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ECM:s artister utforskar ofta gränslandet mellan klassiskt och jazz, inte sällan med en touch av nordiskt vemod.

Naxos i Norden lanserar nu en kampanj med ett exklusivt urval av några av bolagets allra starkaste titlar.

Älskade artister som Keith Jarrett, Bobo Stenson, Jan Garbarek, John Abercrombie och Carla Bley – från 99 kr!
Visar 20 artiklar
Image Ante Lucem
Ante Lucem, a powerful work for jazz quintet and symphony orchestra by Finnish pianist/harpist/composer Iro Haarla, was commissioned by the Norrlands Opera Symphony Orchestra and its leader Marco Feklistoff and premiered at the Umeå Jazz Festival in October 2012. It was recorded at the Concert Hall of NorrlandsOperan in Umeå, and the album is drawn both from the premiere concert and from sessions on the following days. Ante Lucem was subsequently mixed in Stockholm by Torbjörn Samuelsson, Manfred Eicher and Iro Haarla.

In a review of the Umeå Festival for All about Jazz, John Kelman pointed out that “what distinguished [Ante Lucem] from other symphonic collaborations was its remarkable integration. This was not a case of alternating passages for orchestra and quintet, though there were plenty of feature spots for Haarla’s group (…) Instead this suite, intended to reflect on that quiet time of day between moonset and sunrise, traversed a great range of imagery and emotion…Haarla’s writing moved from maelstrom-like turbulence to deeper melancholy and, ultimately, that gentle silence-approaching beauty which evokes so much promise at the start of each and every day. Whether it was more dramatic turns with the full orchestra or breakdowns into smaller subsets, it was an evocative and provocative performance.”

99 kr (169 kr)
Image Into The Silence
Avishai Cohen: trumpet; Yonathan Avishai: piano; Eric Revis: double bass; Nasheet Waits: drums; Bill McHenry: tenor saxophone

Avishai Cohen impressed a lot of listeners with his soulful contributions to Mark Turner's Lathe of Heaven album in 2014. Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazz quartet (trumpet, piano, bass, drums), augmented by tenor saxophone on a few pieces. Into The Silence is dedicated to the memory of Avishai's father David, reflecting upon the last days of his life with grace and restraint. Avishai's tender muted trumpet sets the emotional tone of the music in the album's opening moments and his gifted cast of musicians explore its implications. Israeli pianist Yonathan Avishai has played with Cohen in many settings and solos creatively inside the trumpeter's haunting compositions, sometimes illuminating them with the phraseology of the blues. Cohen and drummer Nasheet Waits have a hypersensitive understanding and their interaction can, from moment to moment, recall the heyday of Miles Davis and Tony Williams or Don Cherry and Billy Higgins. Yet this music, while acknowledging inspirational sources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for two decades, provides elegant support throughout. And saxophonist Bill McHenry, a subtle modernist who has worked with Paul Motian and Andrew Cyrille, shadows Cohen's lines with feeling. Into The Silence was recorded at Studios La Buissonne in the South of France in July 2015 and produced by Manfred Eicher.

99 kr (169 kr)
Image The Deer’s Cry / Arvo Pärt

The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984. Along with such classic works as Da pacem Domine the new album includes first-time recordings of the a cappella pieces Drei Hirtenkinder aus Fátima and Habitare Fratres. There is also an a cappella version of Alleluia-Tropus, which Vox Clamantis previously recorded alongside instruments for the acclaimed New Series album Adam’s Lament. Rarely recorded material makes up nearly half of this new release, including three pieces with instrumental accompaniment: Von Angesicht zu Angesicht, Sei gelobt, du Baum and Veni Creator.

