Джаз

Before they recorded “Nothing but a Party”, his fellow musicians sang “Happy Birthday to You”; Alphonse Mouzon celebrated his 29th birthday during the November 1977 MPS session in Stuttgart, Germany. The American drummer is one of the originators of jazz-rock, the fusion of jazz and rock music; “Incest is best” was German rocker Udo Lindenberg’s comment on the coupling. No one had a better understanding of this melding of jazz polyrhythms with rock’s pulsating beat than Mouzon; with his furious propulsive style, he was welcome in both camps. Weather Report founders Joe Zawinul, Wayne Shorter, and Miroslav Vitous brought him into the premier edition of the band. Mouzon and bassist Vitous made up the rhythm section. From Prague, Czech, Miroslav had also played in Miles Davis’ band. As he had already shown with Weather Report, he demonstrates how well he could integrate acoustic bass into a jazz-rock concept. In duo with Mouzon, Vitous bows the deep tones on his composition “The Light”; he grabs the electric bass on the other compositions. Vitous as well as saxophonist Bob Malik and keyboard player Stan Goldberg were all part of the 1977 version of Mouzon’s touring band. Pianist/keyboarder Joachim Kühn and guitarist Philip Catherine joined the troup for the recording of “In Search of a Dream”. Thus, the session was a sort of summit meeting of the jazz-rock elite of that time Record Label: MPS Music Style: Jazz

The legendary world music album on vinyl for the first time ever!!! Orginally released in 1994 / remastered edition. Featuring: Youssou N’Dour, King Sunny Adé, Salif Keita, Angélique Kidjo, Papa Wemba, Peter Gabriel, Ray Lema, Ladysmith Black Mambazo, Geoffrey Oryema, Ray Phiri, Bonga, Kaïssa Doumbé, Alex Brown, Touré Kunda, Sinéad O'Connor. Record Label: Wagram Style: Afro/Funk/Jazz

This album of duos stands out as one of a kind; recorded during a phase in which he began to consistently incorporate a freer musical language into his playing, and set within a constellation of diverse duo formations, there emerges an exciting portrait of the central figure in German jazz: Albert Mangelsdorff. With tongue in cheek – or better said – in mouthpiece, Mangelsdorff accompanies Don Cherry on a journey that culminates in a zany duel staged almost without instruments. With his close friend Elvin Jones, Mangelsdorff unfurls so many melodic and metric parameters that one could believe they are listening to a full combo that dissolves conventional time patterns into kaleidoscopic polyrhythms, whereas the colorful tonal confrontation between Karl Berger’s agile, inspired vibes and the questioning, challenging trombone stands out as a lesson in Avant-garde brainstorming. A rollicking, mischievous nocturne intertwined with a bit of mystery is woven out of the conversation between Mangelsdorff’s trombone and Attila Zoller’s dreamy guitar play. Because a long, close artistic partnership conjoins Saxophonist Lee Konitz and Mangelsdorff, they seem to be able to breath with one breath as they generate the synergetic dynamics and dramaturgy of their short “Al – Lee”. On the album’s last piece, a lyrical, bluesy sensibility shines through pianist Wolfgang Dauner’s and Mangelsdorff’s interplay. Recorded over an 18 month period, the album paints an intimate, playful portrait of one of the most significant personalities in jazz – not just “made in Germany”, but mirrored in the contrasting styles and close friendships of his fellow musicians Record Label: MPS Music Style: Jazz

