Фирма Jazzland Recordings

Vinyl, LP, Album

Record Label: Jazzland Recordings Style: Jazz

CD, Album

Jazzland Recordings presents Yūgen, an astonishing debut from Marthe Lea (sax, vocals, guitar) and Håkon Aase (violin, harmonium, percussion), and featuring special guest, Mats Eilertsen (bass). The album traverses the boundaries of traditional folk, classical, and jazz, and is by turns deeply textural and highly melodic, creating an oxymoron for itself: rich minimalism. Drone, harmony, unison, counterpoint, microtonal variation: countless terms from the musical lexicon can be applied, yet not even in combination, never mind each alone, can begin to capture the music the duo (and sometimes trio) produces. The music is spacious and exploratory, but is firmly grounded in a certainty of itself, conceptually rooted so that its peregrinations do not exceed its aesthetic unification. Some influences enter from elsewhere, adding hints of Romany, Sami, broadly African and Carnatic traditions to individual pieces, yet the overall feeling is something not only distinctly Scandinavian, but peculiarly Norwegian. No single piece is excessive in any way, whether in orchestration and arrangement, or in length: each is a perfect miniature, experimental without being inaccessible, challenging without being combative. Moments of whimsical charm rub shoulders with moments of meditation, the reflective guides the instinctive. Yūgen's clarity of intent and highly thoughtful and measured execution of its compositions affords this album the rare luxury of deserving an epithet that is usually indicative of hyperbole, but certainly not in this case: unique. Record Label: Jazzland Recordings Style: Jazz

Scandinavian sextet Farvel return with a perfect follow-up to their acclaimed Jazzland debut, Rok. Östtomta, taking its name from where it was recorded in a temporary studio, is an album filled with daring experimentalism, arrangements that break free from convention, cunning artifice that has an infectious quality more readily associated with pop music, nebulous ambience that juxtaposes with urban freneticism. An eerie beauty pervades all, with Isabel Sorling's voice leading it in delicate weaves or furious cross-stitching when necessary, her versatility matched by the context-sensitive playing of her bandmates. Divided into four sections, each representing the four elements, the album's transitions of tone and texture are sometimes almost imperceptible, and at others almost jarring. The recording marks multiple steps forward for the group, each piece charged with its own dramaturgy, and each a landmark in the overall soundscape of the album as a whole, and illustrates a bold move towards merging the organic and the electronic. Recorded live, a free jazz spirit charges the album's atmospherics with an electrical vitality and urgency that demands attention, whether through sparse interjections or the full ensemble driving forwards with an unstoppable intensity. Record Label: Jazzland Recordings Style: Jazz

The sixth album of the Viennese string quartet, co-produced by Bugge Wesseltoft, resists any genre attribution. This music has many names. Music, created by two violins, viola, cello and the human voice. Artists reluctantly make drawers to categorize their work, but the radio.string.quartet has done it. As CrossoverJazzClassicPopFusionRockNewMusicElectronic "thing, the four Viennese describe their new work In Between Silence. Because with such a word monster no one can start anything, they push the Na-If instrumentalists talk of visions, then they are little words with which they convey these. Rather, they use the sounds, rhythms, melodies, sounds or silence to present visionary feelings, thoughts, images, colors or stories. His visions leave the percussionist and rhythm drummer Murat Coskun on this CD in dialogue with two great musicians and masters of improvisation, David Friedman and Arezoo Rezvani, some of the artists who inspired them in recent years: Nine Inch Nails, Franz Schubert, Feist, Est, Arvo Pärt, Bugge Wesseltoft & Sidsel Endresen. In Between Silence, as it was for a real band, they were recorded live together in the studio, but additionally enriched with self-created samples and overdubs. In a recording the quartet even got support from the techno-pioneer Henrik Schwarz and the increased use of voices broadened the band's horizons considerably. Record Label: Jazzland Recordings Style: Jazz

The sixth album of the Viennese string quartet, co-produced by Bugge Wesseltoft, resists any genre attribution. This music has many names. Music, created by two violins, viola, cello and the human voice. Artists reluctantly make drawers to categorize their work, but the radio.string.quartet has done it. As CrossoverJazzClassicPopFusionRockNewMusicElectronic "thing, the four Viennese describe their new work In Between Silence. Because with such a word monster no one can start anything, they push the Na-If instrumentalists talk of visions, then they are little words with which they convey these. Rather, they use the sounds, rhythms, melodies, sounds or silence to present visionary feelings, thoughts, images, colors or stories. His visions leave the percussionist and rhythm drummer Murat Coskun on this CD in dialogue with two great musicians and masters of improvisation, David Friedman and Arezoo Rezvani, some of the artists who inspired them in recent years: Nine Inch Nails, Franz Schubert, Feist, Est, Arvo Pärt, Bugge Wesseltoft & Sidsel Endresen. In Between Silence, as it was for a real band, they were recorded live together in the studio, but additionally enriched with self-created samples and overdubs. In a recording the quartet even got support from the techno-pioneer Henrik Schwarz and the increased use of voices broadened the band's horizons considerably. Record Label: Jazzland Recordings Style: Jazz

