Jazz CDs
Jazz CDs
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CHICK COREA: THE MONTREUX YEARS
My Choice
Time Was Now
Marcus Klossek is one of the growing number of guitarists who perform Jazz on a Fender Telecaster, the archetype of the electric guitar. A class of musicians that consists of many extraordinary artists; from Jimmy Bryant to Ed Bickert, Bill Frisell, Mike Stern, Jim Campilongo or Jakob Bro, just to name a few. An established name within the Berlin jazz scene who knows how to get to the point with his Electric Trio. A guitar, bass and drums; that's all it takes to make the songs of Marcus Klossek sound great! His brand new album "Time Was Now", the 8th release as a bandleader and the first one for Double Moon/Challenge Records, is another proof of exceptional storytelling composing skills which go far beyond the average guitar release. The Marcus Klossek Electric Trio has toured countless European clubs and festivals since releasing their first album "Now & Again" in 2012.
LIVE AT MONTREUX 1969
Fingertips
Deepscape
LIFE AND TIMES
MOMENTUM
Cherryco
COOKIN WITH JAWS ANS THE QUEEN: THE LEGENDARY
It's About Time! / Omri Mor
Influenced at a very early age by the music of the Middle East, trained in classical music and jazz, Omri Mor is a young virtuoso pianist with a flourishing style and multiple influences. Spotted very early in his career by Avishaï Cohen (double bass) who was impressed by Omri’s great knowledge of Arab-Andalusian, Chaabi and jazz, the music is sure to shine as this trio performs together on the biggest stages of Europe and the rest of the world in 2018. It is under the artistic direction of drummer / percussionist Karim Ziad that he records this first album "It's About Time!", surrounded by the exceptional line-up of Avishaï Cohen on the double bass, Michel Alibo on the electric bass and Karim Ziad on the drums. The repertoire is composed mainly of originals and displays the great talent of Omri Mor as a composer who also possesses an incredible sense of performance and melody. The piece "Marrakech" (Hamid Zahir) leads the listener to new lands and wild rhythms, giving his piano style a unique combination of swing and freedom.
TRIBUTE TO NAT KING COLE
Petite Fleur / Adonis Rose & New Orleans Jazz Orchestra feat. Cyrille Aimée
The celebrated New Orleans Jazz Orchestra examines and the profound relationship of its hometown to the nation of France with its release of Petite Fleur on Storyville Records. The second album under the artistic directorship of drummer Adonis Rose features ten songs, nine of them standards associated with French and New Orleans musicians. The tenth tune is an original by Cyrille Aimée, the acclaimed jazz vocalist born and raised in France but now living and working in The Big Easy itself.
Aimée is the NOJO’s collaborator and vocalist on the album. It was the singer who initiated the collaboration, telling Rose that she would like to work with the 18-piece big band and asking if he had any ideas for a project. “I said, ‘Well, okay, musically, how can I tell a story here?’” Rose recalls. “I thought about the long, shared history of those two places, and that became the concept. A narrative about the musical relationship between New Orleans and France.” The title tune, a standard by early jazz clarinet legend Sidney Bechet, epitomizes the concept: A composition by a New Orleans artist living in France, performed by a New Orleans band with a French vocalist. Composers from both sides of the Atlantic, from Michel Legrand to Jelly Roll Morton, get similar treatment. So do various New Orleanian styles, from a stomp (“Get the Bucket”) to a second line (“Down”) to Fats Domino-style rock ’n’ roll (“I Don’t Hurt Anymore”). In addition to being its spotlight vocalist, Aimée is also Petite Fleur’s featured soloist, applying her razor-sharp scat singing to “In the Land of Beginning Again,” “On a Clear Day,” and “Undecided.”
REVIEW:
Petite Fleur is essentially a meditation on the ties that bind Crescent City art to French culture. Teaming up for 10 songs that cross styles and oceans while exploring that particular connection, the New Orleans Jazz Orchestra and French vocalist Cyrille Aimée make a perfect match, united in the act of storytelling.
The album speaks to Artistic Director and drummer Adonis Rose’s sure-handed helming of the NOJO, the entire band roster’s contributions in part(s) and sum, Aimée’s well-documented gifts, and a shared vision that brings them all together.