When the Tango came to Finland, he did not know that he would stay there. For, in reality, he was a green plant, Originated through the Second half of the 19th century in Argentina as a mixture of African music Slaves, blended with a pinch of Habanera and Colonial salon music. When the European Tangowelle fired in Helsinki before the First World War, Komp Such as Iivari Kainulainen first funny about it. Parodies were written on di Ritualized interiority and the hidden appeal of the fashionable couple - and Fell into his own self. For with Tango one could more beautifully suffer, molltraurig with the notion of a wink, especially in K When the Russians came too close, Or also as a response to the cultural imperialism of pop, with its penetratingly good mood the melancholy of the North vulnerable. Thus Tango became import from impulse, influenced Jazzmusiker, like Toivo Kärki, to him, bittersweet Hy For example, The Again from domestic singing stars like M.A. Nummines with fervor and a little irony stylized to pillars of sound culture were. A world for themselves. And for Tuija Komi. After all, she can also suffer a little, with a laugh in her face t. Because Komi now lives far away from home, surrounded by Bavaria, a man's stroke, to which melancholy is as foreign as a tofu - Burger. The tango is a way to remember and at the same time a lot To have fun with the stereotypes that make him as a national North of the North. Really finnish is only a part of the songs, for that may be melodies From Argentineans like Astor Piazzolla or Carlos Gardel, from North Americans like Henri Mancini and Stevie Wonder, yes even one N Tango - The Josef Rixn He and a bossa - Classics from the Jobim - Forging into the program Sathumaa (fairyland) sneak. Tuija Komi sings the songs Samtenem timbre and beguiling presence. She makes them grow and dangle, the ear entwined, the mood around. Here, Ht you with Vladislav Cojocaru an experienced accordionist to the side, the traverse between the levels of Ernst and Unte Tance. Born in Moldavia, he takes a portion of temperament from the tradition of South-East Europe The music, and mixes them with wit and precision The tango feelings that lie in the songs. This creates a duo that succeeds in the service of tango as much serious as Necessary with so much joy As possible. Record Label: Enja Style: Jazz

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. - Warren Hampshire from The Bees teams up with pianist Greg Foat - Recorded with full orchestra all anolog to tape - Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine. - Hand made paste back sleeve with 60s style gloss finish. - Mastered from Tape direct to lathe at Timmion Cutting Studios Finland. - Sleeve notes by Bob Lind Record Label: Athens Of The North Style: Jazz

The history of this publication is inextricably linked to the history of the Goet He Musiclabors Ulan Bator (GMUB) and the intense encounter of Western jazz musicians with talents from Mongolia. As an excellency project by Goethe - Institut and developed together with the Gonchigsuumlaa College for Dance and Music, established The GMUB under the direction of the German bassist Martin Zenker for the first time a training branch for jazz - and Popular music in Ulan Bator. The singer Enkhjargal Erkhembayar is one of the first graduates. With Gonchigsuumlaa is the Conservatory To which the GMUB was founded, one of the most important Mongolian Composer in his name: He is considered the founder of classical Mongolian music. The Gonchigsuumlaa - Project, by Martin Zenker on the 100th birthday of the composer 2015 anges A symbiosis Between the musical tradition of Mongolia and modern jazzmusik, in which both elements are equally entitled to each other are connected. The arrangements translate the memorable characteristics of Mongolian melodies S into new, jazz - specific contexts. there Rhythmic elements are used which are unusual for the classical music of Mongolia. At the same time Especially in singing many Mongol influences. In this musical Is the special feature of the CD, which also tells you what kind of artistic dynamism emerges from the Intercultural interaction between the musicians involved. Record Label: Yellowbird Style: Jazz

The last album by Don Ellis' big band before the trumpeter suffered a heart attack that would ultimately cut short both his career and his life, this underrated set finds Ellis' orchestra consisting of seven brass (including tuba), four strong woodwind players, a string quartet, and an enlarged six-piece rhythm section that includes guitarist Jay Graydon and keyboardist Milcho Leviev. A special highlight is "Invincible" which is an outstanding feature for altoist Vince Denham; whatever happened to him? Ellis composed four of the eight originals including one titled "The Devil Made Me Write This Piece!" This out-of-print Lp is well worth searching for. Record Label: MPS Music Style: Jazz

Youn Sun Nah is “one of the finest jazz singers on the planet.” (The Observer - UK). Four years have passed since her last highly successful opus, “Lento”, and now the extremely popular Korean, Parisbased vocal star is back, with a new album. It is a completely fresh project, recorded with a top New York band. Great intimacy, poetry and charm, pure-toned and emotional honesty – you can expect all of that from Youn Sun Nah. Record Label: ACT Music Style: Jazz

