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Image After The Fall
The group colloquially known as “the Standards trio” has made many outstanding recordings, and "After The Fall" must rank with the very best of them. “I was amazed to hear how well the music worked,” writes Keith Jarrett in his liner note. “For me, it’s not only a historical document, but a truly great concert.” This perfor-mance – in Newark, New Jersey in November 1998 – marked Jarrett’s return to the concert stage after a two year hiatus. Joined by improvising partners Gary Peacock and Jack DeJohnette, he glides and soars through classics of the Great American Songbook including “The Masquerade Is Over”, “Autumn Leaves”, “When I Fall In Love” and “I’ll See You Again”. There are also breath-taking accounts of hallowed bebop tunes including Charlie Parker’s “Scrapple FromThe Apple”, Bud Powell’s “Bouncin’ With Bud” and Sonny Rollins’s “Doxy”.


289 kr
Image The Carnegie Hall Concert
Stereophile, Record of the month
Jazzman, Événement
Preis der deutschen Schallplattenkritik / Bestenliste 1/2007
Fono Forum, Empfehlungen des Monats
Stereo, CD des Monats


One of the most wide-ranging of all Keith Jarrett's performances, "The Carnegie Hall Concert" almost amounts to an autobiographical portrait of the great improviser. Each of his two sets takes the form of a suite of songs, some intensely lyrical, others angular, turbulent, or probing. And the encores - no less than five of them - touch upon the blues and boogie-woogie, upon standard material ("Time On My Hands"), and even offer a new perspective on "My Song", written for the Scandinavian 'Belonging' quartet and first recorded by Jarrett in 1977.

Keith Jarrett, piano

Recorded September 2005



289 kr
Image Mnemosyne
Five years after the recording of "Officium", the Hilliard Ensemble and Jan Garbarek returned to the monastery of St Gerold to renew, in the words of singer John Potter, their "encounter with the unknown." The resultant, very beautiful, double-album, "Mnemosyne", is wider in scope than its predecessor, and the improvised component of the music is expanded. Repertoire now spans 22 centuries, from the "Delphic Paean" of Athenaeus to the "Estonian Lullaby" of Veljo Tormis, via folk song fragments from North and South America and Spain, freely developed, as well as pieces by Tallis, Dufay, Brumel, Hildegard von Bingen, Jan Garbarek, a Russian psalm, a Scottish ballad of the 16th century, and much more. "We did it for each other in the absence of an audience, and these are complete one-off performances which will never sound the same again."

Jan Garbarek, tenor saxophone, soprano saxophone

The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon Jones, baritone

Recorded April 1998



289 kr
Image Musica Selecta
Arvo Pärt and Manfred Eicher have maintained their creative partnership for more than thirty years. Eicher launched ECM New Series in 1984 as a platform for Pärt's music, bringing the Estonian composer to the world's attention with the album Tabula Rasa. Since that epochal release, all first recordings of Pärt's major works have been made for ECM, with the composer's committed participation. This association between composer and record producer is, as Paul Griffiths has noted, "an example of loyalty and collegiality unique in our time."

289 kr
Image Six Partitas
4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER

4 AV 5 MÖJLIGA I BETYG I NERIKES ALLEHANDA

"Efter sina uppmärksammade inspelningar av Ludwig van Beethovens samtliga sonater har András Schiff kommit till ett annat av musikhistoriens mäktigaste verk. J S Bachs sex partitor för klaverinstrument som är ett fascinerande utforskande av den franska sviten, en av 1700-talets viktigaste flersatsiga former. En nästan overklig upphöjelse av en musik som från början baserades på enkla dansformer som allemande, courante, saraband, gavott och jig. Och som Schiff tar sig an med samma prövande temperant och blixtrande klarhet som i Beethoven. Sex partitor på raken kan tyckas mastigt. Men variationerna är nästan oändliga så det blir aldrig enahanda. I synnerhet inte när Schiffs slängighet och skärpa i de lite mera drömska satserna (särskilt i allemanderna) får Bach att låta lite som jazzgeniet Bill Evans."
(Dagens Nyheter)

