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ID: MJ0402
CDs: 1
Type: CD
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Collection: Jazz
CLIVE BELL is Britain’s leading player of the Japanese shakuhachi, and a founder member of Jah Wobble’s Deep Space project. DAVID ROSS was drummer for the instrumental combo Kenny Process Team. But none of this would prepare you for Mystery Lights, their first duo recording. This is a spacious, intimate music, full of colour and melody, exploratory but highly accessible. Many instruments, both acoustic and electronic, familiar and unfamiliar, weave a spell hard to resist. This album was made in collaboration with Walter & Donald the budgerigars. Recorded live at "The Earl of Kilgorlin". CD includes a video playable on any PC.
tracks:
Mystery Lights - nos 1-12
Nightflower |
| 12.00 eur Buy |
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ID: MJ0401
CDs: 1
Type: CD
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Collection: Jazz
with: John Edwards - double bass Mark Sanders - drums and percussion Phil Slater - trumpet Tom Chant - soprano saxophone, bass clarinet Clive Bell - shakuhachi, bansuri, pi saw and shinobue flutes Nichola Christie - voices Chris Halliwell - prepared guitar, prepared piano Zoë Lewis - keyboards Martin Reed - violin Maritza Bulcock - viola Simon Wagland - cello Pete Lockett - percussion
Clemo is a composer who integrates jazz with contemporary classical, rock and electronic sources to produce music which is unique and reflective of life. Critical praise has been heaped on Clemo's work from many sources (See artist profile). Philip Clemo plays guitar, keyboards, and electronics with a fine band of musicians.
Language / Altitude / Texture / Temperature / Time / Place / Scale / Direction / Depth / Form all composed by Philip Clemo except: "Place" - Clemo/Chant/Edwards/Sanders "Direction" - Clemo/Halliwell |
| 12.00 eur Buy |
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ID: ART369
CDs: 1
Type: DVD
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Collection: Jazz
Subcollection: Saxophone
Authors of music and performers:
Vladimir Tarasov - drums, percussion
Alexey Kruglov - alto saxophone, alto saxophone mouthpieces, prepared alto saxophone
Andrey Razin - f-no, objects
Recorded on June 29, 2016 in the “AN Scriabin Memorial Museum” in Moscow on the birthday of Vladimir Tarasov.
The concert took place within the framework of the exhibition "Game Constructions of Vladimir Tarasov".
Recording, shooting, editing - Alexey Shilikov.
Information, mastering - Andrei Levin.
Cover - a picture of the installation of Vladimir Tarasov "The Third River". Technical work on the creation of DVD - Markus Bona, Vladimir Samorodov.
Screen format: 16:9
52:40 MIN
Language(s): English
DVD region: PAL (All) |
| 15.00 eur Buy |
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ID: RCD24101
CDs: 1
Type: CD
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Collection: Jazz
Subcollection: Clarinet
Russian Jazz of the 1990s / 1, 2 Recorded in 1994, / 3 - 7, 11 - 14 Recorded in 1995, / 8 - 10 Recorded in 1996 / Gennady Fomenko - piano (8, 9, 10) / Vladimir Soloviov - piano (1, 2) / Vladimir Frolov - guitar (1, 2) |
| 15.00 eur Buy |
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ID: SKMR051
CDs: 1
Type: CD
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Collection: Jazz
Trigon is the name of a folk-jazz band from Moldova.
This Cd Anatol Stefanet play on viola
The group was created in Chişinău in 1992 and debuted at the Chişinău Jazz Festival in 1993. It originally consisted of the band leader Anatol Ştefăneţ (viola), Sergiu Testemiţeanu (bass-guitar) and Oleg Baltaga (drums).
Anatol Ştefăneţ born into a traditional lăutari family is known for his virtuoso viola skills, especially its Moldovan traditional version, the "bratsch". His solos are featured on several other albums and projects, including the "Black Sea Orchestra" and the "Lăutari".
Trigon released their first CD "Moldavian Wedding in Jazz" in France (SILEX) and immediately received the French music award "Grand Prix du Disc". Their second album, "Oglinda" was released in Germany (Jaro). During 1996-1999 the group toured Europe and the ex-USSR countries extensively always to a critical acclaim.
Their highly acclaimed concert in Germany took place in April 1998 at the "Hamburg Jazz Festival" in the cities famous cultural center "Fabrik". Since then they have performed frequently in Germany, Austria, Switzerland, the Netherlands, Belgium, Moldova and Russia.