A Special compilation featuring 270 minutes of new versions, remixes, old favourites, brand new live recordings and a live DVD! ESSENTIAL! In the early 90s (how long ago it seems!) Jazz music was in the grip of a dictatorship: the Jazz Police were on patrol, conducting raids and dispensing summary justice on any music that sounded even remotely post-1967, non-blues-based or - lord help us all! - electrified. Little did they know that one man had a vision of huge scope for Jazz, matched in proportion by his sheer nerve. Bugge Wesseltoft burst free from the shackles of this dictatorial system with a brand new project he had the daring to call a "New Conception of Jazz". And for 10 years this project burned across the landscape of Jazz, issuing a call to arms that many followed. And the rest, as they say is history: The freedom of Jazz was restored ... OK, this is a flippant simplification of the whole situation; but there is no denying that Bugge Wesseltoft's New Conception of Jazz made a huge impact when its first eponymous Jazzland release came in 1996. Fearless hybridizing, experimentation, and inventiveness were the key elements of this project, giving Bugge and his collaborators, as Samuel Beckett might have said, "a license to fail". However, failure wasn't on the agenda, because another element was also present: accessibility. This was music that was radical in its intent, yet did not require explanation or dogma to make it listenable. Melody and harmony were ever-present, accessible grooves (and not just 4-to-the-floor, either) drove much of it along, and the spirit was generous. Even humour was welcomed (think of "(Come On Buddy-You Got) Green Light" from "Sharing") This was Jazz for the people. Now, more than 10 years after the first release, the project has ceased touring and recording (but may not necessarily be ended!) Bugge has assembled this 3CD + DVD box set, and it stands as a perfect record of what the New Conception of Jazz meant and achieved. Selecting key tracks from the 4 studio albums and 1 live album of its output, alongside previously unreleased studio material, alternative takes, remixes and live recordings, we are given a perfect portrait of one of the most talked about, exciting, daring and electrifying projects to come out of the hotbed of the Oslo Jazz underground. Fans will be delighted to see many of their favourites such as "Somewhere in Between" and "Sharing" alongside previously unavailable remixes of other classic tracks by Mind Over Midi and Chilluminati (yes, the famous 3rd part of the Chilluminatus Trilogy, "Skog", finally released in full CD quality). Also represented is the more ethereal, and often unsettling ambient world that is often overlooked by critics and fans alike: "Hymn", showing a claustrophobic darkness rarely heard in music. Alternative versions of classic tracks appear, such as "Hope" from the album "Film Ing", here presented with just Bugge and Dhafer Youssef. And over 75 minutes of brand new live material from Tokyo, Paris and Oslo PLUS a Live DVD of a concert in Miles Davis Hall in Montreaux from 2004. These live recordings feature the classic New Conception of Jazz line-up of Bugge, Ingebrigt Flaten, Anders Engen, Rickard Gensollen, and Jonas Lønna, as well as Wetle Holte, Marius Reksjø, Per Zanussi , Laurent Garnier, and long-time true believer, John Scofield. As Scofield said: "It's very hard to find people who are playing electric jazz with integrity. When I heard Bugge's recordings I knew I found a like-minded musical partner." (Keep your ears open for Scofield's incredible solo in "Jazzlandsangen, live at Blå"). The Live material features standards such as "Change", "Sharing" and "Film Ing" but also shows the New Conception of Jazz as an outfit capable of producing completely spontaneous electric music with that integrity John Scofield saw and admired, often employing methods previously assumed to be studio-only: live sampling and resampling, loops and effects all play their part in producing genuine emotion and excitement in indisputably “real” music. Real music? Not just real music: Jazz - for that is what this is and has always been: whatever your preconception, this was a New Conception of Jazz. Listen! Record Label: Jazzland Recordings Style: Jazz