His interpretive approach eludes definition. An artful blend of intuition and analysis has gone into his preparation. Yet the results are constantly surprising.
(Anthony Tommasini, reviewing Schiff's Carnegie Hall recitals with late Beethoven sonatas in the New York Times, April 2009)

- András Schiff's new live-recording of some of the most beautiful piano music by Johann Sebastian Bach

- "András Schiff is probably the most ingenious and resourceful performer of Bach on the modern piano around today."
(San Francisco Chronicle)

- Schiff's playing on stage combines spontaneity and intellectual depth, ravishing sound with flawless technical finish

- Follow up to Schiff's hugely successful Goldberg variations from Basel

- The booklet includes an extensive essay on the recorded repertoire and a peformer's note by András Schiff

The Music
Following last year's completion of his highly-praised Beethoven cycle András Schiff returns to Bach with a superb interpretation of the six "Partitas". It was recorded live in September 2007 at Neumarkt Reitstadl, one of the best piano music venues in Europe. The cycle, which in 1731 was the first group of works to be published by Bach himself, represents a unique stylistic synthesis of the suite form with a particular emphasis on most varied and imaginative opening movements. In his 1802 biography of Bach, Nikolaus Forkel famously wrote that "such splendid compositions for the clavier had not been seen or heard before... so brilliant, harmonious, expressive and constantly novel are they." Compared to his London studio recording of 1983 this second rendering on disc demonstrates Schiff's stylistic development towards more freedom, sonic depth and sheer pleasure of phrasing. In his personal note for the present recording Schiff writes: "I made my first recording of Bach's six partitas a quarter of a century ago, in London's Kingsway Hall in 1983. Since then I've continued to study his great keyboard works and often performed them in cycles. Conducting the St. Matthew Passion and the B-minor Mass several times were experiences that have left an indelible mark on my piano performances: we frequently find dance movements in Bach's church music, and his instrumental works were often inspired by his sacred compositions." Schiff's rather unorthodox sequence of partitas - 5 - 3 - 1 - 2 - 4 - 6 - draws an ascending line of keys leading from G major to e minor and reflects a long experience with the pieces on stage.

Artist Background
András Schiff, born in Budapest in 1953, puts a strong focus on cyclic performances of the important piano works by the masters from Bach to Bártok. His wide-ranging discography on ECM includes works by Janácek, Schubert, Bach, Schumann, Mozart abd many others. Schiff's most ambitious project to date, the complete Beethoven sonata cycle in more than 15 major musical centers worldwide. was finished in April with two triumphant recitals in New York's Carnegie Hall. Betweem 2005 to 2008 the Beethoven sonatas were released in eight volumes on ECM New Series to enormous critical acclaim.


289 kr
Image Radiance
Jazzman, Choc
Le Monde de la Musique, Choc
Télérama, 4 clés
Jazz Magazine, Disque d'émoi
Classica - Répertoire, R10
Les Inrockuptibles, Ecouté et Approuvé
Piano Magazine, Coup de cœur
Audio, Jazz-CD des Monats / Klangtipp
Stereoplay, Klangtipp


Radiance bears out an oft-quoted early statement of Keith Jarrett's: "The best improvisations I know of are always made when you have no ideas. If an improviser can get ideas out of his head that are possessing his ability to flow, then he can keep playing and keep making music. I don't even have a seed when I start. The solo concert is like another world that has its own rules that I didn't make up."

Keith Jarrett, piano

Recorded October 2002




289 kr
Image Resonance
Manfred Schoof: trumpet, flugelhorn; Michel Pilz: bass clarinet; Jasper Van't Hof: piano, electric piano, organ; Rainer Brüninghaus: piano, synthesizer; Günter Lenz: double-bass; Ralf Hübner: drums (collective personnel)