99 kr (169 kr)
Image In Movement
There is a lot of history concentrated in the new trio led by Jack DeJohnette. Fifty years ago, as a young drummer sitting in with John Coltrane’s group, he played with the fathers of both Ravi Coltrane and Matthew Garrison. Ravi, an accomplished saxophonist in his own right nowadays, not only had an iconic father but also the questing keyboardist-harpist Alice Coltrane as his mother. Matthew, bassist and electronic experimentalist, is the son of Jimmy Garrison, the bassist of the classic Coltrane quartet. For In Movement, their first album together, DeJohnette, Coltrane and Garrison touch upon multiple legacies, starting with that of John Coltrane. The recording begins with a distinctive treatment of his ever-moving Civil Rights Era elegy “Alabama,” a version that balances reverence with independence. The trio also abstracts the impressionistic “Blue in Green” by Miles Davis and Bill Evans (with DeJohnette one of the few musicians to have played in the bands of both men). There’s also “Serpentine Fire” from the hit ’70s R&B songbook of Earth, Wind & Fire; it serves as a funky tribute to the group’s late leader, Maurice White, who also collaborated with DeJohnette in their early years. There are original homages, too: “The Two Jimmy’s” nods doubly to fellow innovators Jimmy Garrison and Jimi Hendrix, while “Rashied” salutes the late, great Rashied Ali, the drummer of Coltrane’s free-minded late period.

99 kr (169 kr)
Image Alina
There have been other recordings of "Für Alina" and "Spiegel im Spiegel" but none like those on this disc, realized with the participation of the composer. Here Pärt, aided by exceptional interpreters, revisits those seminally important compositions which marked the birth of a new, "prismatic" period in his work, establishing a link between compositions embodying the fundamental traits of the "tintinnabuli style." Three interpretations of the duet 'Spiegel im Spiegel' (Mirror in the Mirror), for violin or cello and piano, become "formal pillars positioned before, between and after two solo renderings of 'Für Alina'", the latter performed with interpretive freedom by Alexander Malter.

Vladimir Spivakov, violin
Sergev Bezrodny, piano
Alexander Malter, piano
Dietmar Schwalke, cello

Recorded July 1995

99 kr (169 kr)
Image December Avenue
Tomasz Stanko: trumpet
David Virelles: piano
Reuben Rogers: double bass
Gerald Cleaver: drums

The great Polish trumpeter Tomasz Stanko has long been one of the most distinctive musicians in all of jazz, his grainy tone and smeared notes instantly recognizable, his intensely lyrical improvisations and soulful themes as characteristic as the noirish atmospheres they often conjure. He’s also a player who gives a great deal of thought to context, and a generous bandleader who encourages his co-players to express themselves within his world of dark melody. US magazine JazzTimes noted recently: “He writes melodies that pierce the heart like needles, but does not exactly write songs. His pieces are open forms, a few strokes or gestures that introduce a mood and set Stanko into motion. He needs musicians around him who can respond with independent creativity to his unique stimuli.” Stanko’s New York Quartet is among his most exciting projects.

99 kr (169 kr)
Image a cosmic rhythm with each stroke
Vijay Iyer: piano, Fender Rhodes piano, electronics
Wadada Leo Smith: trumpet

A cosmic rhythm with each stroke features Vijay Iyer and his "hero, friend and teacher", Wadada Leo Smith. Vijay previously played extensively with Wadada in the trumpeter's Golden Quartet. As he recalls in the liner notes here, "That group's broad palette included 'pure' tones and distorted sound, motion and stillness, melody and noise. In quartet performances, Wadada and I often became a unit within the unit generating spontaneous duo episodes as formal links. In the process, a space of possibility emerged that introduced me to other systems of music-making. We have continued this approach in recent years..." A particularly inspiring collaboration at New York's The Stone early in 2015 underlined the affinity of their sounds and concepts and made the documentation of the duo a priority. Hence this album, produced by Manfred Eicher at New York's Avatar Studios in October 2015, which captures the improvisational magic of the duo, the expressive individuality of the participants and the ways in which they can - as Wadada Leo Smith says - "merge as a single wave, or a single voice."

