Venter på Tijuana Moods/Charles Mingus(speakers corners).
Synes han evner å tilføre jazzen litt dramatikk. Det blir ikke bare swing(kos)!
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Synes han evner å tilføre jazzen litt dramatikk. Det blir ikke bare swing(kos)!Det blir nok et par runder med Keith Jarrett i kveld.
Pianist Keith Jarrett unlikely to perform again after two strokes
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Lige kommet ind ad døren fra Discogs/selger i Tyskland.
Groove Note Records, serial 0382
180g + 45 Rpm bonus tracks. Er fuldstændig "flawless" til 40 Euro
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Trist beskjed, spilte han senest igår, er nok den artisten med flest piano baserte skiver i samlingen her...
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Following their collaboration on the groundbreaking Largo album, Highway Rider reunites Mehldau with Los Angeles-based producer Jon Brion (Dido, Kanye West, Fiona Apple, Rufus Wainwright) in an even more ambitious setting, with a broader instrumental palette. This two-disc, 15-track song cycle was written, orchestrated, and arranged by Mehldau and features his long-time rhythm section of drummer Jeff Ballard and bassist Larry Grenadier, along with old friends drummer Matt Chamberlain and saxophonist Joshua Redman as well as a chamber orchestra conducted by Dan Coleman. Highway Rider reflects Mehldau's recent experience writing long-form pieces, including the Carnegie Hall-commissioned Love Songs for mezzo-soprano Anne Sofie von Otter.
Highway Rider is often breathtaking in its sweep, contrasting the intimacy of Mehldau's contemplative solo work with large-scale, purely orchestral pieces like "Now You Must Climb Alone" and "Always Departing". There's gravitas in this work, but also subtle humour and playfulness, especially on the flamenco-accented "The Falcon Will Fly Again", which features a clapping circle and children's voices. Mehldau and Brion have a unique chemistry as artist and producer. The rigor of Mehldau's writing is matched by its musical and emotional immediacy; the atmosphere of these sessions, held in February and May of 2009 at Ocean Way studio in Los Angeles, is as exhilarating for the listener as for all the musicians evolved. As Mehldau puts it, "It's so exciting to write something and have it in your head and then hear if for the first time being played by these magnificent players. It's really an emotional experience. I'm still reeling from it."
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Litt live fra gamle dager...
mvhI samme gate, live fra gamle dager.
Forresten, slår meg stadig hvor godt disse innspillingene låter.
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Litt mer easy listening får väre med å avslutte kvelden...
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En skive jeg nesten alltid faller tilbake på..passer perfekt en regn & vindfull söndag...
Peter Erskine ”You never know"
mvh
Dama fra The Pretenders...... Nydelig jazzplate !!!
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Ketil Bjørnstad previously explored the life of Edvard Munch in his acclaimed 1993 novel Historien om Edvard Munch. When invited to compose music for choir in 2011 his thoughts turned once again to Munch and to the writings, still not widely known, of the proto-Expressionist Norwegian painter. With these as his guide, Bjørnstad shaped Soloppgang (“Sunrise”) subtitled “A cantata on texts by Edvard Munch”. In his liner notes, Bjørnstad observes that “the texts written by Munch can be compared to his paintings in their power and intensity. He wanted to be a writer as well as a painter... texts from different periods in Munch’s life have been used in Sunrise. They all portray existentialist dilemmas: surviving or being destroyed, believing or observing.” The changing moods of the writings inspire very different musical settings.
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Med på laget denne gangen:
Jon Balke Piano, Keyboards
Per Jørgensen Trumpet, Vocal
Arve Henriksen Trumpet
Morten Halle Saxophones, Flute
Svante Henryson Violoncello
Anders Jormin Double-Bass
Audun Kleive Drums, Percussion
2002:
The first ECM album in nine years by Norwegian pianist/composer/arranger Jon Balke and his “orchestra”, now streamlined to a septet of top-flight Scandinavian soloists. “Kyanos” is Greek for “blue”, and the album pulsates with intense colour. Balke has developed into an exceptionally skilled arranger and his blending of textures as well as his strong melodic sense are to the fore in this striking and arresting album. Like Duke Ellington or Gil Evans before him, Balke writes with the idiosyncratic sounds and personalities of his musicians in mind, and makes the fullest use of the resources available to him. He still understands jazz as “the sound of surprise”, and his melodies take unexpected turns.
mvhSitter her og flipper raskt gjennom DN-magasinet D2 som ble ulest overligger fra forrige helg. Til min store begeistring har de spandert ikke mindre enn 7 sider på Miles ifbm. boken Miles Style - the fashion of Miles Davis. 214 sider med kun noen få sorthvitt bilder. Der har du en smal nisje!