2000 saw the release of their 3-d album, "Free Gone" (Boheme Music, Russia) with Alexander Murzak substituting for Testimatsanu. Trigon recorded their 4-th CD, "The voice of my earth" (Green records, Romania) in 2001.
The latest incarnation of the band includes Anatol Ştefăneţ (alt), Dorel Burlacu (keyboards), Valentin Boghean (sax) and Garri Tverdohleb (percussion).
"Trigon's style encompasses elements of folk, jazz, rock and symphonic music. Brilliant improvisations and a keen understanding of musical forms characterize their jazz compositions. Trigon is undoubtedly a phenomenon in modern jazz music in its highest intellectual expression." (L.Osipova, Vice-president of the Russian Composers Union) |
| 15.00 eur Buy |
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ID: CAMEO2029
CDs: 1
Type: CD
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Collection: British Composer Series
Stephen Plews is a musical polymath.. A classically trained pianist, he is a jazz composer and player as well as composing in the ‘classical’ world. He is also a champion of new music, having set up his own studio and record label ASC Records though he has now returned to performance and composition.
This CD has examples of Plews in out-and-out jazz form but more of the music is contemporary classical with jazz inflections of various kinds. If you are not a lover of jazz, don’t be put off. That also applies to those normally allergic to keyboards, which includes me. Their use here as serious instruments contributing to the impact of the music is entirely convincing and I had no problem with them at all. |
| 15.00 eur Buy |
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ID: SJR1
CDs: 1
Type: CD
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Collection: Jazz
Max Schultz - Guitar on all tracks, voice on „Anushka“
Erik Söderlind - Guitar on all tracks
Frederik Jonsson - Acoustic Bass on all tracks except „Anushka“, voice on „Anushka“
Robert Mehmet Ikiz - Drums, Percussion on all tracks |
| 15.00 eur Buy |
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ID: FHR10
CDs: 1
Type: CD
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Collection: Jazz
Recorded and mastered by Nick Taylor, Porcupine Studios.
With Special guest - Digby Fairweather - Trumpet
One of the leading jazz vocalists in the UK, Wendy Nieper is a very versatile, sophisticated jazz vocalist and a gifted scat singer. Her rich vocal colors are complemented by wonderful phrasing and great musicality. Her wide experience as a singer includes being a member of the Swingle Singers with whom she recorded five albums. She has appeared on numerous albums both as a classical and jazz singer and has toured extensively around the globe. On this album, Nieper is accompanied by a great band including the talented composer/ pianist Roland Perrin and the jazz legend Digby Fairweather. First Flight is an explosive mix of styles from Cuban to jazz and pop to funk. If you like Diana Krall, Stacey Kent, Claire Martin then we are sure you will love First Flight.
Booklet notes
When you break open the packaging of a new album and put it into the CD player, do you always start at the beginning? Maybe it is years of building radio programmes and reviewing CDs, but I tend to make for the standards first. Of course it is interesting to hear completely new music - and there’s plenty of it on offer here - but I confess to having started listening to this album with Good Bait and Ponciana. The reasoning goes that you’ll quickly get the measure of a singer and her accompanists according to how they tackle familiar material.
I wasn’t more than half a bar into Good Bait when my ears pricked up. Here was Tadd Dameron’s epitome of a four-four swing theme transferred into a dancing 6/8 rhythm. After a quick zip through the vocalise of the verse, a nice scat chorus is followed by some deft unison between voice and piano. Meanwhile, Ponciana escapes nicely from the shadow of Ahmad Jamal, and becomes a fresh-sounding piece, with some inventive vocal harmonies on the introductory theme and a sweetly sung chorus that steers a neat course between the gauche ingénue qualities of an Astrud Gilberto and the more knowing approach of a Julie London. Clearly Wendy Nieper is a singer who is prepared to tackle familiar material with originality, and she is paced every step of the way by pianist and, on several tracks, composer, Roland Perrin.
I knew Roland’s work from the Blue Planet Orchestra, and as a pianist who had worked with many visiting stars, especially the South Africans in exile who had congregated around the Brotherhood of Breath. I had not realised that like Wendy Nieper, he had a foot, if not an entire leg, in the classical world as well.
For pianists, there are plenty of precedents for straddling the classical and jazz worlds. Fats Waller and James P. Johnson were both accomplished classical players, as was Art Tatum. Bud Powell recorded his personal take on J. S. Bach, and more recently both Chick Corea and Keith Jarrett have moved effectively between the worlds of the Mozartian concert hall and the jazz club. It is less usual for a singer to make a reputation in both the jazz and classical worlds.
Wendy Nieper, however, is someone who has, with duo recordings of Chopin, Canteloube, Sondheim and Bernstein to her credit.