-- JazzTimes (Dan Bilawsky)
Captain Coe's Famous Racearound / Tony Coe
Captain Coe’s Famous Racearound showcases the work of saxophonist Tony Coe, the first non-American to receive the jazz world's ultimate accolade - the Jazzpar Prize, occasionally known as the 'Jazz Nobel', which he was awarded in 1995. All tracks on this album were recorded during the JAZZPAR award concerts with both The Danish Radio Jazz Orchestra conducted by Bob Brookmeyer and the 1995 Jazzpar Combo. This remastered edition features redesigned artwork by the Danish star graphic artist Finn Nygaard, new liner notes by Brian Priestley and photos by Jan Persson.
Tony Coe wrote a substantial new work for the JAZZPAR award concerts and the complex “Captain Coe’s Famous Racearound”, according to its composer, was completed within a few days “in an atmosphere of white heat. The smallgroup set with the JAZZPAR Combo also includes a Coe composition featuring the excellent solo work of Bob Brookmeyer. “Edmundo” (formerly recorded as “Lagos” on Canterbury Song) was dedicated to the Latin-American bandleader Edmundo Ros, who was the drummer on Fats Waller’s London recordings but remembered by Tony for his “exhilarating and romantic Latin music and his warm personality coming over the air during my [World War II] childhood, when there was much stress and hardship in Britain”. Also heard are two pieces by London- and Paris based drummer Steve Argüelles. The first has Argüelles playing a musical box against which Tony builds a free improvisation, while “Antonia” is a ballad showcasing his warm soprano saxophone tone.
Trio 65 1/2
GREAT WOMEN OF SONG: NINA SIMONE
Burke Beautiful: The Songs of Johnny Burke
Home With You, At Last
MY STORY YOUR GLORY
End of Melancholism
Bands that are led by drummers are not as seldom as they once were, but still a somewhat rare affair. The quartet of drummer Christian Krischkowskyis already presenting its second album “The End of Melancholism” and illustrates the advantages of such an approach in nine pieces, seven of which are from Krischkowsky's pen. Pieces like “Would You Dance With Me?” or “Football Evolution” sound rhythmically challenging, without deliberately placing the drums in the foreground. “I wanted to incorporate the rhythmic ideas that I developed on drums even more into my compositions,” Krischkowsky said. “When composing, however, I always had my co-musicians with whom I recorded the album in mind.” And they are really something else! Peter Ehwald is a saxophonist who always goes his own way, but at the same time has outstanding qualities in interaction. “Peter is very freedom-loving,” the band leader stated. "He repeatedly makes suggestions to modify fixed structures, which may sound too beautiful, and improvise to make them more his own. This makes the pieces more spirited, more unpredictable and freer. This also reflects his personality. "Marc Schmolling is a pianist with whom Christian Krischkowsky has almost blind understanding. “I've known Marc the longest, and he's actually responsible for the band members coming together,” he confessed. "I appreciate his humor and admire how deeply he is rooted in tradition. At the same time, he also has something unwieldy and unpredictable in his play. Sometimes it sounds a bit cumbersome, but that is also exactly what constitutes his own style. ”Roland Fidezius on bass is responsible for the maneuverability of the quartet. He is closely intertwined with Krischkowsky's playing, but also keeps making surprising twists.
WHAT NOW MY LOVE
SOUTH OF THE BORDER
GOING PLACES
ABRIENDO CAMINO
Bach Reinventions / Sánchez
Almost three centuries ago, in 1723, Johann Sebastian Bach (1685-1750) finished writing his Two-Part Inventions, BWV 772-786. Designed for the education of his son Wilhelm Friedemann, these fifteen works explore contrapuntal writing and a variety of different dance styles. Then as now, musicians learned their trade by mastering performance technique and the idiomatic characteristics of their instrument. On this album, pianist Moisés P. Sánchez reinvents this extraordinary set of pieces by employing Bachian principles: reworking on well-known works to translate them into a modern idiom, while retaining their essence. Commissioned by the Fundación Juan March, this project harks back to the original spirit of Bach's Inventions, taking a creative idea and reimagining it in order to stimulate the musical imagination and seduce the listener with new sonorities.