The first CD issue of music from Manfred Schoof's three ECM/Japo albums of the 1970s - "Scales", "Light Lines", and "Horizons". "Resonance" is the German trumpeter's personal compilation of his favourite music from this era, released as two CD set. Schoof's quintet was a highly regarded band on the European scene of the 1970s, and the "Scales" LP won the German Critics Prize as Album of the Year (Grosser Deutscher Schallplattenpreis 1977). At the time, both Schoof and frontline partner Michel Pilz were also members of Alex Schlippenbach's freewheeling Globe Unity Orchestra (indeed Schoof still plays with the GUO periodically) and also recorded for ECM/Japo with that formation (see the albums "Improvisations" and "Compositions"). The blueprint for the quintet was to re-integrate lessons learned in free playing into melodically-intense small group jazz. Manfred Schoof "The 1970s, when these recordings were made, gave many musicians the opportunity to expand a scale of musical expression that originated from the free jazz of the 1960s. This led to a new kind of playing that did not hesitate to use and combine different means of expression - a process exemplified by the present recordings. The music on these CDs is contemporary and free in the best sense of these words; more so, it is timeless. Here the term "free" not only stands for a specific style of jazz that, in its beginnings, opposed with revolutionary gesture everything redolent of the past and reminiscent of tradition but rather the freedom to choose between a multitude of very different means of expression. Tradition, therefore, is viewed as a past experience that merges with and enriches a new style of sound." Schoof showcased some exceptional talent in his band. Michel Pilz was, in the era, the only European improviser who had committed himself exclusively to the bass clarinet. Inspired initially by Eric Dolphy, he developed his own distinctive sound, playing inside the ensemble textures as well as soloing with energy and imagination. Günter Lenz and Ralf R. Hübner helped to define the direction of modern jazz in Germany. Both bassist and drummer were members of Albert Mangelsdorff's pioneering groups of the 1960s and their detailed interaction is crucial to the buoyancy of the Schoof quintet sound. Lenz can also be heard on ECM with the Berlin Contemporary Jazz Orchestra, Hübner with Eberhard Weber on "The Colours of Chloe" and "Chorus". Together, for decades, they powered the rhythm section of the Jazzensemble des Hessischen Rundfunks - see the ECM album "Atmospheric Conditions Permitting". The pianists in the Schoof group were players of the next generation. Dutch keyboardist Jasper van't Hof came to Schoof after playing with Pierre Courbois's Association PC and the collective Pork Pie, which also included Charlie Mariano and Philip Catherine, in a time when rock and jazz were influencing each other. A change of Schoof personnel in 1979 brought Rainer Brüninghaus into the band. Now best know as the long-serving keyboardist in Jan Garbarek's perennially popular band - which he joined in time for 1988's "Legend of the Seven Dreams" -, at the end of the 70s Brüninghaus split his time between the Schoof group and Eberhard Weber's Colours, with subsequent activity including his own projects ("Freigeweht" with Kenny Wheeler and Jon Christensen) and "Continuum" (with Markus Stockhausen and Fredy Studer - also a German Critics Prize winner). And then there is the leader. "Resonance" incorporates some of the most comprehensive music of Schoof's long career and some of the finest instance of his own playing on disc. The full range is here, the romantic ballad playing, the stark dramatic post-bop soloing, and the squeezing-out- sparks free playing.

Manfred Schoof was born in Magdeburg in 1936 and studied at the academies of Kassel and Köln: at the latter he was a composition student of Bernd Alois Zimmermann. One of the first wave of German free players he played and recorded with Gunter Hampel's band before forming his own ensembles, and was also amongst the first of the European players to write quasi-orchestral structures to contain the energies of collective improvisation. His album "European Echoes", recorded in 1969, launched the FMP label. A long-time member of the Globe Unity Orchestra, Schoof has also had playing associations with Mal Waldron, George Russell, Gil Evans, Stan Getz, Kenny Clarke/Francy Boland and many others. Since 1990 he has been professor of trumpet and jazz history at the Musikhochschule Köln. The recipient of many prizes, in 2006 he was awarded the Bundesverdienstkreuz for his services to music in Germany.


