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.
A striking album of new music from pianist/composer Carla Bley, whose trio with Andy Sheppard and Steve Swallow is now in its 25th year. Individual associations among the players go back much further: bassist Swallow first recorded music by Carla in 1961. So when Bley says “Life Goes On”, a lot of life is alluded to. The album, realized in the Auditorio Stelio Molo Studio in Lugano in May 2019, with Manfred Eicher producing, takes the form of three suites. The title piece begins as a stoical blues, at first melancholic then hopeful. “Beautiful Telephones”, inspired by a US president’s first observation on entering the Oval Office, has plenty of Bley’s dark wit. And “Copycat” explores the notion of call-and-response in fresh ways as the improvisers continue each other’s thoughts. Throughout, Carla’s distinctive piano, with its hints of Monk and Satie, is beautifully framed by Swallow’s eloquent, elegant bass guitar and Sheppard’s yearning saxes. This trio has a unique collective sound, reflecting – as The Telegraph recently noted – “musical mastery of a rare order”.
2019
Joe Lovano - saxofon tenor
Marilyn Crispell - pian
Carmen Castaldi - tobe
The album, produced by Manfred Eicher at New York’s Sear Sound studio, draws upon Lovano’s history and development as a player who has addressed both jazz tradition and exploratory improvisation. “For me this recording is a statement of where I am, where I’ve been and where I may be headed.” In a performer’s note in the CD booklet he says of the recording, “The divine timing of interplay and interaction is magical. Trio Tapestry is a melodic, harmonic, rhythmic musical tapestry throughout, sustaining moods and atmospheres.”
Even for ECM, this is an album of radical gentleness. Oded Tzur is a New York-based, Israel-born tenor saxophonist making his debut on the label. He’s studied with bansuri master Hariprasad Chaurasia and perhaps raga concepts influenced the music here. Tzur is quite an original player/composer, with few obvious influences in the jazz canon. […] Hershkovits and Tzur are clearly simpatico and the pianist is out front on the disc as much as the saxophonist. Klampanis and American drummer Johnathan Blake are charged with listening carefully, lest the spell be broken. It never is.
Jim Motavalli, New York City Jazz Record
Rekindling the familiarly flowing interplay with fellow travellers Thomas Morgan and João Lobo – the trio’s musical partnership goes back over a decade at this point –, on A New Day Italian pianist Giovanni Guidi moreover expands the group’s instrumental grasp with the introduction of American saxophonist James Brandon Lewis, who makes his ECM debut here. Not only is the ensemble scope widened; with Brandon Lewis in tow, new dialects and fresh perspectives are broached, and different instrumental paths taken, inspired by an overall heightened sense of communication and Lewis’s unmistakable, confident tone. Recorded at Studios La Buissonne, Southern France, in August 2023, the album was produced by Manfred Eicher.
New vinyl reissue in facsimile gatefold edition, includes original liner notes by Wolfgang Sandner in enclosed booklet.
2024
„The album that brought Pärt’s name to the West, and to the world (…). Back in 1984 Tabula rasa helped re-educate our ears and throw open the doors of our musical sensibilities to spatial domains that had otherwise been closed to us. This is without any shadow of a doubt one of the great recordings of the last century.“ – Rob Cowan, Gramophone
The second complete show to be issued from Keith Jarrett’s 2016 European tour – following on from the widely-acclaimed concert released as Munich 2016 - this double album documents the pianist’s solo performance at the Béla Bartók National Concert Hall in Budapest. Jarrett, whose family roots reach back to Hungary, viewed the Budapest concert as akin to a homecoming, and the context inspired much creative improvisation. Where Jarrett’s early solo concerts shaped a large arc of music over the course of an evening, the later concerts have generated suite-like structures, comprised of independent “movements”, each of them a marvel of spontaneous resourcefulness. Creative energy is applied also to familiar songs given as encores, “It’s A Lonesome Old Town” and “Answer Me”, transformed in the Budapest concert.
LP 180g
