Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
2018
Andy Sheppard - saxofoane
Eivind Aarset - chitara
Michel Benita - contrabas
Sebastian Rochford - tobe
Andy Sheppard’s quartet extends the musical explorations begun on the 2015 release Surrounded By Sea, an album praised by Télérama for its “poignant serenity.” In this new programme of compositions by Sheppard (plus the title track by Brazilian singer-songwriter Ranato Teixeira), the drones and washes of Eivind Aarset’s guitar and electronics – aided by the generous acoustics of Lugano’s Auditorio Stelio Molo RSI – help to establish a climate in which improvisation can take place. There’s a highly atmospheric, ambient drift to the music which Sheppard clearly finds liberating, as do Michel Benita and Seb Rochford, free to move in and out of conventional rhythm section roles and to make impassioned statements of their own. Romaria was recorded in April 2017 and produced by Manfred Eicher.
1988
Markus Stockhausen - trompeta, corn, sintetizator
Gary Peacock - contrabas
Fabrizio Ottaviucci - pian
Zoro Babel - tobe
Cunoscut pentru albumele cu Aparis, Markus este fiul compozitorului contemporan cu acelasi nume ( Karlheinz ). Spre deosebire de tatal sau, Markus face o muzica meditativa, introspectiva , dar muzicala, melodioasa, fara nici o legatura cu muzica concreta, doar utilizarea mijloacelor electronice de expresie pe langa instrumentele normale.
1972
Chick Corea - pian
Anthony Braxton - instrumente de suflat cu ancie, percutie
Barry Altschul - percutie
David Holland - contrabas, violoncel
Supergrup Free-Jazz
Circle was a band on fire with creativity. Chick Corea and Dave Holland had just left Miles Davis’s band, keen to explore all parameters of new music in an improvised context. Anthony Braxton, equally inspired by Stockhausen and Coltrane, brought in new directions from the AACM. Barry Altschul’s resumé included extensive work with Paul Bley. Together they were, for a while, matchless. Corea called the Paris Concert (recorded 1971) the realization of a dream. Melody Maker: “Paris Concert is evidence that here was one of the most excitingly talented bands of recent years, for these 94 minutes of music simply burst with vigorous invention.”
1990-1991
Paul Giger - vioara
Jan Garbarek - saxofon tenor si sopran
Pierre Favre - percutie
"Violin virtuoso Paul Giger revisits his roots with this, his second solo recording, Alpstein, which features pieces for violin, saxophone, and percussion based on the folk traditions of the Alpstein region of Switzerland. Three pieces here are entitled "Zäuerli" -- named after the sad majestic "natur yodel" tradition of the Outer Rhoden region. These are sweeping and majestic with high harmonic bowstrokes. This recording features the saxophone work of Jan Garbarek and the percussion of Pierre Favre. Both add an incredible warmth to the recording on the pieces they are featured on, most notably "Alpsegen" with its soaring sax lines and manic percussion. Also notable is "Chlauseschuppel," featuring the sounds of cowbells specific to that region. Informative booklet included." [ AllMusic ]
1977
Egberto Gismonti - chitara, pian, voce, flaute
Nana Vasconcelos - percutie, berimbau, voce
Egberto Gismonti’s Dança das Cabeças (recorded 1976) was the first ECM disc from the brilliant Brazilian guitarist and pianist and the first document of Egberto’s collaboration with percussionist Nana Vasconcelos. It was a revelatory blending of sounds, Gismonti’s finely sculpted compositions irradiated by Nana’s Afro-Brazilian rhythm concept and his rainforest sounds. Dança das Cabeças won the German Record Critics Prize as Album of the Year in 1977.
Initially published in March 1977, vinyl is reissued in October 2016 as audiophile pressing taken from the original analog tapes.
1979
Sam Rivers - saxofon tenor si sopran, flaut
George Lewis - trombon
Dave Holland - contrabas
Thurman Barker - tobe
AllMusic: "Tenor saxophonist Sam Rivers (also heard on soprano and flute) teams up in a quartet with trombonist George Lewis, bassist Dave Holland and drummer Thurman Barker (doubling on marimba) for a date that certainly defies the stereotype of a typical ECM session. The seven Rivers originals, although sometimes having colorful melodies, are quite complex. However, the intriguing and very alert interplay between the brilliant musicians makes the music seem fairly logical and worth exploring by adventurous listeners. "
Pentru prima data pe vinil !