289 kr
Image Magnetic Works, 1993-2001
Jens Petter Antonsen: trumpet; Per Jørgensen: trumpet, vocals; Arve Henriksen: trumpet, vocals; Morten Halle: alto saxophone, flute; Tore Brunborg: tenor and soprano saxophones; Gertrud Økland: violin; Henrik Hannisdal: violin; Odd Hannisdal: violin; Trond Villa: viola; Marek Konstantynowicz: viola; Jonas Franke-Blom: violoncello; Svante Henryson: violoncello; Morten Hannisdal: violoncello; Jon Balke: piano, keyboards, percussion, electronics; Anders Jormin: double-bass; Marilyn Mazur: percussion; Audun Kleive: drums

This anthology contains music from a trilogy of albums made in the period of 1993 to 2001 by Jon Balke's Magnetic North Orchestra: "Further", "Solarized" and "Kyanos". "Further" and "Kyanos" were issued by ECM in1994 and 2002, respectively. Between them, in 1999, came "Solarized", which was issued by Emarcy in Norway, but was only briefly available. The inclusion of nine tracks from this disc in the present compilation helps to cast light on the evolution of Balke's musical thinking and the concepts he has developed to redefine music for larger groups of players.


289 kr
Image Rio
HÖGSTA BETYG I DAGENS NYHETER

4 AV 5 MÖJLIGA I BETYG I SYDSVENSKAN

"Det är samtidigt en avundsjuka. Jag har alltid fascinerats av dessa stora pianister som tycks ha en hel fantastisk värld för sig själva så fort de slår sig ner vid flygeln. Jarrett är så klart inget undantag, och i mina öron är inte bara "Köln" utan faktiskt även "Rio" exempel på det där sagolika musicerandet. Bara albumet är en värld i sig, inspelat live på Theatro Municipal i Rio de Janeiro tidigare i år. Han rör vid gospeln, vid bluesen och jazzen, vid kammarmusiken, vid pianister och komponister som föregår honom och lever vidare i hans spel, samtidigt som han i varje enskilt stycke är sig själv, karaktäristiskt gnyende och lika självklar i sin kreativa identitet som hans teknik är bländande."
(Dagens Nyheter)

"På den här matiga dubbeln från en konsert i Rio i april 2011 känns Keith Jarrett ovanligt melodiös och tillgänglig över de femton korta spåren. Han byter mellan sitt klassiska gospel­gung, stilla impressionistiskt solglitter, en sprättig fritonal attack, boogie, latinofärgad vals och en standardlik ballad. Det är mycket stimulerande lyssning, Jarrett var tydligt inspirerad och publikens explosionsartade entusiasm smittar av sig på en själv."
(Sydsvenskan)

Keith Jarrett: piano

A fascinating document of Keith Jarrett's solo concert in Rio de Janeiro on April 9, 2011. The pianist pulls a broad range of material from the ether: thoughtful/reflective pieces, abstract sound-structures, pieces that fairly vibrate with energy. The double album climaxes with a marvellous sequence of encores. 40 years ago Keith Jarrett recorded his first ECM disc, the solo piano "Facing You". He has refined his approach to solo music many times since then, always finding new things to play. So it is here, in this engaging solo recording from Brazil.



289 kr
Image Athens Concert
LIRA GILLAR

5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER


"Något som ofta utmärker riktigt intressanta musiker är vilka de väljer att spela tillsammans med, att de då och då väljer oväntade samarbetspartners för att utveckla sitt konstnärskap. Saxofonisten Charles Lloyd tillhör definitivt den kategorin, vilket inte minst bevisas av den här konserten från Aten, som nu släpps som dubbelskiva. Här samarbetar han med den grekiska sångerskan Maria Farantouri, känd bland annat för sina tolkningar av Theodorakis sånger. Det är två rätt skilda världar och temperament som möts: Charles Lloyds coola jazzlöpningar och Maria Farantouris varma folksång. Intensiteten och livserfarenheten har de gemensamt och det blir till fördjupande möten där de olika traditionerna bryts mot varandra. Alla medverkande, inkluderande Lloyds tre kompmusiker och de två medverkande grekliska musikerna, står liksom på tå för att förmedla sin vision. Det är engagerande från första ton till sista."
(Lira)

