Acceptera cookies

NaxosDirect använder cookies. Genom att fortsätta på sidan godkänner du användandet av cookies.
Jag accepterar
Visar 152 artiklar
Image Trio
Feldman's canvas contains sparse, isolated tones and commentary in an environment of heightened concern. (Concern negates the idea that Feldman's music embodies an existential void.) Concern creates tension, energized by the composer's sense of responsibility, and desire. The music sounds familiar at times, where a motif occurs and is not forgotten, but returns in another place in another guise. Or multiple motifs (each instrument's persona! statement) are reassembled into something resembling something else, or only itself. Even Feldman's repetition is never exact, as there are slight shifts in weight, shade, density, intensity. And when, eventually, the music ends, it just ends, for no need, or reason, with no explanation, no answers. Art Lange

159 kr
Image Town Hall 1972
Anthony Braxton, alto saxophone
Dave Holland, double bass
Philip Wilson, drums
John Stubblefield, tenor saxophone, flute, bass, clarinet, gong & percussion
Jeanne Lee, voice
Dave Holland, double bass
Barry Altschul, percussion & marimba

By 1972 we still only had a vague and partial knowledge of Braxton's more formal nature. So Town Hall was a "coming out" in one sense, albeit an atypical one. In some ways, this concert reminds us of Braxton's roots in the collective experiences of the AACM, and at the same time anticipates the multi-logics and expanded resources of later endeavors.
(Art Lange)


159 kr
Image Strange Fruit
Strange Fruit is a project of the Protean composer-saxophonist Fabrizio Cassol, which takes the form of a concept album that could be described as ‘World Opera’. This songbook was elaborated over a period of more than four years, in the company of a group of renowned singers who wrote or co-wrote each piece in their own, very different expressive and stylistic traditions. The title, Strange Fruit, refers to the song of the same name, majestically embodied by Billie Holiday, which remains an essential musical masterpiece as well as a humanistic symbol. On the album we fi nd an inspired version of the original, dating from before ‘Lady Day’ along with another, a sort of colourful fresco inspired by her interpretation as well as by Bach chorales or Malian men’s choruses, and accompanied by the heavenly voices of the forty girls of La Choraline.

159 kr
Image Knowing Lee
Lee Konitz
Dave Liebman
Richie Beirach

Beware, this trio resembles no other. To start with, the format is quite out of the ordinary; two saxophones and a piano. There is indeed nothing these three musicians enjoy more than freedom and risk taking. Lee Konitz, the elder (1927), alto saxophonist (and here equally splendid at the soprano) recently honored by the Charles Cros Academy « for his entire career »; and two almost contemporaries, Dave Liebman (1945) soprano and tenor saxophonist and Richie Beirach (1947) piano. The "younger" players show respect. They composed « Knowing Lee », the title track of the album. Al three share the same values of rigor and spontaneity, exactly as one of their spiritual masters, Lennie Tristano, used to teach. It is not by chance that they named the two compositions written with six hands « Trinity » and « Don't tell me what key ». In other words, you can follow this adventure blindfolded. You know where you are going. This coming together in a studio in the spring of 2010 can somehow be considered the natural culmination of their artistic career. Richie Beirach was for instance already accompanying Konitz at the end of the Sixties before joining Liebman - with Eddie Gomez, bass, and Billy Hart, percussion - to form the Quest group, outstanding specialists in collective improvisation. These small bands, where each interpreter has his own space, have always had the favor of our three friends. Here they thoroughly enjoy themselves. In one instance the two saxophonists even challenge one another - amiably of course but without the piano - on the same instrument (the soprano) in « Alone together », one of the highlights of the album. During all of this divine hour, Lee, Dave and Richie gain altitude. On the summits, as everyone knows, the air is rarer ... and purer.



159 kr
Image Railnotes
289 kr
Image All Things Arise
189 kr
Image Time Within Time
...Lika delar konstmusik och jazz blir en lyckad helhet...

