“Bud was a genius piano player–the best there was of all the bebop piano players.” - Miles Davis
“If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself" – Bill Evans
Bud Powell 1962 is something we at SteepleChase have been obsessed with for a while. The previous release SCCD 36040 “Bud Powell 1962 Copenhagen” was from the recordings made at the Danish Radio Concert Hall and Jazzhus Montmartre.
What we have here is from the same year from the fabled Golden Circle where SteepleChase’s 5-volume releases At The Golden Circle come from. The Swedish part of this release were recorded two days prior to those SteepleChase releases.
Bud Powell travelled on to Oslo Norway the same year to perform some memorable tracks captured here before going back to USA for the last time.
2014 reissue of two albums first time on CD from Billy Vaughn, one of the most successful orchestra leaders of all time based. 1962's Greatest Hits" peaked at #17 and was 32 weeks in the charts. "The Shifting Whispering Sands" was originally a Top 5 single recorded in Mono; Vaughn re- recorded the version here in stereo and the album was his tribute to the American West with the inclusion of songs such as "Cool Water", "Red River Valley", "Home on the Range" and his own musical saga "Songs of the West". 6 bonus tracks are from Vaughn's other best-selling albums "Look for a Star" and "A Swingin' Safari".
1st Time Ever available! Oregon, formed in 1970, comprised Ralph Towner (classical and 12-string guitars), Paul McCandless (oboe and English horn), Glen Moore (double bass) and Collin Walcott (sitar and tabla). The band's music has always been almost totally acoustic. 'Acoustic instruments sound more expressive to me,' Towner explained to Jazzwise magazine (UK) in September 1997. He further explained his guitar style: 'With classical guitar [you're] using all the fingers of your right hand to pluck which means you can be sounding anything from two to five notes in exact unison, rather than a strum.' As well as their core instruments, Towner has played trumpet, synths and piano with the band, McCandless bass clarinet and flute, Moore flute and violin and Walcott clarinet and dulcimer. To name but some. "At one time we were carrying eighty instruments on the road!" McCandless has said. The combining of instruments from disparate musical traditions and the musicians' range of influences meant that 'jazz' was always an inadequate label for the band. 'Live In Bremen 1974' documents Oregon at their mesmerizing best. The interplay between the four players is stunning and on each piece mood and texture are ever-changing, yet always following an aesthetic logic that seems irrefutable. 'Live In Bremen 1974', however, is a reminder of a band that made music that had never been heard before, that had never been imagined before. One track is titled 'Brujo', Spanish for 'sorcerer.' Truly, Towner, McCandless, Moore and Walcott were musical sorcerers whose playing retains it's power to enchant not only the band's original fans but even, surely, anyone lucky enough to be hearing the band for the very first time.
1974 live-recordings of US - Jazz and World Fusion artists Oregon documenting the band at their mesmerizing best.
Oregon, formed in 1970, comprised Ralph Towner (classical and 12-string guitars), Paul McCandless (oboe and English horn), Glen Moore (double bass) and Collin Walcott (sitar and tabla).
The band's music has always been almost totally acoustic. ''Acoustic instruments sound more expressive to me,'' Towner explained to Jazzwise magazine (UK) in September 1997. He further explained his guitar style: ''With classical guitar [you're] using all the fingers of your right hand to pluck which means you can be sounding anything from two to five notes in exact unison, rather than a strum.'' As well as their core instruments, Towner has played trumpet, synths and piano with the band, McCandless bass clarinet and flute, Moore flute and violin and Walcott clarinet and dulcimer. To name but some. ''At one time we were carrying eighty instruments on the road!'' McCandless has said.
The combining of instruments from disparate musical traditions and the musicians' range of influences meant that 'jazz' was always an inadequate label for the band. ''Live In Bremen 1974'' documents Oregon at their mesmerizing best. The interplay between the four players is stunning and on each piece mood and texture are ever-changing, yet always following an aesthetic logic that seems irrefutable. ''Live In Bremen 1974'', however, is a reminder of a band that made music that had never been heard before, that had never been imagined before. One track is titled ''Brujo'', Spanish for ''sorcerer.'' Truly, Towner, McCandless, Moore and Walcott were musical sorcerers whose playing retains its power to enchant not only the band's original fans but even, surely, anyone lucky enough to be hearing the band for the very first time.
Gyorgy Sebok (1922-1999) was a Hungarian-born American pianist who was also renowned as a teacher and giver of masterclasses. He made more than 16 recordings for the Erato label as a soloist early on in his career. He has received countless honors and awards throughout his career in recognition of musical life. His fellow Hungarian pianist Livia Rev said of him: “one of the greatest pianists in the second half of the century, if not the greatest.” Cellist Janos Starker, with whom Sebok played for more than six decades, pulled even fewer punches: “First hand, second hand, or in recordings, Gyorgy Sebok is the greatest pianist who ever lived,” and also “one of the greatest teachers of all time.” This live recording was made at the 1991 Grange de Meslay Recital, Parcay-Meslay, France.