"Den grekiska sångerskan Maria Farantouri är en kontraalt, vilket innebär att hon sjunger ovanligt djupt för en kvinna. Hennes uttryck är stort och känslosamt, men också musikantiskt på ett sätt som kanske ytterst möjliggör det här mötet med Charles Lloyd och jazzen. Som tenorsaxofonist är Lloyd lite av Farantouris motsats, men de fyller olika roller i musiken. Även Lloyd är en sann musikant, som ofta har hämtat inspiration utanför jazzen. Farantouris syntes av grekisk tradition och modern konstmusik besvarar han dels genom att sätta den i en jazzkontext, dels genom att måla upp breda ackord som mer får stå i fonden. Mellan dem utspelar sig en vacker och värdig musikalisk dialog, lyhört påpassad av bandet med bland andra pianisten Jason Moran och Socratis Sinopoulus på lyra."
(Dagens Nyheter)

Charles Lloyd, tenor saxophone, flute, tarogato
Maria Farantouri, voice
Jason Moran, piano
Reuben Rogers, double-bass
Eric Harland, drums
Socratis Sinopoulos, lyra
Takis Farazis, piano

Stunning performance in front of a huge audience at the open air Odeon of Herodes Atticus, as Charles Lloyd, uniquely-expressive saxophonist, and Maria Farantouri, Greece's voice of resistance, come together. Friends for some years, this is their first recorded collaboration. Lloyd's brilliant quartet is on hand - with Jason Moran in especially creative mode - augmented by lyra player Socratis Sinopoulos and second pianist Takis Frazio in a marvelous programme that includes songs by Mikis Theoedorakis, suites of Greek traditional music, Eleni Karaindrou's "Journey to Kythera" and Lloyd originals including his classic "Dream Weaver". "Athens Concert" is a major event, a very special live album indeed.



289 kr
Image Live
Nik Bärtsch, piano
Sha, alto saxophone, bass clarinet
Björn Meyer, bass
Thomy Jordi, bass (on Modul 55)
Kaspar Rast, drums
Andi Pupato, percussion

Ronin around the world: a powerful and atmospheric concert recording with music captured in Germany, Austria, Holland, England, and Japan, a double-album which transmits the live impact of Nik Bärtsch's band and its enveloping modular groove music of interlocking rhythms. It's also a set that marks the end of an era and the transition into a new one. These are the last recordings of Ronin with Björn Meyer's elegantly-leaping bass guitar as one of the lead voices, and Bärtsch views the album as partly a tribute to Meyer's long tenure with the band. New bassist Thomy Jordi, meanwhile, makes an impressive entrance on "Modul 55", but it's most often the whole band, as a unified field of force, that commands the listener's attention.


299 kr
Image In Concert - Robert Schumann
289 kr
Image The Well-Tempered Clavier, Book I
This never-before-released concert recording by pianist Keith Jarrett of Book I of Bach’s The Well-Tempered Clavier, made in March 1987 at Troy Savings Bank Music Hall, New York, is now issued in ECM’s 50th anniversary year.

”These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing,” wrote Gramophone of Jarrett’s first recorded account of the first 24 of Bach’s “48” some three decades ago. “Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement.”

In this live recording from Troy, just one month after his studio recording of the work, Jarrett addresses the challenges of Bach’s great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. As the pianist explained at the time: “The very direction of the lines, the moving lines of notes, are inherently expressive...When I play Bach, I hear almost the process of thought. Any coloration has nothing to do with this process.”

289 kr
Image In The Light (2 CD)
Keith Jarrett, piano, gong, percussion, conductor

Ralph Towner, guitar
Willi Freivogel, flute
The American Brass Quintet
The Fritz Sonnleitner Quartet
String Section of the Südfunk Symphony Orchestra Stuttgart/
Mladen Gutesha