99 kr (169 kr)
Image Andando el Tiempo
In time for Carla Bley’s 80th birthday on May 11, here is a new album by her outstanding trio with Andy Sheppard and Steve Swallow. This particular trio, in existence now for more than twenty years, has come to be the primary vehicle for conveying her compositions to the world. It’s a challenging task: “When I write for the trio,” Carla explained to the Detroit Metro-Times recently, “it’s really big band music reduced. I have to play way over my head and so do the guys. They have to take on a lot more than they would if I still had a big band.”
For listeners, one of the great pleasures of Carla’s small group work is hearing more of her unique piano playing. Where she once insisted that she was “one per cent player and ninety-nine per cent composer,” she allows that in recent years the player has been obliged to gain ground, inspired by the examples of Sheppard and Swallow. The subtle interaction of the players is well-served by the clarity of this new recording, and all three of them shine here – Carla with her spare, thoughtful playing, Swallow with his perfectly poised and elegant electric bass, Sheppard with his poignant saxophones.

99 kr (169 kr)
Image A Multitude Of Angels (4 CD)
"A Multitude of Angels" is a 4-CD set of recordings from a series of solo concerts in Italy in October 1996, documenting the conclusion of Keith Jarrett’s experiments with long-form improvisation in performances from Modena, Ferrara, Turin, and Genova. “These were the last concerts I played having no breaks within each set,” Jarrett explains in his liner notes. The arc of the music is characteristically comprehensive: “Jazz is ever present here, alongside my deep closeness with classical music (modern and ancient, Ives and Bach).”

299 kr (447 kr)
Image What Was Said
Tord Gustavsen: piano, electronics; Simin Tander: voice; Jarle Vespestad: drums

Tord Gustavsen's new trio project builds upon the subtle understanding of his long musical association with drummer Jarle Vespestad, introduces the entrancing German-Afghan vocalist Simin Tander, and, alongside new compositions and improvisations , explores the tradition of Norwegian church music in an untraditional manner. "Simin and I have been working with an Afghan poet," Gustavsen explains, "translating and shaping a selection of hymns that I grew up with in Norway into Pashto."

99 kr (169 kr)
Image Indicum
4/5 i Dagens Nyheter

4/5 i Sydsvenskan

4/5 i GP

"Första låten på Bobo Stensons nya skiva med Anders Jormin och Jon Fält är tillägnad den amerikanske trumslagaren Paul Motian, som dog ifjol men hann medverka på Stensons och basisten Jormins album "Goodbye" från 2005. Norrmannen Jon Christensen, som var trions ordinarie trummis innan Fält, spelade ofta i linje med den poetiska och öppna spelstil som Motian utvecklade i Bill Evans trio, och som även Fält har återknutit till. Men på just den här skivan gör Fält överraskande lite så. När han kommer in, till en början helt ensam och direkt efter första låten (Evans "Your story", som Stenson framför solo), är det med en melodisk och repetitiv trumfigur som etablerar låtens grundpuls och - utan omsvep - ett direkt groove. Det är ingen försumbar detalj, utan en tendens som starkt påverkar min upplevelse av hela skivan. Även Jormin spelar ovanligt groovigt. Och det fungerar precis lika bra med Stensons sofistikerade, djupt lyriska spel som när kompet flyter mer löst. Det gör det också i flera spår på skivan. Men om trions vokabulär redan är mycket brett, med drag av såväl jazz som folk- och kammarmusik, så innebär det lite rakare inslaget på "Indicum" ytterligare en framhävd kvalitet.
(Dagens Nyheter)

"Albumet vilar...i en enda stämning - bitvis högtidlig, i vissa lägen direkt psalmlik - där spåren är minst lika mycket bitar i det stora pusslet som självständiga existenser. Musiken görs rund, tät och mjuk, men inte tillrättalagd eller mesig och det beror framför allt på att de tre har en sådan väldig klangmedvetenhet och känsla för nyanser. Mycket mera demokratisk än såhär blir knappast en jazztrio. Stenson, Jormin och Fält kompletterar och backar ständigt upp varandra, varje man kommenterar och understryker vad de andra hittar på, utan att trampa på tår eller musikaliska idéer. Jag ser för min ínre syn hur de tre sträcker ut armarna och spelar och lägger till på varandras instrument. Stensontrion väljer som vanligt låtar helt fritt. Stenson inleder ensam med en kort version av lyrikmogulen Bill Evans "Your Story", liksom för att sätta tonen. Trion levererar sitt eget nedtonade titelspår, vävd kring en enda pianoton och Jormins stråkspel i diskanten, och vecklar sedan ut Wolf Biermanns vackra "Ermutigung". Den traditionella norska "Ave Maria"-melodin tassar över mot folkmusiken, medan George Russells "Event VI" har en saltare och mera påträngande personlighet. I den här atmosfären får spjuvern Jon Fält vid trumsetet inte samma stora manege för sitt gränslösa rytm- och ljudlekande som live. Men även som fantasifull finsnickare är han svårslagen."