Jeg er trenger jo ikke mye til unnskyldning for å sette på en Miles-skive så jeg plukker frem et album jeg ikke husker sist jeg spilte, selv om det lyster gildt gult i platehylla. Tross sitt rykte om å ha pådratt seg en noe aparte stil i klesveien er han her back in bizz, i levende live i Japan 1981, med er kanon band, i noe som ligner på en feltbukse, singlet, og trailercaps! Så u-Miles som det er mulig å være. Makan! Men, selv om Miles var i overkant casual spilte han så hornet glødet den kvelden, og bandet sydet og kokte et sabla brygg bak han.
Et altfor oversett album.
Ny musikk fra Nils Petter Molvær ser jeg alltid fram til og Sulamadiane er virkelig godt nytt. NPM og Mino Cinelu gikk visst rundt og forbi hverandre en stund før de fant hverandre her. Kanskje ikke så rart de fant felles grunn. Fellesreferansen er selvfølgelig Miles. At NPM har Miles langt opp i trumpeten vet jo vi som har fulgt han en stund. Og Mino spilte med Miles noen år, bl.a. på den gule liveplaten jeg spilte i sted. Likevel er det på ingen måte dette som preger musikken. Trumpet og perkusjon høres kanskje ikke ut som mye til band, men Mino er heller ikke hvilken som helst trommis.
Og forresten låter det aldeles flott. Ingen opplysninger om hvor eller hvem som stod for teknikken, men vedkommende vet hva han eller hun driver med for her er en herlig fornemmelse av rom, tid og tilstedeværelse.
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Etter å ha sett filmen ”Motherless Brooklyn” ble jeg inspirert å spille videre med denne...
Miles Davis catalogue contains several albums that are required listening for jazz aficionados, including Miles Ahead, Porgy & Bess, Kind of Blue and Sketches of Spain. Each of these albums are rightfully acknowledged as important milestones in the development of jazz, yet we go a little bit further back into his catalogue to present Birth Of The Cool. Unlike the afore-mentioned albums, Birth Of The Cool is a compilation album, issued by Capitol in 1957 from a series of sessions originally recorded between 1949 and 1950. The unusual instrumentation stood out even then, but it was only later that the music world realised we had witnessed the launch of a new style of jazz in cool jazz. As ground-breaking and innovative now as it was then, this is almost a compulsory purchase for any jazz fan.
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Ikke ofte jeg er i MD modus for tiden, men tester litt igjen...
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...og fölger opp med...
These sessions, mostly recorded in 1969 and 1970, extend the jazz-rock experiment Miles Davis first brought to fruition in Bitches Brew in August 1969. Gone are the Broadway standards of the mid 50s, the modal jazz of the late 50s and the free-bop of the 60s, replaced by protracted vamps on slender themes and simple bass riffs. Looking for his slice of the rock cake, Davis had adopted the sounds of contemporary pop, adding sitar and exotic percussion to his line-up and putting increased emphasis on electric instruments. Temperamentally speaking, these long, moody pieces aren't that far from the melancholy haze of his 1960 Sketches Of Spain, but they develop mostly by small variations in texture and take a long while coming to the point. The 1969-70 band was still full of jazz talent though, and along the way there are good solos from Chick Corea and Steve Grossman.
mvhNå er det tid for Jackie McLean og hans «It‘s Time!» fra ‘65. Hvor han bl.a. har
med seg Charles Tolliver på trompet.
Ikke originalskiva fra utgivelsesåret, tyvarr, men fra Blue Notes flotte Tone Poet serie.
Denne kan varmt anbefales!!!!!!!!!!!!Uutgatt25555
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Har grunn ikke hört så mye på denne siden slutten av 80..begynnelsen av 90 tallet...trivelig gjenhør
mvh
Avslappende dette
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A striking album of new music from pianist/composer Carla Bley, whose trio with Andy Sheppard and Steve Swallow is now in its 25th year. Individual associations among the players go back much further: bassist Swallow first recorded music by Carla in 1961. So when Bley says “Life Goes On”, a lot of life is alluded to. The album, realized in the Auditorio Stelio Molo Studio in Lugano in May 2019, with Manfred Eicher producing, takes the form of three suites. The title piece begins as a stoical blues, at first melancholic then hopeful. “Beautiful Telephones”, inspired by a US president’s first observation on entering the Oval Office, has plenty of Bley’s dark wit. And “Copycat” explores the notion of call-and-response in fresh ways as the improvisers continue each other’s thoughts. Throughout, Carla’s distinctive piano, with its hints of Monk and Satie, is beautifully framed by Swallow’s eloquent, elegant bass guitar and Sheppard’s yearning saxes. This trio has a unique collective sound, reflecting – as The Telegraph recently noted – “musical mastery of a rare order”.
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Easy listening...
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