Recorded 1973



289 kr
Image Concerts Bremen / Lausanne (2 CD)
Keith Jarrett, piano

Recorded March and July 1973
Keith Jarrett pianoRecorded July 12, 1973, Kleiner Sendsaal, Radio Bremenand March 20, 1973, Salle de Spectacles D'Epalinges, LausanneEngineers: Kurt Rapp and Martin WielandProduced by Manfred Eicher and Keith JarrettIn his timeless solo concerts, Jarrett displays the uncanny ability to drop himself into a piece of improvised music as if it has been playing invisibly in the ether all along, requiring him only to pick up from whichever measure he encounters and leave the music to continue on after he has left the stage. This album predates Jarrett's Köln concert by just two years and was the one that really put him on the map before that legendary successor. Yet we cannot simply say that Jarrett is channeling the cosmos and leave it at that, for he inhabits a melodic space that is tangible, his own. Though filed under jazz, this music is something far more than any generic summary could express. Still, I persist in trying.The work in Bremen feels to me like travel. In Part I, we run through many modes of transportation: from air to earth to rail, we are given a glimpse of new places and spaces (both inner and outer). We don't so much physically as emotionally go there, feeling our way through unfamiliar territory as if it were our very home. Part II has a more decidedly gospel feel to it, rushing headlong into an ecstatic communion. For nearly 45 minutes, Jarrett manages to ride a wave of endless creative fervor as if every moment were not the last, but the first. Just then, halfway through, the mood darkens. Until now we have been heading for the sun when suddenly we are looking back to the earth, thinking of all that we would miss: the sensation of water trickling through our fingers, kisses upon our children's foreheads, the rustling of wind blowing through our back yards. With a mere gathering of notes, Jarrett manages to imagine a lifetime's worth of memories, departing at last with an exultant resignation, perhaps even rebirth.Lausanne, on the other hand, crosses the previous series of vertical strokes with horizontal ones. Every time Jarrett slips into another intersection, he locks himself into a new idea until its beauty becomes too much for him and he must move on. "Transcendent" doesn't even begin to describe the effect, for it is also confrontational, painful, and transportative. For the latter portion of the Lausanne solo, Jarrett ventures inside the piano, slapping and plucking his way through a percussive and surreal call-and-response and, eventually, a frenzied fade into silence.Of all of Jarrett's solo piano recordings, I love the sound of this piano over the rest. Whatever instrument he is playing here seems to let go of any and all inhibitions in his presence and shines steadily like a planet in its higher regions. Jarrett plays with unparalleled diction. Like any great orator, he means to ensure that we understand every word through his delivery, and for that he has chosen the perfect mouthpiece.


289 kr
Image Hymns / Spheres
Keith Jarrett, organ

"Hymns/Spheres", Keith Jarrett's celebrated 1976 encounter with the Trinity organ of Ottobeuren's Benedictine abbey, is at last released in its entirety on CD in this double-disc set prepared from the original analog tapes. "No overdubs or technical ornamentations were utilized, only the pure sound of the organ in the abbey is heard". The pure sound, as channelled by the mind, hands, and feet of one of the great improvisers of the age. When "Hymns/Spheres" was first released in 1976, some critics made comparisons with the organ music of Ligeti, Messiaen and Reger, but time has shown this to be an essential expression of Jarrett's creativity, original to the core.


299 kr
Image Nude Ants (2 CD)
Keith Jarrett, piano, timbales, percussion
Jan Garbarek, saxophones
Palle Danielsson, bass
Jon Christensen, drums, percussion

Recorded May 1979



289 kr
Image 80/81
Metheny's strongest improvisational recording brought himinto the orbit of some heavy players. On this double album,the 26-year-old guitarist could engage with the saxophonesof Dewey Redman and Michael Brecker, and ride the surgingpulsations supplied by a first-ever rhythm section teamingof Charlie Haden and Jack DeJohnette. "What results in analways fascinating, often provocative performance from allinvolved. Mike Brecker's marvelous swooping and soaringimprovisation of 'First Folk Song' is one of his finest recordedmoments" - High Fidelity


289 kr
Image Sanfona
Gismonti delivers this impressive mixed set for his third ECM release. The first half features Gismonti's Academia de Dancas quartet on a handful of originals, including the popular "Frevo." The band features Zeca Assumpcao on bass, Mauro Denise on reeds, Nene on percussion, and Gismonti on both guitar and piano. For the second half, Gismonti goes solo on acoustic guitar, Indian organ, and voice for a lovely program taped live in Munich. With fine notes and spoken bits by Gismonti, listeners will find much in the way of Brazilian musical and cultural history to compliment the music. A perfect overview for the curious fan.


