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.
1989
Misha Alperin - pian, melodica, voce
Arkady Shilkloper - French horn, jagdhorn, fluegelhorn, voce
Pianistul Mikhail Alperin si cornistul Arkady Shilkloper reprezinta doua treimi din Moscow Art Trio. Nascut in Ucraina si educat la Chisinau si Balti, Alperin propune o muzica originala, in care se simt si influentele folclorului romanesc.
Pentru prima data pe vinil !
Manu Katche - tobe
Tomasz Stanko - trompeta
Jan Garbarek - saxofon tenor
Marcin Wasilewski - pian
Slawomir Kurkiewicz - contrabas
Ruminative, soulful and always melodic, this is cool jazz with a fiery heart.[ John Bungey, The Times ]
Recorded live September 9, 2004
at Muffathalle, Munich
The debut album of Joe Lovano’s Trio Tapestry was one of 2019’s most talked-about releases. The trio’s musical concept – the Boston Globe spoke of “utterances of hushed assurance, lyricism and suspense” - is taken to the next level on its second album, Garden of Expression, a recording distinguished by its intense focus. Lovano, a saxophonist whose reach extends across the history of modern jazz and beyond, plays with exceptional sensitivity in Trio Tapestry. And the music he writes for this group - tenderly melodic or declamatory, harmonically open, rhythmically free, and spiritually involving - encourages subtle and differentiated responses from his creative partners. Joe describes their interaction as “magical”. Carmen Castaldi’s space-conscious approach to drumming further refines an improvisational understanding that he and Lovano have shared since the 1970s. The trio is also a wonderful context for Marilyn Crispell’s solos, counter melodies, and improvisational embellishments, and her feeling for sound-colour helps the chamber music character of the group to flower. The details of the music are beautifully realized in this recording made in the highly responsive acoustics of the Auditorio Stelio Molo RSI in Lugano 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.
In its review of pianist Shai Maestro’s ECM leader debut The Dream Thief, All About Jazz spoke of “a searching lyrical atmosphere, emotional eloquence and communal virtuosity that serves the music.” All of which also applies to Human, where Maestro’s outgoing, highly-communicative band with fellow Israeli Ofri Nehemya on drums and Peruvian bassist Jorge Roeder becomes a quartet with the inspired addition of US trumpeter Philip Dizack. Shai’s expansive pianism is well-matched by Dizack’s alert, quick-thinking approach to improvising. And, as ever, Maestro is taking the music forward while also respecting its sense of tradition. Near the end of a programme comprised almost entirely of Maestro originals, exploring a range of temperaments, the quartet offers its own take on Duke Ellington’s “In A Sentimental Mood”, while Shai’s tune “Hank and Charlie” pays tribute to the musical empathy shared by the late Hank Jones and Charlie Haden. Human was recorded at Studios la Buissonne in the South of France in February 2020, and produced by Manfred Eicher.
Orchestra Jazz Siciliana
Gary Valente - trombon
Steve Swallow - bas
Carla Bley - aranjamente
"Carla Bley's sometimes comical, always compelling compositions provide the material for this respectful repertory album from The Orchestra Jazz Sicilina. The roster features mainly European musicians, and the album emphasizes band interaction and ensemble execution rather than solo skills and individual voices." [ AllMusic ]
1985
Shankar - vioara, voce , sintetizatoare, drum machine
Caroline - voce, sintetizatoare, tambura
Steve Vai - chitara electrica
Gilbert Kaufman - sintetizator
Percy Jones - bas electric
ecmreviews: "When I first slid this CD into my computer, the Gracenote Media Database upped my anticipation by filling in its genre as “Traditional.” Which is exactly what this album is not. But if you’re looking for a quirky lollipop that has baffled ECM and Shankar enthusiasts for decades, by all means lick away. With endearing vocals by Caroline, not to mention the collaborative edge of having guitar legend Steve Vai and bassist Percy Jones (of Brand X fame) in the same studio, one can only imagine the possibilities of throwing Shankar’s astounding virtuosity into such a milieu.
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.