1992 New Year's Concert / Kleiber, Wiener Philharmoniker
Sony Masterworks
CD
$17.99Sep 16, 2010
In every respect, this is superb. Here is not merely a wonderful souvenir of a special event but a thing of joy forever.
In every respect, this is superb: a 'must'. I recently listened to DG's historic issue of VPO Johann Strauss ((D 435 335-2GWP2), reviewed enthusiastically in February by RO. Here the present needs fear nothing from the past. Indeed Carlos Kleiber combines in one baton, miraculously, every attribute of his predecessors—his father Erich's discipline and élan, Krauss's Schwung, Karajan's elegance, Boskovsky's lift and Krips's insinuating charm. Anyone who saw and heard the concert on television (the video incidentally will be released on Philips) will know just how delightfully Kleiber, with his unorthodox, seemingly effortless methods, achieves his aims and how willingly his complaisant orchestra responds to his peculiar gifts.
If I had to decide between so many winners, I might choose Eine Tausend und eine Nachi for the translucency of its introduction and the champagne elation of its main section, and Spharenklange for ethereal wonder. But then there is the irresistible verve of the Pizzicato Polka where the rubato is perfectly judged, and the tremendous panache of Unter Donner und Blitz. Is there a touch of the mannered just once or twice, as in the opening bars of The Blue Danube? If so, it is usually justified as a means to an entirely convincing end—in this case a familiar piece given with a swooning spontaneity that invites the body to sway with the music.
To crown one's pleasure, the recording is faultless: it has presence, warmth, depth, and captures ideally a sense of the occasion. Here is not merely a wonderful souvenir of a special event but a thing of joy forever. And now if you'll excuse me, I shall go and listen to it again.
South African based saxophonist and flute player Mthunzi Mvubu started his music career at the age of 14 at the Music Academy of Gauteng under the mentorship of the late Dr. Johnny Mekoa. His intent and approach are evident in the title of his debut album, as is his deep respect for the art form. Comfortable in any Jazz club or stage, the music speaks to a deep spiritual connection between player and listener at the heart of improvisational Jazz.
Downbeat: A mega-production without equal. The hard grind for this exceptional double album has in every respect extremely fresh interpretations and solo contributions. Jazz Times: This is an astonishing extended album. Fay Claassen dominates the entirety of this release. Claassen replaces Baker's trumpet revealing her amazing skill at phrasing. This album brought Fay worldwide eurphoric reviews, as well as the first “Chet Baker Award,” a first place in the “All About Jazz” critics poll in New York, the ‘Choc’ from the French magazine “Jazzman” and finally in 2013 her first gold record in the Netherlands. She has, up to this point, published five albums under her own name. As a guest soloist, she can be heard on fifteen additional releases.
Augusta Read Thomas : Two Thoughts About the Piano (2017)For solo pianoDuration: c. 5 minutesFormat: 24-page scoreTWO THOUGHTS ABOUT THE PIANO was inspired by - and is a response to - Elliott Carter's Caténaires from his Two Thoughts About the Piano. My work is entirely original and does not quote from or share music in common with Mr. Carter’s work.
2 Violins: Bartok - Prokofiev / Claudio Mondini, Anna Pecoria
Stradivarius
CD
$18.99Jan 01, 2021
Although little known, the literature for two violins has an ancient history, that on one hand refers to the educational purpose of playing together and reciprocally listening to each other, and on the other hand refers to folk tradition. The compositions featured on this album truly move within all these different perspectives: they are in part folk music pieces, in part pieces with a didactic aim, but above all they are dialogs with a high chamber music value. Bartók and Prokofiev, with the Forty-four duets and the Sonata for two violins gifted us with two cornerstones of the literature for these instruments in the narrow space of two years, 1931 and 1932, opening this repertoire to new textures and new languages.
Noel McLoughlin the Limerick, Ireland-born singer, guitarist and string player spent his early years in Ireland playing traditional folk music with various groups in countless sessions, festivals, concerts, etc. In the 1970s he joined several Irish folk bands, among others Cromlach (later Celtic Tradition) with whom he recorded his first album in 1984. Afterwards, he concentrated on performing mainly as a soloist, playing guitar and singing Irish and Scottish folk songs, touring throughout Europe and the USA. Since 1989 he has recorded numerous albums of the most popular Irish and Scottish songs and ballads. After many international tours and broadcasts as a soloist, he now prefers to tour with a small group, with occasional solo performances. The incredible success of his recordings is due to Noel’s impressive but soft voice. A best-selling ARC Music artist, this is the long awaited brand new recording of old and new Irish songs by one of the most acclaimed singers of Irish and Scottish folk.
Capoeira is a Brazilian cultural expression that mixes martial art, sport, music and popular culture. Developed in Brazil, mainly by descendants of African slaves with some Indian influence, it is characterized by agile, complex movements. One feature that distinguishes the Capoeira from most other martial arts is it's musicality. Practitioners of this Brazilian martial art not only learn to fight and play, but also to play the typical instruments and sing. An experienced capoeirista who ignores the musicianship is considered incomplete. The present release is filled with the best Capoeira songs and rhythms for both the experienced and novice Capoeirista, or just to listen to and enjoy.
