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Image Sonatas & Interludes
James Tenney, piano

How rare, and valuable, it is to be able to experience one composer's masterwork through the sensibility of another significant, stylistically distinct composer - via a performance that reveals unexpected aspects of both. that is to say, an approach to performance not as an act of self-conscious, flamboyant or dramatic interpretation, according to the concerns of technique, expression, and projection that are at the heart of an instrumentalist's presentation of a musical score to an audience, but something completely different; rather, an examination of the music's premise and complex details from a contrasting, individual, compositional curiosity.
(Art Lange)


159 kr
Image Works for Piano
159 kr
Image Notations & Piano Sonatas (Nos. 1-3)
...It is hardly surprising that the significance of the chapters in music history does not depend on their size. But almost never has there been such a concentration of events as in the case of the development, manifestation and overturning of serial music. And what is even more remarkable is that the individual stages of a historical process (post-twelve-tone serialism in our case) can be illustrated with the works of one composer, that is, with the piano pieces of Pierre Boulez. Just one decade passed between the fragile as well as fugitive Douze notations and the prodigious torso of the Third Piano Sonata - between the early work of an unknown composer in his twenties, who was already firm in his resolve not to keep up the tradition he was part of, and the work of the thirty-year-old avant-garde star, who only had to loosen the ties he himself had put on before...

(Raoul Mörchen)

Pi-Hsien Chen, piano.
Pierre Boulez

12 Notations



Pianosonat nr 1, 2 & 3


189 kr
Image Copenhagen Live 1964
Presentation text (Engl.) The program is indicative of a customary set by the band, which is to say unlike any other music of the time. Ayler con- tinues a practice of elemental one-word composition titles with pieces like the tender “Mothers,” itself a recasting of the old spiritual “Sometimes I Feel Like a Motherless Child”. There Ayler pulls out his vibrato stops from the start, drenching the audience in a warm current of matriarchally-minded pathos. Cherry acts as a strong cantilevering pres- ence, anchoring Ayler’s energy and interpolating his own freedom. It’s as if the two have slipped the pinions of tempo-ral order and entered their own private plane.

159 kr
Image Thingin
159 kr
Image Garden 2nd Set
Piano [Bösendorfer] – Cecil Taylor

Recorded live on November 16, 1981 at Grosser Saal Volkshaus Basel/Switzerland.
Digital recording on Sanyo PCM.
24 Bit Remastered
Reissue as part of the 40th anniversary of Hat Hut Records

189 kr
Image Solo Percussion
129 kr
Image Works for 2 Pianists
159 kr
Image Phonolith
129 kr
Image By the Law of Music
159 kr
Image Solo Works for Percussion
119 kr
Image One Great Day...
159 kr
Image Four Generations Piano
189 kr
Image Piano Sonatas Nos. 1-6
159 kr
Image As the Sea
Samuel Blaser, trombone
Marc Ducret, guitar
Bänz Oester, double bass
Gerald Cleaver, drums

It's that kind of trust that turns lack of rehearsal from disadvantage to advantage, lending it an exhilarating edge that comes from being placed in a new situation without any kind of safety net. Record producer/ambient music progenitor Brian Eno wrote, in his Oblique Strategies, "Honor thy error as hidden intention"; clearly a modus operandi for Samuel Blaser and his group. That this group can navigate Samuel Blaser's challenging composite of form and freedom with such effortless aplomb speaks to its growing chemistry, each member's ability to listen, and a collective musical background that extends far beyond the jazz tradition.
(John Kelman)


159 kr
Image Musica Derivata
189 kr
Image On Duke's Birthday
BÄST 2007 ENLIGT MAGNUS ERIKSSON PÅ ROOTSY.NU

"Den brittiske pianisten och orkesterledaren Mike Westbrooks
svåråtkomliga inspelning från 1984 finns nu på cd. Westbrook
anknyter till Ellingtons tidiga sviter i sin strävan att skapa ett expansivt melodilföde med sömlösa övergångar."
(Svenska Dagbladet)

In Max Nagl's varied jumble of creative activities, Big Four comes nearest to what we traditionally perceive as jazz. Formed at the suggestion of the producer Werner X. Uehlinger, who introduced him to the recordings of the original Big Four (Sidney Bechet, Muggsy Spanier, Carmen Mastren, Wellman Braud) from 1940, the band released its first album in 2002 (hatOLOGY 585).
«I wanted to work again with trumpet player Steven Bernstein anyway, and this was an opportunity to do so,» Max Nagl explains. «I knew that he was at home in many genres of traditional jazz. It was clear to me that he, too, should score pieces for this band. I myself was more interested in the instrumentation than in the music of Bechet, actually.»
When the adventurous guitarist Noël Akchoté and the agile and equally powerful bassist Bradley Jones teamed up, an exciting mélange of strong, idiosyncratic personalities was born.
(Tom Gsteiger)
MIKE WESTBROOK ORCHESTRA:
Mike Westbrook, piano
Tony Marsh, drums
Steve Cook, bass guitar
Brian Godding, electric guitar
Dominique Pifarely, violin
Georgie Born, cello



179 kr
Image Forms 1-4
229 kr
Image 12 (+6) In a Row
159 kr
Image Redemption
189 kr
Image Im Klang
119 kr
Image Garden 1st Set
This new reissue of Garden presents the music for the first time in the original concert sequence. The previous CD and LP releases re-sequenced the music in order to fit on LP side lengths. Garden was recorded live on 16th November, 1981, at Grosser Saal Volkshaus Basel, Switzerland. 'Nature neither ages nor stays the same, it recycles and thus re-identifies itself perpetually, and we continually experience it from a new perspective. Likewise with Art; therefore it s impossible not to hear the music of Cecil Taylor akin to a force of Nature with different ears 34 years on. Similarities may be recognized, a few details confirmed, but the response must embrace meaningful change, or the music, and the recipient, are not alive, cavorting in the same time/space sensibility. The garden that is re-invigorated and re-defined does not die. Taylor s choice of the garden to represent this 1981 performance has its roots in his longstanding belief that creativity is the ever-present condition of Nature (in our case, Life), and that his music in particular grew (and continues to grow) out of a personal engagement with the blues a music, metaphorically, of the soil, grounded in the legacy of African Americans and specifically an awareness of the innovative transformational powers of Duke Ellington. As he explained in the 1960s to A.B. Spellman (Black Music: Four Lives, Schocken Books), 'He could play a blues, but man, the way the thing was laid out it transcended the single idea of the blues. I m still trying to come to grips with that, you know.' Art Lange


159 kr
Image Sintering
Harrison is a melodist who has found his own patterns for melody, apparent in the anxious repetition of an unresolved motif in the opening “Preludial,” in the transformative, alchemical heat suggested by “Sintering,” or the contrast of the transparent resolution of “River Dolphin.” Throughout, Harrison creates his own structural language with a music that is both deceptively simple and, ultimately, wholly beautiful … Stuart Broomer, August 2014

159 kr
Image Polwechsel
119 kr
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