“I focussed on classical singing first,” she told me, “because it demands that you train your voice before you reach a certain age. Classical singing involves a completely different technique from jazz, because you have to develop a core sound, and aim for very clear pronunciation. I’ve always stressed that what I do involves two very different voices. The classical voice is designed to project. It’s very loud, and has a brilliance and ring to it. My jazz voice, on the other hand, is very quiet and intimate, and it plays on things that the microphone gives you. It can be breathy; you can distort your vowel sounds for effect, and be more casual about your consonants. It comes from a different place physically, so you have to change your vocal position.”
The opening track, Blower’s Daughter makes this point perfectly, with Wendy caressing the lyric in a manner a classical singer could not contemplate. Yet the purity of her sound and her use of different registers is a clue to the rigorous training she has undergone, and her mastery of vocal technique. Originally, she had intended to give the first chorus of Solomente a classical treatment, projecting her soprano voice over Perrin’s deft classically inspired rhythmic figures. But it sounded wrong, and instead she ended up with the humming chorus that introduces Pablo Neruda’s Spanish lyrics. The closest she comes to revealing her classical voice is in the link between these and the English version of what she describes as a “landscape song”.
Landscape is important to Wendy in her own song writing. In Roland Perrin, whom she met at a house party she threw a while ago, she has found a collaborator who shares her love of terrain, and of experiment. She says. “I love singing descriptive lyrics like in Empty Beach (a song about someone lost in thought on a seashore) where it runs ‘Clouds drift high in a vast rose sky, time dissolves in a sea bird’s cry’ or ‘Holding on to a silk thin thread, of images forming then quickly shed’. We experimented with the music so that in that same song we do a contrary motion scale (piano going up, voice going down) just before the words ‘Can Echo’ which I then echo in a different key!” From our conversation, I was intrigued to learn that Digby Fairweather’s Harmon muted trumpet here is representing a seagull!
Tree also explores landscape themes, although Wendy confesses this song has been with her a long time, saying, “The rhythmic theme came from a ditty that I wrote as a kid. And Roland kindly made it into something real and quite different.” Their partnership nods in the direction of the jazz tradition as well, on the quirky Monk-ish What’ll it be?, which was written about a waitress in a restaurant where Wendy once worked in Richmond, Surrey.
Overall, the album is a highly successful blend of new takes on old material, and new takes on new material. Although she and Roland had met and discussed the music before the session, Wendy stresses that it was recorded in the age-old manner of jazz records, where four musicians who had not recorded together before arrived on the day and played music that was new to all of them. Each take was an adventure, and the same applied to the second day of recording when Helder Pack replaced Guy Silk for another voyage into the unknown. And as a bonus, Wendy adds quite a few improvised sections at the end of the songs, scatting or humming as an instrumentalist, playing off her fellow musicians, and turning the entire album into a genuine musical conversation, which like all discourses, runs deep and shallow, and hot and cold, and fast and slow, as it develops.
© 2011 Alyn Shipton (Jazz critic, The Times) |
| 15.00 eur Buy |
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ID: FHR08
CDs: 1
Type: CD
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Subcollection: Saxophone
Genres: Jazz/Avant Garde & Free Jazz, R&B/Funk
“All in all this music has something everyone will love” Rolling Stone
Recorded in 1978, ‘Fat Doggie’ is a genre-defying fusion of jazz, funk, disco, soul and Latin. Solid rhythm section, tight horns, great tunes - imagine Average White Band, Santana, James Brown, Albert Ayler, & Tower of Power all on one album! The Greg Alper Band featured the finest jazz players in New York, including Richie Morales (Spyro Gyra, Brecker Bros), Chuck Loeb (Bob James, Fourplay) & Ray Anderson (Best Trombonist: Down Beat magazine critics poll 1987-91). The disco infused funk opening cut Hole in Your Pocket, was a dance floor classic. The combustible Give it Up is a scorching tightly-syncopated funk workout that wouldn’t sound out of place on a vintage Tower of Power album. The mellower mid-paced Latin grooved bonus track Many Moods with exquisite horn parts, lit by celestial shimmering guitar accompaniment. The original release elicited positive press reviews including Rolling Stone which said “...all in all this music has something that everyone will love” as well as Billboard’s “Top Album Picks”. In recent years, the hard-to-find ‘Fat Doggie’ album has become something of a cult collectable with groove spotters, DJs and jazz-funk disciples the world over. Remastered at Abbey Road Studios using the original source tapes, ‘Fat Doggie’ has once again been unleashed from the kennel! |
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