Nils Petter Molvaer - trompeta, chitara electrica, chitara bas, percutie, sampling
Eivind Aarset - chitara electrica, efecte, ambient treatments
Ulf W. O. Holand - sampling
Morten Molster - chitara electrica
Roger Ludvigsen - chitara acustica, percutie, dulcimer
Rune Arnesen - tobe
Reidar Skar - sampling, claviaturi
ecmreviews:
"Khmer marks a monumental occasion: namely, the debut leader date of Nils Petter Molvær. Fresh off the boat of Small Labyrinths, the Norwegian trumpet player came out of left field with one of those rare albums that becomes second nature after only one listen. NPM, as he is also known, epitomizes ECM’s transcendental spirit with a collage of unbridled passion and integrity. Combining influences as diverse, if not also as intimately connected, as rock, ambient, dub, techno, and jazz, he deploys his mercurial fleet in a sea of samples, breakbeats, and smooth dives. Also carrying over from the Small Labyrinths session is hard rocker Eivind Aarset, who bookends the album with his e-bow guitar treatments and foils the delicate additions of free improviser Morten Mølster along the way. Mari Boine band regular Roger Ludvigsen adds six strings and more, playing prepared guitar and dulcimer, and along with drummer Rune Arnesen fleshes out the band’s acoustic signature. Yet it is keyboardist Reidar Skår and co-producer Ulf W. Ø. Holand who give the music just the kick it needs to hit the ground running. Holand, whose Lydlab is two floors above Oslo’s hallowed Rainbow Studio, provided samples and enough studio time to help shape the album into what it has become, while Skår brought his magic touch to said samples and others, manipulating them into an organic whole. The result is a classic that fits snugly alongside ECM’s all-time best.
Testeaza in showroom Cotroceni
1981
Pat Metheny - chitara electrica si acustica
Lyle Mays - claviaturi, Synclavier
Steve Rodby - bas
Nana Vasconcelos - percutie, berimbau, voce
Dan Gottlieb - tobe
AllMusic : "If 1980's As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny's charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics.
A new ECM studio album and a programme of new music from Terje Rypdal is cause for celebration. On Conspiracy the great Norwegian guitarist seems to reconnect with the wild inspiration that fuelled such early masterpieces as Whenever I Seem To Be Far Away, Odyssey and Waves, exploring the sonic potential of the electric guitar with both a rock improviser’s love of raw energy and a composer’s feeling for space and texture.
2017
Danish String Quartet
Rune Tonsgaard Sorensen - vioara, Harmonium, pian, Glockenspiel
Frederik Oland - vioara
Asbjorn Norgaard - viola
Fredrik Schoyen Sjolin - violoncel, contrabas
They are widely recognised as the most exciting young string quartet of the present moment, bringing new insights to contemporary composition and core classical repertoire. In parallel, they have also made surprising and impressive forays into the world of Nordic folk music.
2017
He uses ‘Gnosis’ to refer to ancient collective knowledge, and this music is about the intersection of cultures—contemporary improvisational language and Cuban sources, especially the sacred Abakuá percussion ensemble. There are over a dozen instrumentalists and vocalists employed, but they are mostly broken up into various small ensembles: the concert premiere was billed as ‘futuristic Afro-Cuban chamber music.’ […] Sections with the full ensemble (often with Allison Loggins-Hull's flute in the lead) such as ‘Tierra’ and ‘Visiones Sonoras’ alternate with more vocal selections, another feature for Morgan's bass with percussion (‘Nuná’), and solo piano. In fact Virelles closes out the set on piano with two unaccompanied tracks (‘De Cuando Era Chiquita’ and ‘De Coral’). Yet the entire program maintains a consistent tone, simultaneously ancient and contemporary: a ritual for the modern world.