"Förra skivan med mästerpianisten Bobo Stensons trio, Cantando, hör till de där vars kvaliteter gör att man aldrig riktig vill förpassa dem till arkivhyllan. Åter har Stenson, Jon Fält, trummor, och Anders Jormin bas, arbetat ihop ett gäng låtar av så skilda slag som Bill Evans Your story (solopiano), Carl Nielsens Tit er jeg glad och Wolf Biermanns Ermutigung (Uppmuntran). Det är ännu ett strålande exempel på trions enastående förmåga att framgångsrikt botanisera över ett brett fält för att hitta melodiska och lyriska kvaliteter och med små åthävor göra dem till stor triojazz i luftiga och subtilt enkla arrangemang. Lyssna till exempel på Ariel Ramírez La Peregrinacion."

Bobo Stenson, piano; Anders Jormin, double bass; Jon Fält, drums

Four years after "Cantando", a new album from the Bobo Stenson Trio - recorded in Lugano last December - explores a broad arc of material. Here we find: free playing (the trio has its own, fresh approach to collective improvising), tunes by Bill Evans ("Your Story", offered here as a tribute to Paul Motian, for whom this tune was a favourite) and by George Russell ("Event VI" from "Living Time", another piece associated with Evans), Danish composer Carl Nielsen's "Oft Am I Glad", a Norwegian hymn (in an arrangement by Anders Jormin and folk singer Sinikka Langeland), contemporary composition by Norway's Ola Gjeilo, a Wolf Biermann protest song, Argentine composer Ariel Ramírez's folkloric "La Peregrinación", and more. Wide-ranging repertoire has become a hallmark of Bobo Stenson recordings. But it's not just the eclecticism that is striking: Bobo Stenson, Anders Jormin and Jon Fält take their far-flung sources and make of them an organic music that sings with its own voice.

As the New York Times has noted "Mr. Stenson makes fairly sublime piano trio records without over-arranging, overplaying or over-bandleading. In his mid-60s now, he's the repository of half a century of the development of free jazz, in particular the European post-1960s kind, with its folk and classical leanings. Yet he wears it all lightly. In his recent records you don't hear strategies or contentions but a natural working flow."

99 kr (169 kr)
Image Cantando















"Enastående trion Bobo Stenson, piano, Anders Jormin, bas, och Jon Fält, trummor, tar sig an en märkvärdigt bred och spännande repertoar i korsningen folk, jazz och konstmusik: kubanen Silvio Rodriquez sång Olivia i ny skepnad av Jormin, tjecken Petr Ebens Song of Ruth, musik av Astor Piazzolla, Ornette Coleman och Alban Berg. Och egna original. De gör det sömlöst, frisinnat, vårdar hela tiden musikens melodiska kvaliteter. "Nye" Fält är en mycket fin spelare. Okonventionell, rolig, oförutsägbar.
En av årets bästa jazzskivor. Ingen överraskning."

"...albumet är en fullträff"
(Upsala Nya Tidning)

"Det är bara att sluta ögonen och följa med på denna färd genom ett oupphörligt fascinerande och föränderligt musikaliskt landskap"
(Nerikes Allehanda)

"Samspelet mellan Stenson, Jormin och Fält är perfekt."
(Skånska Dagbladet)

"Cantando betyder sjunga. Det gör det om det här"

"...trion hör med självklarhet hemma i den globala jazzvärldens övre skikt..."