Record Label: Enja Style: Jazz

Shalosh is an up and coming force in the international jazz scene, with close to one hundred international concerts in 2015-16. The genre-bending, Acoustic, Progressive, raw Jazz band, has been turning heads of audiences internationally since the release of their debut album "The Bell Garden" in March 2014. Despite the classic Jazz trio format (piano, bass and drums) and the band members' deep root in Jazz and improvised music. Shalosh's music takes its own path across and between genres like Rock, Classical, Electronic, African and Middle Eastern music. The members of Shalosh have a connection not only through music, but also through a lifelong friendships. After years of working separately and internationally, both as sidemen as well as band leaders, the three reunited to form a band with a tight-knit style of their own. In the past two years, Shalosh has generated a huge buzz around the world. Their music has grabbed attention in Europe, Japan, U.S.A and South America, and has been marked by the press, as one of the most prominent promising sounds of years to come. The band has toured in Japan, Korea, UK, Germany, Poland, The Czech Republic, Latvia. Belgium, France, Romania, Austria, Switzerland, Italy, Albania, Holland,Turkey and Israel, and is planned to have shows USA and Canada in 2017-18 as well. In March 31st 2016 Shalosh embarked on a two months long tour, with 40 concerts all across Europe, promoting the music of their new album Rules Of Oppression (will be released January 2017, on contemplate records) This new album took the band's sound another step forward in the creation of their unique voice. The band's agenda is to make music that moves its audience in the greatest way possible, in order to break through the barrier created between the music and the listener, which is often found in intellectual music of this genre. Shalosh places as much emphasis on their collective sound as on individual virtuosity. Their music is derived from a deep place of musical friendship and is aimed towards the deepest and purest place within. Shalosh very much stands out from today's Jazz scene, mainly due to the fact it is not led by a single artist, but co-led by its three members who enjoy an artistic evolution from years of collaborations and friendship. Moreover, for the past two years, the band released their first album and booked over 100 shows under their own management and label. Record Label: Contemplate Style: Jazz

Record Label: Enja Style: Jazz

two live-recordings from the norwegian jazz pianist maria kannegard Record Label: Jazzland Recordings Style: Jazz

Record Label: Tuk Music Style: Jazz

Italian trumpeter Paolo Fresu has always been more angel than devil, though he's fronted quartets that name check both of those respectively heavenly and hellish entities. His horn work is coolly lyrical and spellbinding, regardless of the setting it's found in, but Fresu also has an impish side to his personality that takes over at certain times; he taps into that deviousness in a few places on Desertico, but the majority of the music is gorgeous, reflective and peaceful. While the title of the record points to the dry, arid and lifeless spaces of this world, the songs are anything but. Fresu and his Devil Quartet create music brimming with life, clarity, sensitivity and strength; Desertico is a musical oasis, not a barren desert Record Label: Tuk Music Style: Jazz

Handmade jazz with space to breathe. The recording list shows that in Hendrika Entzian's quartet has done something: Matthew Halpin is new to the debut "Turnus" from 2015. But the change of the saxophonist is not responsible for the album title. "Pivot means the point at which something turns or changes," explains the bandleader, "which for me is a good picture for the quartet's playing style. Basically, the compositions represent basic scaffolding by each musician in one direction or another Can be steered. " Her style of writing has also changed since "Turnus", due to collaborations that brought new musical influences, as well as her master's degree jazz composition and arrangement. One detail came to another, and so Entzian developed a sound concept for "Pivot", to which Halpin and his equally elegant as well as pointedly powerful game ideally fits. "Its sound and energy can take the band by the hand and steer it." As a composer and producer, the self-confident bassist preserves the musical overview; on the other hand, she does not care to give commands. Their compositions are kept short and deliberately offer many possibilities to make something out of it in interactions. "We do not continue to play freely improvised music, but improvise over structures that resemble songs. Record Label: Traumton Style: Jazz