Mark Sullivan, All About Jazz
In this vivid and exciting project, the Santiago-raised and New York-based pianist-composer David Virelles looks towards one melting pot from the vantage point of another. A far-reaching work with deep cultural roots, Gnosis speaks of transculturation and traditions, and of the complex tapestry of Cuba’s music – the sacred, the secular, and the ritualistic – but the work’s shapes and forms could only have been created by a gifted contemporary player thoroughly versed in the art of the improvisers. Strings, woodwinds and percussion all have their roles to play in Gnosis, viewed by Virelles as “several families functioning within one unit: this dynamic symbolizes multicultural interaction.” Virelles’ responsive piano and the vocals and percussion of Román Díaz, a profound figure in the transmission of Afro-Cuban musical history, are at the centre of the action. Gnosis was recorded at New York’s Avatar Studios in May 2016 and produced by Manfred Eicher.
2018
Thomas Stronen - tobe
Ayumi Tanaka - pian
Hakon Aase - vioara
Lucy Railton - violoncel
Ole Morten Vagan - contrabas
Norwegian drummer/composer Thomas Strønen presents a revised edition of his acoustic collective Time Is A Blind Guide, now trimmed to quintet size, and with a new pianist in Wakayama-born Ayumi Tanaka.
1975
Keith Jarrett, Jan Garbarek, Charlie Haden, Stuttgart Radio Symphony Orchestra ( dirijor Mladen Gutesha )
AllMusic: "With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra.
While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time -- particularly the nearly 28-minute "Mirrors" -- can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience. "
1977
Keith Jarrett - pian, saxofon, percutie
Dewey Redman - saxofon tenor, percutie
Charlie Haden - contrabas
Paul Motian - tobe, percutie
The Survivors’ Suite, recorded in 1976, is the crowning achievement of Keith Jarrett’s “American Quartet” with Dewey Redman, Charlie Haden and Paul Motian, and one of the all-time enduring masterpieces in the ECM catalogue. Melody Maker: “The Survivors’ Suite is a brilliantly organized and full-blooded work which provides the perfect setting for all four talents.
Initially published in January 1977, vinyl is reissued in April 2017 as audiophile pressing taken from the original analog tapes.
1977
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."
Pentru prima data pe vinil !
Anouar Brahem - oud
Francois Couturier - pian
Jean-Louis Matinier - acordeon
The album is like a sad rhapsody, full of shadowy mirages and blue echoes, the prevailing melancholy not dour and heavy but rather light and cloudy. Names like Satie, Debussy, Mounir Bachir, even Eno in acoustic mode keep flashing across your mental screen as you listen. This is academy music with no clothes on, naked and awkward, honest and beautiful. Shut your eyes and you could be in the port of Dar el Baida, a seagull swooping over a grey-blue sea and huge cranes and rusty hulled freighters in the background, the light and forgetful breeze brushing your cheek. Le pas du chat noir features uncontrived performances of cat-like agility – soft, bright-eyed and magical. It is a brilliant piece of work. [ Andy Morgan, Songlines ]
2017
Mathias Eick - trompeta, voce
Hakon Aase - vioara
Andreas Ulvo - pian
Audun Erlien - bas electric
Torstein Lofthus - tobe
Helge Andreas Norbakken - tobe, percutie
Eick's compositions have an overall darkness about them though their sophistication and accents, the punctuation of bass and percussion, makes for a highly listenable blend of emotions, without jolting fluctuations. As with Midwest the music on Ravensburg is deeply atmospheric. [ AllAboutJazz ]
Noiembrie 1989
Walter Fahndrich - viola solo
The album consists of four pieces in five tracks, each simply demarcated in Roman numerals. A swaying rhythm dominates a beautiful string of overtones in “IV.” “II” distinguishes itself by its daunting 24-minute length and rapid arpeggios that work their way into a glorious spiral. Occasional passages played sul tasto (i.e., over the fingerboard) are particularly striking for their almost bell-like quality. The overall effect is nothing short of meditative. Fahndrich scrapes at the strings in “III” to produce a veritable symphony of avian peeps and insectile chirps in the album’s most organic diversion. “VI” a call-and-response of harmonics and fuller notes. [ ecmreviews ]
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