"Som vanligt väl varierat val av kompositioner (original, Coleman, Cherry, Piazzolla, Alban Berg) som ger utgångspunkter för utsökt ensemblespel och en improvisationskonst av absolut högsta klass."

"Bobo Stensons moget intellektuella pianospel ackompanjeras perfekt av trumslagaren Jon Fält och kontrabasisten Anders Jormin."
(HiFi & Musik)

"...telepatisk kommunikation mellan musiker och enskilda prestationer av allra högsta klass"

"...jag vågar nog påstå att Cantando ligger mycket bra till när det så småningom blir dags att utse 2008 års bästa svenska jazzalbum."

"En juvel för jazzfans med smak för det intrikata"

CANTANDO - spanska för sjunga - är titeln på den karaktäristiskt mångfacetterad repertoar Bobo Stensons Trio presenterar på sin nya skiva. Blandat med kollektiv improvisation och nya originalkompositioner spelar också trion Love I've Found You, en rätt okänd standardlåt som Wynton Kelly hade som solonummer i Miles band i början av 60-talet och Liebesode av Alban Berg.

Trion framför två versioner av Song of Ruth av tjeckiske kompositören Petr Eben som avled endast ett par veckor före den här inspelningen. Stycket som ursprungligen var skrivet för sopran och orgel kommer här i en omtolkad version. Astor Piazzollas ytterst expressiva tango Chiqulin de Bachin, svävar i ett hett, långsamt tempo. Olivia har också latinamerikanskt ursprung och kommer från Stensontrions favorit, kubanske Nuova Trova-sångaren Silvio Rodriguez. Don's Kora Song har sitt ursprung från Bobos sejour med Don Cherry där också flera okända stycken av Ornette Coleman spelades, men A Fixed Goal, från Ornettes penna, är hämtad ur en senare repertoar. "En skön kvalitet i Ornettes teman är att målet aldrig är särskilt givet! Det faktum att hans teman så sällan är baserade på ackordsföljder ger dem en fantastisk öppenhet, en känsla av att musiken kan ta vägen var som helst." Pages är 14 minuter spontant komponerad kammarmusik där producenten Manfred Eicher sammanfogat fyra av sju gruppimprovisationer trion gjorde i studion.

99 kr (169 kr)
Image Köln Concert, The
Recorded January 1975

99 kr (169 kr)
Image I Took Up The Runes

Jan Garbarek, soprano and tenor saxophones
Rainer Brüninghaus, piano
Eberhard Weber, bass
Nana Vasconcelos, percussion
Manu Katché, drums
Bugge Wesseltoft, synthesizer
Ingor Ántte Áilu Gaup, voice

Recorded August 1990

99 kr (169 kr)
Image Ground, The
Stereophile, Recording of the month
Jazzreview, Editor's Choice
Le Monde de la musique, Choc du mois
Jazzman, Choc du mois
Fono Forum, Empfehlung des Monats
Piano News, CDs des Doppelmonats
Stereoplay, Die Audiophile
Gramophone Korea, Editor's Choice
Bells Award for International Jazz Album of the Year (Australien)

"Gustavsen is a pianist of poetic cast, an exceptionally lucid soloist with a sure sense of melodic structure and an often astonishing imagination. Together with bassist Harald Johnsen and drummer Jarle Vespestad, who follow the precise contours of his compositions with unflappable taste, the three have produced an album rich in inner meaning and nuance."

Tord Gustavsen, piano
Harald Johnsen, double-bass
Jarle Vespestad, drums

Recorded January 2004

99 kr (169 kr)
Image Sangam
Jazz Review, The Editor's Choice
Classica-Répertoire, L'événement jazz du mois
Fono Forum, Empfehlung des Monats
Stereoplay, Klangtipp

"With Sangam, appears to move a little further from the group's foundation in jazz, to encompass contemporary classical and folkloric concerns. ... The centrepiece of the album is the four part "Himmelrand I Tidevand" where diverse textures and thematic variation rely on the sensitive musical interaction of each member of the ensemble, one with the other, the unusual part writing combining unusual combinations of instruments and the soloists respect the composer's intentions. Sangam is an album of deep, often affecting moods, a potent Nordic brew that retains its brooding mystery however many times it is examined and probed."