289 kr
Image Tribute (2 CD)
Keith Jarrett returns to Köln - this time with his trio - to paytribute to the great jazz improvisers through the medium ofstandards, renewing songs associated with John Coltrane,Miles Davis, Charlie Parker, Jim Hall, Lee Konitz, SonnyRollinsandmore. Keith Jarrett, piano
Gary Peacock, bass
Jack DeJohnette, drums

Recorded October 1989



289 kr
Image Whisper Not
Musica Jazz, Album of the Year
Diapason d'Or
Jazzman, Choc du mois
Stereoplay, CD des Monats
Fono Forum, Stern des Monats
Stereo, CD des Monats


This is the first Standards Trio recording since Keith Jarrett's return to public performance, and some changes have been wrung in the group's improvisational approach. The making of Jarrett's acclaimed solo album "The Melody At Night, With You" has influenced the way his Trio now approaches ballads. And the uptempo numbers have a new buoyancy.

Keith Jarrett, piano
Gary Peacock, double-bass
Jack DeJohnette, drums

Recorded July 1999



289 kr
Image Free And Equal
"Free and Equal finds the saxophonist exercising his compositional prowess while still leaving plenty of room for the impressive improvising skills that have earned him a rep as one of Europe's most intriguing reed players. The setting is a suite of nine pieces with notated ensemble sections played by the keen 10-member classical outfit London Brass. Cleverly linking several of the pieces are intuitive duos by Surman and DeJohnette. Dynamics are flaunted, the music steadily shifts its weight, and as one episode leads to the next, you come to understand you're in the hands of a master."
(DownBeat)

John Surman, soprano and baritone saxophone, bass clarinet
Jack DeJohnette, drums, piano
London Brass

Recorded June 2001




169 kr
Image Dresden
4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER

"Saxofonisten Jan Garbareks lyriska tonspråk har ackompanjerats på drastiskt olika vis genom åren. Ena ytterligheten måste vara hans samarbete med sångarna i Hilliardensemblen; den andra kan mycket väl vara just den här upplagan av Jan Garbarek Group. "Dresden" är en liveinspelning från en period då Eberhard Weber nyligen hade ersatts av brasilianen Yuri Daniel på elbas. Den nödvändiga, här pågående justeringen av gruppens dynamik och sound ger musiken en särskild nerv, inte minst i mer improviserade avsnitt. Som tidigare sker också mycket i mötet mellan Garbarek och den drivne trumslagaren Manu Katché. Rainer Brüninghaus på piano och keyboards gör gruppen komplett och har stor känsla för musikens olika stämningar. Det är ett dubbelalbum om sju respektive nio låtar. Om än bara en del av Garbareks stora repertoar, så visar materialet på en kreativ bredd, från originalkompositioner hämtade från flera tidigare skivor, till intressanta covers som "Milagre dos peixes", skiven av Milton Nascimento men kanske mer känd som en av låtarna på Wayne Shorters "Native dancer"."
(Dagens Nyheter)

Jan Garbarek: soprano and tenor saxophones, silje flute; Rainer Brüninghaus: piano, keyboards; Yuri Daniel: bass; Manu Katché: drums

This two-CD set is the first-ever live album to be issued under Jan Garbarek's name. "Dresden", a fiery and powerful performance and a fine document of the Norwegian saxophonist's exceptional improvising capacities, captures his group in a period when it was, of necessity, reformulating its approach. Earlier in the year bassist Yuri Daniel had been drafted into the band to help Garbarek fulfil commitments when Eberhard Weber, a unique component of the Garbarek ensemble's core sound for three decades, had been sidelined by illness. The new group tackles its repertoire head-on; with the interaction between Garbarek and drummer Manu Katché at the centre of the music. Daniel, a Brazilian bassist living in Portugal whose previous associations have ranged from Maria João's group to the Lisbon Underground Music Ensemble, helps to anchor the pulses and rhythm patterns. Rainer Brüninghaus, a Garbarek Group member since 1988, maintains his long-established role as colourist-in-action. While both bassist and keyboardist claim their own solo space, more often they help to shape a climate in which Garbarek's hymnic, declamatory and intensely melodic solos can find full expression, drawing energy also from Katché's hard-driving drums. As The Guardian wrote of the group on this leg of the 2007 tour, "The contrast between an intense jamming sound and the songlike simplicity of the tunes is always Garbarek's magic mix, but this version of the band has an exhilarating intensity." The Norwegian-German-Brazilian-French band powers through material old and new, and sketches a world of musical interconnections - beginning with an ecstatic account of "Paper Nut", written by Indian violinist Lakshminarayana Shankar for the ECM "Song for Everyone" album back in 1984. "Milagre Dos Peixes" (Miracle of the Fishes), by Milton Nascimento, was a revelation for many musicians when Wayne Shorter introduced it on his "Native Dancer" recording: the Garbarek group lift it to another level. "Rondo Amoroso", is Garbarek's arrangement of a composition by Harald Sæverud (1897-1992). Perhaps the most prolific Norwegian composer after Grieg, Sæverud was strongly influenced by the essence of folksong - the parallel with Jan's work is clear enough.