(HiFi & Musik)



...broderande vackert solospel, mjukt och innerligt i samtliga tolv titlar...

(Ljusnan)



Jazzpianisten Marc Copland spelar här egna låtar, Leonard Bernsteins "Some other Time" och låtar av Wayne Shorter, John Lewis, Miles Davis m fl.

Marc Copland, piano.




179 kr
Image Radio Fractal, Beat Music Live at Donaueschingen 2
289 kr
Image 3 Suites and a Violin
159 kr
Image Some Trees
159 kr
Image Into the Barn
159 kr
Image Krom
189 kr
Image Pika-Don
189 kr
Image Fellowship
Recorded in 1998... the three pieces fall comfortably into a long-form, open presentation of thematic improvisation that feels even older – with its roots, say, in the freeing of forms that occurred during the ‘60s – while making allusions to and referencing details to be found throughout the history of jazz. This is neither an act of stylistic appropriation nor conscious postmodern juxtapositioning, but an organic collective response reflecting the individual life experiences of these particular musicians, as artists from different generations, different geographical locations, different musical environments (making even the group name, Fellowship, with its echoes of ‘60s cooperative optimism, all the more apt).

(Art Lange)
Theo Jörgensmann, klarinett m fl.


179 kr
Image Faktura
189 kr
Image Enactments (Works for Piano)
189 kr
Image Works for Piano
189 kr
Image We Concentrate
159 kr
Image Something To Live For
The world of Ran Blake beckons once again in these performances and, once again, we cannot resist being drawn into that world. We dodge through its shadows and its bright, glaring expanses, alert to the caverns and crevices from which the pianist’s images emerge – now gentle, now brutal, always unretouched. The cinematic content of Blake’s music, its use of montage and dramatic dissolves, has long been acknowledged. When he works in the short forms he favors here,there is also the clarity and unsparing honesty of a short story collection by an author like the late Raymond Carver. Extramusical allusions are unavoidable when music evokes all five senses, as Blake’s music inevitably does. Bob Blumenthal

159 kr
Image Archives of the North
159 kr
Image Alive In The House of Saints Part 1
Listening, eight years after it was created, to this primary chapter in the recorded legacy of Myra Melford's first trio evokes a rush of feelings. There are warm memories of in-person encounters with Melford, Lindsey Horner and Reggie Nicholson; and satisfaction regarding how the ideas Melford articulated here as both pianist and composer have metamorphosed into the triumphs of her subsequent music. What is absent is the uncertainty one often feels when contemplating the recent past, that feeling of needing more time to take the full measure of a musical state-ment. Melford has made it easy for us, through the clarity of both these now-historic performances and her subsequent efforts, to hear the present works as both glorious ends in themselves and the zoundations of her ongoing creations. Bob Blumenthal, 2001

159 kr
Image Are You Going to Stop... In Bern?
159 kr
Image Ephemeral Rivers
Like all portraits this CD can be read in different ways: it represents a moment in time, not just the artist’s time but our collective time; it is intimate, but in its intimacy it shows us something of the society in which this music was made. The moment in time covers the years between 2011 and 2015, the period in which Cat Hope made the five works gathered here. Each of them inhabits what the composer herself describes as a ‘nexus of electronic and acoustic instruments, animated notations, drone and noise’ and although all of them might be described as chamber music, none of them is a chamber work in the classical sense of music for an exclusively acoustic instrumental ensemble. Instead, in each case the sonic resources of acoustic instruments are located within a musical frame that includes other elements: sometimes, as in Cruel and Usual, the live electronics extend the sounds of the instruments; sometimes the sounds created by the musicians are augmented by, or juxtaposed with other sound sources, such as the AM radio static in Miss Fortune X. – Christopher Fox

159 kr
Image Freedom of Speech
189 kr
1234567
Image Image Image Image Image Image Image Image Image Image Image
Mitt konto
Min varukorg: 0 artiklar