Trygve Seim, tenor and soprano saxophones
Håvard Lund, clarinet, bass clarinet
Nils Jansen, bass saxophone, contrabass clarinet
Arve Henriksen, trumpet
Tone Reichelt, french horn
Lars Andreas Haug, tuba
Frode Haltli, accordion

Recorded March 2004
Morten Hannisdal cello
Per Oddvar Johansen drums
Øyvind Brække trombone
Helge Sunde trombone
String Ensemble
Christian Eggen conductor

99 kr (169 kr)
Image Starflowers
"Sinikka Langeland is a gifted folk singer, but not one stifled by tradition. Her ability to work seamlessly with jazz musicians, as she does so memorably here, is part of the reason for the success of this marriage of folk, jazz and poetry. ... Individually and collectively, the quintet is superb, Henriksen and Seim play brilliantly off the voice and each other, while the group catches a variety of moods persuasively; they can groove with understated power... There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year."
(Irish Times)

"Starflowers" is a fascinating ECM debut for Norwegian vocalist and kantele player Sinikka Langeland. A folk singer from the forest lands near the Swedish border, Langeland explores in her work the relationship between man and nature. On this disc she sets verse of lumberjack-poet Hans Børli (1918-89), with help from an outstanding ensemble including trumpeter Arve Henriksen, saxophonist Trygve Seim, bassist Anders Jormin and percussionist Markku Ounaskari. Altogether: a marvellous confluence of folk music, sung poetry and Nordic improvisation brilliantly marshalled in Manfred Eicher's production.

Sinikka Langeland, vocal, kantele
Arve Henriksen, trumpet
Trygve Seim, tenor and soprano saxophones
Anders Jormin, double-bass
Markku Ounaskari, percussion

Recorded May 2006

99 kr (169 kr)
Image Khmer
Massive beats and throbbing grooves underpin the Norwegian trumpeter's fiery solos in a project that forms a bridge between ECM's improvised soundscapes and the brave new world of trip-hop, drum'n'bass, ambient/illbient, techno, industrial, electronica and samples. Nils Petter Molvær may be best known for his jazz work - with most of the leading Scandinavian players and with Elvin Jones, Gary Peacock, and George Russell - but he also has vast experience as a rock sessioneer. Khmer brings jazz's freedom and pop/rock's sound potential together.

Nils Petter Molvær, trumpet, electric guitar, bass guitar, percussion, samples
Eivind Aarset, electric guitar, effects, ambient treatments
Ulf W. Ø. Holand, samples
Morten Mølster, electric guitar
Roger Ludvigsen, acoustic guitar, percussion, dulcimer
Rune Arnesen, drums
Reidar Skår, samples, keyboards

Recorded 1996-1997

99 kr (169 kr)
Image Selected Recordings
"I decided to choose from my own bands over the years," guitarist Abercrombie says, "as well as ongoing collectives such as the duo with Ralph Towner, the Gateway trio with Jack DeJohnette and Dave Holland, and the Kenny Wheeler Quintet. I also was looking at this in a chronological way, as it seemed to put things in a perspective for me, tracing development in terms of performance and concept." It's been a 30-year journey packed with invention, from "Timeless" with Jan Hammer to "Cat'n'Mouse" with Mark Feldman and friends.

