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.
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
2017
Vijay Iyer Piano, Fender Rhodes
Stephan Crump Double Bass
Tyshawn Sorey Drums
Steve Lehman Alto Saxophone
Mark Shim Tenor Saxophone
Graham Haynes Cornet, Flugelhorn, Electronics
The 10-track, nearly hour-long album offers one of the bandleader’s strongest and most varied programs—one in which feverish ensemble writing hangs together with groove-oriented tracks and sparer experimental textures. […] The union of players and material inspires a new synthesis: the sound of Iyer consolidating strengths and discovering some new ones as he settles into the vibe created by his most potent band yet. [ Seth Colter Walls, Pitchfork ]
1977
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.
1980
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.
1978
Pat Metheny - chitara
Lyle Mays - pian, claviaturi
Mark Egan - bas
Dan Gottlieb - tobe
AllAboutJazz:
"This album stands out abit from the others I've reviewed here so far (for a number of reasons). I've been a Metheny fan for half of my life, but had never thought of his work as groove oriented (except for the relatively recent commercially-successful release). But, I was wrong. I recently became more attuned to grooves through a playing experience and it opened my ears to hearing grooves better. When I put this album on recently after a long time since I had listened to it, I was amazed. All of a sudden, I hear the groove. Not that this is incredibly funky stuff—I wouldn't go so far as to call Metheny's work funky- but the pocket is there.
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.
2016
Carla Bley - pian
Andy Sheppard - saxofoane
Steve Swallow - bas
Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. “Saints Alive!” sets up animated conversations between the participants with striking statements from Steve Swallow’s bass guitar and Andy Sheppard’s soprano sax.
1973
Gary Burton - vibrafon
Michael Goodrick - chitara
Steve Swallow - bas
Ted Seibs - tobe
ecmreviews:
"If one were to draw a line between the ensemble aesthetics of Eberhard Weber and Keith Jarrett, then one might plot the compositions of orchestral jazz legend Mike Gibbs somewhere along the way. Born in 1937 in what was then Southern Rhodesia, and a graduate of Boston’s Berklee College of Music, Gibbs has laid down a musical path as diverse as his travels. On Seven Songs for Chamber Orchestra, one gains vision of a mind looking not so much to cross over into uncharted waters as to expand the inclusivity of jazz’s already broad topography. At the heart of this project is Gibbs’s most famous student, the inimitable Gary Burton, who presents a lovingly realized program of his mentor’s own design.
1971 - Keith Jarrett, pian solo
AllMusicGuide:
"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. "
1997
Esbjorn Svensson - pian, claviaturi, percutie
Dan Berglund - bas, percutie
Magnus Ostrom - tobe, percutie
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Testeaza in showroom Cotroceni
2010
Mathias Eick - trompeta
Andreas Ulvo - pian
Audun Erlien - bas
Torstein Lofthus - tobe
Gard Nilssen - tobe
Morten Qvenild - claviaturi
Tore Brunborg - saxofon tenor
Sidsel Walstad - harpa
A larger lineup and more detailed arrangements while never losing the lyrical path of the soloist the work is consistently revolving around. Textured layers of lyrical inventiveness. Engaging. While the admitted influences of this release range from calssical to pop, it is the brilliant use of these “pop sensibilities” that make “Skala” a sonic delight. [ Brent Logan Black, Digital Jazz News ]
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.
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. "
Nina Simone in Concert is an album by jazz singer Nina Simone. It was her first album for the record label Philips and consisted of three live recordings made at Carnegie Hall, New York City, in March and April 1964. She recorded Nina Simone at Carnegie Hall in 1963 for Colpix.