Beate S. Lech, last heard on Jazzland Recordings in the unique offering, "Go' Natt", clearly has been busy, not only in writing and recording this, the 5th Beady Belle album, but in doing something - that indefinable SOMETHING - that somehow manages to make her better than before. Her voice, that truly incredible voice that so impressed fans and critics alike on the group's previous outing, "Belvedere", has become more refined, more resonant, more seductive - more of everything good, in fact. Her range and tone is impeccable, and that honey-smooth voice is infused with smouldering emotional heat. She could sing you the biggest lie you ever heard, and your heart would want to believe every word of it. Beate's voice is so capable of such enchantment, it's sometimes easy to overlook the superb musical arrangements it gently floats above. Tex Mex elements meet with Cuban percussion rhythms and unexpected horn arrangements ("Come Home", "Runaway Mind", "Turn Back Time"); Softly stumbling chord sequences open up deep twanging baritone guitar reminiscent of Marc Ribot ("Come Home", "Runaway Mind", "Walk On Air"); atmospheric echoes of dub reggae or soul-funk overlap with traces of Steeley Dan ("Bird's-eye View", "Runaway Mind", "Press of Canvas", "Leeway"); occasional glimpses of electronic beats underlay fragmentary horn and piano ("Voyage (Interlude)"); amazingly subtle multilayered vocals create expansive pathways for Beate's remarkable voice to meander purposefully through her sharp observational lyrics (particularly "Diamond in the Rough", "Apple (Interlude)", "Leeway", and "Ambush"). "At Welding Bridge" presents melodically mature music, understated yet powerful stuff, bearing more fruit with each listen. Nothing overstays its welcome, nothing intrudes where it doesn't belong. Hooks abound, yet are never pushed to the point of distraction from the rest of the song. This is assured songwriting, a rare commodity in our modern home studio and strict four-four looping culture. The songs live and breathe, each endowed with more character than many artists manage to convey in a whole album. The majority of "At Welding Bridge" takes many of the musical conventions of country music, sets up expectation of the predictable country course, only to jump sideways into a purely urban cool jazz style, or have that vibe dissipate in a smoky haze of smooth soul cool ("The Storm", "Ambush"). But Beady Belle have never been purists: The stylistic juxtapositions are done with aplomb, never feeling bolted together, but instead are seamlessly blended, moving confidently across or simultaneously through different genres. The standard country instrumentation, particularly the guitars, shares a common ancestry with the LA sound of the seventies, while the more C&W arrangements echo Ennio Morricone's approach to the genre ("Walk on Air", "Apple (Interlude)"). But this isn't derivative - this is 21st century songwriting, speaking to the 21st century heart. Beady Belle's approach has been one of steadfast commitment to their sound, gradually evolving, coaxing new elements to blossom that had previously only been hinted at, augmenting it with new elements, creating a consistently strong body of music, each step more confident than the last. To compare this album with "Home", it is easy to hear just how much ground they have covered in just 9 years. Just like its predecessors, "At Welding Bridge" is shot through with genuine warmth, heart, and - yes! - soul. Pure soul! Prepare to be seduced again Record Label: Jazzland Recordings Style: Jazz

Джон Колтрейн - культовый американский джазовый саксофонист и композитор, один из самых влиятельных джазовых музыкантов второй половины XX века, тенор- и сопрано-саксофонист и бэнд-лидер. Наряду с Чарли Паркером, Дюком Эллингтоном, Майлзом Дэвисом, Луи Армстронгом, Колтрейн является наиболее значительной фигурой в истории джаза, оказавшей влияние как на современных джазовых музыкантов, так и на школу импровизации в целом. Представляем ряд переизданий альбомов музыканта, выходивших на лейбле Atlantic Records. Все альбомы имею новый мастиринг звука в моно. "Giant Steps" - пятый студийный альбом Джона Колтрейна, записанный им в роли бэнд-лидера, и выпущенный в 1960 году. Будучи первым альбомом Колтрейна на этом лейбле, альбом стал прорывом для музыканта, а композиции с него теперь являются образцами для тренировок джаз-саксофонистов. В 2004 году, "Giant Steps" стал одной из пятидесяти записей, отобранных Библиотекой Конгресса США для добавления в Национальный реестр звукозаписи. Artist: John Coltrane Label: Atlantic Catalog Group

Новая коллаборация французского джазового пианиста и композитора Батиста Тротиньона,и кубинского саксофониста Йосвани Терри Кабреры

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Новая коллаборация французского джазового пианиста и композитора Батиста Тротиньона,и кубинского саксофониста Йосвани Терри Кабреры