99 kr (169 kr)
Image Officium Novum



"Charlie Parker uttryckte inte sitt liv i sin musik, han utvecklade medvetet det musikaliska formspråket, både under intryck av afrikansk-amerikanska traditioner och den europeiska konstmusikens modernism. På liknande sätt var frijazzens formupplösning på 1960-talet för många musiker andligt motiverad. De sökte en tillvarons urgrund med sin musik. De borrade sig genom alla tillfälliga bestämningar som melodi och harmonik för att i musiken gestalta mötet med det gudomliga. Det är i det sammanhanget vi ska se saxofonisten Jan Garbareks och The Hilliard Ensembles samarbete. De har givit ut två skivor tidigare, och nu kommer Officium novum. I musiken möts liturgi och improvisation. Östkyrkans musik dominerar den komponerade delen, men Garbarek och The Hilliard Ensemble söker sig bortom de givna lösningarna. De tolkar stycken av den armeniske kompositören Komitas Vardapet men integrerar också stycken från den ryska kyrkans gammeltroende, en grupp som motsatte sig 1600-talets förnyelse av liturgin och flydde till Moldavien. Dessutom tolkar Garbarek och sångkvartetten modernare musik och tonsatta dikter från skilda miljöer, däribland ett poem som speglar ursprungsamerikanernas visionssökande. De strama sångarrangemangen ger musiken dess grundläggande karaktär. I det första stycket, av Komitas, svävar Garbarek i ett serent solo med vackert uthållna toner som understryker styckets högstämda bild av Kristi dop. Tonen är klar, och den vilar i utsökt balans mot sången eller i skör samklang med den. Men Jan Garbarek intensifierar också uttrycket. Han spetsar till sin ton, gör den brutalt uppriktig och skickar iväg studsande hardbopfraser och helt fria improvisationer. Men denna ögonblickets förfulning speglar musikens andliga karaktär. Ty skönheten, anden, segrar i Garbareks och Hilliardkvartettens förinnerligade musik. Så ingår liturgin en organisk förening med jazzens improvisationstänkande.
(Svenska Dagbladet)

Jan Garbarek, tenor and soprano saxophones

The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor;
Steven Harrold, tenor
Gordon Jones, baritone

The inspired bringing together of Jan Garbarek and the Hilliard Ensemble has resulted in consistently inventive music making since 1993. It was the groundbreaking "Officium" album, with Garbarek's saxophone as a free-ranging 'fifth voice' with the Ensemble, which gave the first indications of the musical scope and emotional power of this combination. "Mnemosyne", 1998's double album, took the story further, expanding the repertoire beyond 'early music' to embrace works both ancient and modern.

Now, after another decade of shared experiences, comes a third album from Garbarek/Hilliard, recorded, like its distinguished predecessors, in the Austrian monastery of St Gerold, with Manfred Eicher producing. Aptly titled, there is continuity in the music of "Officium Novum" and also some new departures. In 'Occident/Orient' spirit the album looks eastward, with Armenia as its vantage point and with the compositions and adaptations of Komitas as a central focus. The Hilliards have studied Komitas's pieces, which draw upon both medieval sacred music and the bardic tradition of the Caucasus in the course of their visits to Armenia, and the modes of the music encourage some of Garbarek's most impassioned playing. Works from many sources are drawn together as the musicians embark on their travels through time and over many lands. "Officium Novum" journeys from Yerevan to Byzantium, to Russia, France and Spain and concludes with a musical setting of a Native American text: all voyages embraced by the album's dramaturgical flow, as the individual works are situated in a larger 'compositional' frame.

"Hays hark nviranats ukhti" and "Surb, surb" are part of the Divine Liturgy of the Holy Mass which Komitas Vardapet (1869-1935) arranged on different occasions and for different formations. The versions here derive from those made for male voices in Constantinople in 1914/1915. "Hays hark nviranats ukhti" is a hymn traditionally sung at the beginning of the mass while the priest spreads incense. "Surb, surb" (Holy, holy) corresponds to "Sanctus" in the Latin Mass.

"Ov zarmanali" is a hymn of the Baptism of Christ (Sunday after Epiphany), sung during the ceremony of blessing the water, and "Sirt im sasani" a hymn of "Votnlva" (the bathing-of-the-feet ceremony celebrated on Maundy Thursday).These Komitas pieces are from the period 1910 to 1915, but their roots reach back to antiquity. Ethnomusicologist as well as forward-looking composer-philosopher, Komitas not only showed how Armenian sacred music had developed from folk music, but used folk styles expressively, to make new art music for his era.

99 kr (169 kr)
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