289 kr
Image Sleeper (2CD)
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

4 AV 5 MÖJLIGA I BETYG I SYDSVENSKAN

"Keith Jarretts "europeiska kvartett", med saxofonisten Jan Garbarek, basisten Palle Danielsson och slagverkaren Jon Christensen, var varken särskilt långlivad (några år på 70-talet) eller produktiv (fyra album). Ändå har den en framskjuten plats i jazzhistorien. Sleeper är en outgiven liveinspelning från Japan, april 1979, och kommer från samma tid som de två andra livealbumen i kvartettens diskografi. Inget nytt under solen alltså, men det är svårt att klaga då musiken är så knäckande bra. Samtliga spelar på toppen av sin förmåga, utan att någonsin förfalla till uppvisningskonster."
(Svenska Dagbladet)

"På de senaste 40 åren har knappast något europeiskt jazzalbum fängslat och inspirerat så många musiker och lyssnare som den här kvartettens. Endast fyra skivor kom på 1970- och 80-talet, så denna dubbel är direkt en dyrgrip. "Sleeper" spelades in -79 i Tokyo, under samma turné som de två äldre livealbumen. Fyra låtar är desamma som på "Nude Ants" och även om intensiteten ligger lite högre där, så står sig "Sleeper" väl och det är spännande och givande att jämföra. Detta var inte gänget som upprepade sig så gärna. Jazz med extra allt - fantastiska melodier, besjälat samspel, en rytmisk vitalitet som fick musiken att dansa och en alldeles egen gruppklang. "Innocence" görs lika öm och kärleksfull som "Personal Mountains" är ostoppbart pulserande."
(Sydsvenskan)

Keith Jarrett: piano, percussion; Jan Garbarek: tenor and soprano saxophones, flute, percussion; Palle Danielsson: double-bass; Jon Christensen: drums, percussion

ECM is particularly pleased to present this two-disc set by one of the most outstanding groups of its era, the group often referred to as 'Belonging' or Keith Jarrett's 'European Quartet', heard here in a previously unreleased concert recording from 1979. After more than three decades in the archive, this "sleeper" now awakes, sounding thoroughly alive and of the moment.

"Sleeper" is a significant addition to the group's small discography, until now comprised of the albums "Belonging" (1974), "My Song" (recorded 1977, released 1978), "Nude Ants" (recorded 1979), and "Personal Mountains" (1979, released 1989). The pieces performed by the quartet on April 16, 1979, at Tokyo's Nakano Sun Plaza were Jarrett compositions - "Personal Mountains", "Innocence", "So Tender", "Oasis", "Chant of the Soil", "Prism" and "New Dance" - all written for this ensemble (in later years, "Prism" and "So Tender" would be reinterpreted by the "Standards" trio), all delivered with enormous verve. This was a group that could play very freely, and joyously, inside the melodic and rhythmic structures set up or implied by Keith Jarrett's writing, with an extraordinary and unforced sense of flow. As Jarrett said at the time: "I myself, as a so-called leader, wish very, very often to blend with the other three musicians and that situation [the Belonging band] allows that, because no one is fighting with anyone else. Everyone is just trying to make the thing transparent and clear and feeling good."


299 kr
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