2008 album featuring Pandelis Karayorgis (on Fender Rhodes electric piano), Nate McBride & Curt Newton.

Classical Music

Classical Music

Classical Music

Classical Music

In 21 the Airmen of Note proudly celebrated their 6th Anniversary. Rooted in the tradition of Glenn Miller's Army Air Forces Orchestra, this remarkable band has captivated audiences around the globe since 195. This album chronicles the musical journey of this great ensemble over the past six decades. This is a fantastic assortment of jazz tunes played by the best musicians in the world. (Altissimo)

In 1968, a spectacular LP was released with the apt title When the Swing Comes Marching In. Now, after many requests, we are proud to offer this unique new recording, full of fresh swinging arrangements complemented by successes from the olden days. The Marine Band navigates with playful ease as the all-around musical ambassador of the Royal Netherlands Navy, while the Dutch Swing College Band is the country's best-known jazz orchestra, winner of the Edison Prize (among many others).

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Classical Music

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Myra Melford is a polystylist, who draws on and creates multiple playing styles. In Alive In The House Of Saints these include stomping classic jazz piano with a funky attack of Horace Silver, gospel plangency, Keith Jarrett's country and blues lyricism, and Don Pullen-style free jazz episodes. Though from quite early in her career, Alive In The House Of Saints, Parts 1 and 2 is one of her finest recordings - high on the musical power spectrum, and one of the most exciting albums of piano jazz. The members of the trio respond organically to one another - their creative empathy is clear throughout. Reggie Nicholson is a great, rather neglected drummer who, on this session, is on dazzling form. The result is a consummate live performance, full of feeling, in which no one is wrong-footed. Melford is alive to everything she hears, responding in the moment to her musical partners.

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While Pauline Oliveros' output has it's high and low marks, the composer, accordionist and organizer is an undeniable force in new music. For fifty years she has pursued sonic experiments, and as the founder of the Deep Listening Institute, she has supported many other sound innovators. Sadly, it's sometimes easier to respect her from afar than to closely follow her work. Her choices in collaborators can get in the way, and they often seem to be made out social or political sympathies as much as musical ones. But there are gems within her catalogue, such as Troglodyte's Delight (1990) with her Deep Listening Band or the early tape experiments on Alien Bog and Beautiful Soop (1997). Her 1998 release the Roots of the Moment, just reissued by Hatology, is among those essentials. Essentially a solo recording, Oliveros and her accordion are found here within an electronic environment created by Peter Ward. The electronic element isn't explained in the liner notes (written by her neighbor, saxophonist Joe McPhee, with whom she's collaborated), and it's presence seems subtle on the recording. Reverb and delay may be present at times, but it might be best just to assume they're there.

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2014 release, The Bad Plus' 10th studio recording and first collection of original material since 2012. INEVITABLE WESTERN continues the leaderless trio's committed belief in what they've dubbed avant-garde populism' the idea that serious music can be as engaging and accessible as it is forward-thinking and provocative. The album sees the group exploring the same set of aesthetic principles that fired their inception, a rigorous exploration of myriad musical forms born of Jazz but advanced using any sonic source material that forwards their own indefinable thing. The past 15 years have seen the genre-smashing band creating a distinctive and original repertoire of inventive and exciting original music, along with a series of iconoclastic covers of such divergent artists as Nirvana and Neil Young, Aphex Twin and Ornette Coleman.

Late bassist Milt Hinton is celebrated for a stage and studio career that intersected with countless legendary musicians - from Dizzy Gillespie and Cab Calloway to Barbra Streisand and Willie Nelson - for an incredible seven decades. Groove Dreams, a new recording by versatile bassist Peter Dominguez, honors Hinton's legacy with solo bass tunes from artists as varied as Duke Ellington, Stevi Wonder, Bill Evans, and Chick Corea. Performed on the 18th-century Italian bass Hinton played throughout his career, each song explores the nuances and deep colors of the instrument - qualities not always discernible in ensemble playing. A renowned bassist and educator in his own right, Dominguez met Hinton in 1981 and won the inaugural Milton J. Hinton Scholarship Competition that same year. More than three decades later, Dominguez was instrumental in forging a relationship between the Hinton estate and Oberlin Conservatory, where he is a professor of jazz studies and double bass. Oberlin's relationship with the Hinton estate has grown to include a scholarship fund; an extensive collection of papers, films, and personal artifacts amassed by the Hintons; a biennial summer Institute for Studio Bass; photographs taken by Hinton throughout his career; and four basses formerly owned by Hinton that continue to be played by Oberlin facutly, students and visiting artists. ''Words are not adequate to express the experience of playing Milt Hinton's bass,'' says Dominguez. ''We are ever mindful of its provenance and Milt's enduring spirit that thrives within it.''

The first attempt went awry. When Nat and his older brother Julian 'Cannonball' Adderley tried to start a quintet in the mid-fifties, hardly anyone was interested in the newcomers from Florida. And that, in retrospect, was good. Because the trumpeter Nat landed in this way in the bands of Jay Jay Johnson and George Shearing, and there refined, under expert guidance, his art of elegant blues-bopping ensemble playing. The alto saxophonist Cannonball in turn became Miles Davis' counterpart to tenor saxophonist John Coltrane for a good four years, a time he later described as the most artistically important of his life. When the brothers came together again in 1959, they had both matured and were ready to lead one of the most successful jazz bands of the 1960s. Unlike experimental colleagues who tested the limits of music, but more and more lost their audience, the Cannonball Adderley Quintet managed to reach a large audience with hits like "This Here", "Work Song", "Jive Samba" and above all "Mercy, Mercy, Mercy". No wonder, then, that a wave of applause greeted the Cannonball Adderley Quintet in the Liederhalle Stuttgart in 1969. Completed by bassist Victor Gaskin and drummer Roy McCurdy, they had brought with them just the right repertoire.

Parsed into four discrete pieces, the Taktlos performance is a fluid exercise in revolving roles from the jump. Ducret trades in jagged punctuations, mercurial arpeggios and swollen drone bursts on Stoppage, the first and longest. Blaser reacts as balm, his lubricious lines drawing a direct invisible lineage back suave and soothing bop purveyers. A reversal and it’s Blaser with low brass growls as Brunn colors the corners and edges keeping a rhythmic presence which bolsters and ornaments without drawing attention away from the colloquy of his colleagues. A drum solo filled with fluid, frothing beats works as both palate cleanser and reset into an ambling blues. Later, a froggy brass ostinato serves a similar purpose signaling first clean picking from Ducret and then feral, sharp-fanged blasts of distortion.