glorious improvisational heights that can only end in fadeout, lest their perpetuity be harmed. The music travels away from us, ever tuneful, into the tabla-infused “Reasons.” Here, Hussain trail-marks a scurrying snare, backing more winged artistry from the leader.
The notoriously self-critical trumpeter Kenny Wheeler maintained that Deer Wan (recorded 1976) was his favourite among his own albums (“I like the overall form of this one best”). A tremendous band plays Wheeler’s tunes here. Kenny and Jan Garbarek sing together gloriously on the themes, and intermingle lines. The “Gateway” trio of John Abercrombie, Dave Holland and Jack DeJohnette drives the music with great verve. Guest Ralph Towner adds his distinctive 12-string guitar to a lilting Wheeler waltz.
Initially published in January 1978, vinyl is reissued in October 2016 as audiophile pressing taken from the original analog tapes.
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 ]
Esbjorn Svensson - pian, claviaturi, percutie Dan Berglund - bas, percutie Magnus Ostrom - tobe, percutie
E.S.T.'s second U.S. outing offers palatable, often lively acoustic jazz with tantalizing electronic flourishes. It's similar in thrust to the trio's 2001 U.S. debut, Somewhere Else Before, but not as strong melodically. Still, leader/pianist Esbjörn Svensson, bassist Daniel Berglund, and drummer Magnus Öström deliver some heated improvisational exchanges, particularly later in the program on the speedy, almost Mehldau-esque "When God Created the Coffee Break" and the post-bop boogaloo blues "Spunky Sprawl." The trio loses their focus at times, like on the overly long "Behind the Yashmak" and the strangely inert "Serenade for the Renegade." But at their best, E.S.T. displays an alluring lyricism and a subtle, creative use of processed sounds. Öström's drum parts, too, are well-crafted and contemporary. (There's a hidden track at the end, and like the one on Somewhere Else Before, it's a bit out of character.) [ AllMusic ]
"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. "
DENYS BAPTISTE - saxofon sopran si tenor NIKKI YEOH - pian si claviaturi NEIL CHARLES - bas ROD YOUNGS - tobe
+ GARY CROSBY - bas STEVE WILLIAMSON - saxofon tenor
The Late Trane is the powerful and commanding new album from British saxophonist Denys Baptiste, a giant of the UK jazz scene. Reimagining and reworking ten carefully chosen composition from John Coltrane’s late music (from 1963 – 1967) with a fresh and modern new interpretation, The Late Trane perfectly balances Denys Baptiste’s unique artistic vision with the visceral emotions and cosmic references that encompasses Coltrane’s late music.
MORTEN SCHANTZ - pian, Fender Rhodes Electric Piano, Sequential Prophet 6, Roland Juno 60, Moog Sub 37, Korg MS-20 mini, Korg Volca Keys, Solina String Ensemble, Waldorf Streichfett, Arturia Beatstep Pro
MARIUS NESET - saxofon tenor si sopran, Korg MS-10, percutie
ANTON EGER - tobe, percutie
Godspeed is the hi-octane, heavyweight new album from Danish keyboardist Morten Schantz. A founding member of the Danish group, JazzKamikaze, Morten Schantz returns with a new band under his own name featuring long-term collaborators Anton Eger on drums and Marius Neset on saxophones. With a wealth of keyboards at his disposal, the music on Godspeed is full of life, vibrant and bold. With a strong sense of friendship, warmth and an overriding sense of joy, Godspeed is impressive and represents some of the most vital new music bursting out of the European scene from some of the most important performers.
“Schantz’s layers of pianos and synths are an atmospheric sounding board for a tight, interactive trio completed by Marius Neset’s virtuosic sax and the pounding thump of Anton Eger’s drums. Rigorous structures focus mood while leaving ample room for the musicians to stretch out.” THE FINANCIAL TIMES (UK)
“A word of warning. Before playing Morten Schantz’s Godspeed please fasten your safety-belt. You are about to be catapulted into the power-packed, high-energy risk-taking territory where big beasts like Chick Corea’s Return To Forever, The Mahavishnu Orchestra and Weather report once roamed.” JAZZWISE MAGAZINE (UK)
“Sometimes the CD sounds like Weather Report on Speed. Schantz and his colleagues …shine with frenetic, closely interlinked grooves… power jazz.” CONCERTO MAGAZINE (AUS)
"Pianist Abdullah Ibrahim was still known as "Dollar Brand" when he recorded this solo piano set for ECM; it has been reissued on CD under his original name. The continuous live performance (which is under 39 minutes) explores eight of Ibrahim's originals...Ibrahim was still in the process of finding his own sound at the time, although his improvisations (which use repetition and vamps effectively) have their interesting moments. Still, Ibrahim's later work is more significant."
Frank Zappa, Terry Bozzio, Donnie Vliet, Ruth Underwood, Napoleon M. Brock, Roy Estrada, Andre Lewis
Lacquer Cut By, Remastered By – Bernie Grundman
Amazon : "The Torture Never Stops", "Zoot Allures" and the legendary "Black Napkins" are themselves worth the price of admission. The entire album is among Zappa's best, yet stands alone in the Zappa canon as a unique work that neither inhabits an era (MOI, jazz, "commercial") nor serves as a transition from one era to another. Very rewarding."
Peter Gabriel, Anthony Phillips, Michael Rutherford, Anthony Banks, John Mayhew
Lacquer Cut By – Miles Showell
AllMusic: "Genesis' first truly progressive album, and their first record for the Charisma label (although Trespass was released in America by ABC, which is how MCA came to have it), is important mostly as a formative effort. Peter Gabriel, Tony Banks, and Michael Rutherford are here, but the guitarist is Anthony Phillips and the drummer is John Mayhew. Gabriel, Banks, Phillips, and Rutherford are responsible for the compositions, which are far more ambitious than the group's earlier efforts ("Silent Sun," etc.). Unfortunately, much of what is here is more interesting for what it points toward than what it actually does -- the group reflects a peculiarly dramatic brand of progressive rock, very theatrical as music, but not very successful."
Bryan Ferry, Andy Mackay, Brian Eno, Phil Manzanera, John Porter
Lacquer Cut By – Miles Showell Mastered By – Bob Ludwig
AllMusic: " On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed."
The Cappella Gabetta, with cellist Sol Gabetta joined by a Baroque chamber ensemble led by her brother Andrés, has attracted top-notch vocal collaborators: first Vivica Genaux on an album of music by Handel and Hasse, and now no less than Cecilia Bartoli on this collection of Baroque arias featuring solo cello. It may sound like an arcane concept, and the breezy project graphics may have little or nothing to do with it, but the two performers do seem to have fun with the music and to deliver the "sweet duels" promised by the title. Sample the enticing "What passion cannot music raise and quell," from the Ode for St. Cecilia's Day, for a taste of the two "voices" that complement each other as well as in any vocal duet. The performers went to some lengths to find arias with this particular configuration, and it speaks well of their efforts that they've located some rather rare works that stick in the ear. The aria by Haydn's teacher Porpora does not set off vocal fireworks, but it must have been written to showcase the talents of a cellist, and it's as satisfying a duet today as it was on the day it came into existence. The final Cello Concerto No. 10 in D major of Boccherini does not quite fit with the rest stylistically; one of Vivaldi's cello concertos might have been a better bet. Yet this is in the main a fine offbeat choice featuring some star performers.
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