Record Label: Jazzland Recordings Style: Jazz

Record Label: Jazzland Recordings Style: Jazz

Lahlezar means garden of tulips. It is the name of a Street in Iran's capital Tehran, which is the Islamic Revolution in 1979 for their theaters, bars and Cabarets was known. Now Javid Afsari has the new bike Album of his ensemble named after. La Record Label: Jazzland Recordings Style: Jazz

Re-issue! Shortly after the release of the album of his band New Conception Of Jazz ("Film'ing", 2004), Bugge Wesseltoft announced that he wanted to return to playing the acoustic piano in the near future. The Norwegian made a first taste for the "acoustic bugge" during the last year's "All Star Jazzland Community" tour, the concerts of which he opened with a solo performance on the piano. Now finally is done: Bugge has finished his second solo album under the title "IM", on which he can be heard almost exclusively on the (and in) acoustic wing. Only occasionally he accompanies himself with hand-played, percussive loops. Record Label: Jazzland Recordings Style: Jazz

Born in the city of Teboulba, Dhafer Youssef began his musical career in the Koranic school, absorbing the musical influences around him. He was a Muezzin before he saved the money to buy his first oud. With 19, he decided to move Vienna. There he met the Austrian percussion player Gerhard Reiter who introduced him to Toni Burger and other members of the Vienna Jazz Scene. The Jazz Club Porgy and Bess gave Dhafer a "carte blanche". For a whole year, he could do whatever he wanted once a month. On these occasions he invited Europe’s experimental-Jazz community, e.g. Iva Bittova, Linda Sherock, Tom Cora, Wolfgang Puschnig. He recorded his first CD Malak (enja) during this residency, featuring Nguyên Lé, Markus Stockhausen and Renaud Garcia-Fons among others, which established him as an internationally acclaimed artist. Having lived in various European capitals and in Dakar, Senegal, Dhafer moved to New York in 2001 where he recorded his second CD Electric Sufi (enja) featuring Dieter Ilg, Wolfgang Muthspiel, Doug Wimbish, Will Calhoun and Mino Cinelu. Returning to Paris the same year, Dhafer began to explore the Norwegian Nu-Jazz scene around Nils-Paetter Molvaer and Eivind Aarset. The release of his third album Digital Prophecy (enja) in 2003 reveals Dhafer’s profound spiritual singing and playing embedded in the existentialistic world of Norwegian music - with Eivind Aarset (guitar), Rune Arnesen (drums), Bugge Wesseltoft (keyboards), Dieter Ilg (bass), sampling by Jan Bang and the bansouri virtuoso Ronu Majumdar. Record Label: Jazzland Recordings 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

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

Eivind Aarset's first solo album. One of the most iconic albums of the 90s Jazz boom! He performs all guitars: straight, treated, e-bowed, looped, ugly and pretty. Aarset is also responsible for all compositions, arrangements, recording, programming, sampling and bass. Record Label: Jazzland Recordings Style: Jazz

Re-release of the hard-to-get debut album by Torun Eriksen. here is an excerpt from the original press release: Glittercard makes the world with a remarkable singing talents , Produced by Jazzland founder Bugge Wesseltoft. Torun Eriksen does not have to move. The Sincerity, which characterizes her texts, is always in her To find voice. The jazz singer from the south Norwegian Telemark has an unusually clear expression, Tal-times, I could improve my experience with improvised Music, and I could get my lyrical side "Électronique Noir is now regarded as a classic. The label colleagues Bugge Wesseltoft and Nils-Petter Molvær can be heard as guests. "The title Électronique Noir says it all about the album: it's cinematic music, Meditative, dark, electronic, "says Eivind Aarset. The perfect with the warm sound of their four - headed Band harmonies. Glittercard is a remarkably mature one Debütalbum, which is a decade-long musical education Translucent. Wesseltoft said Torun Eriksen as one of the greatest singing talents he has ever been to Norway. Glittercard has a gently grooving Gospel and R & B coloring, blown by Scandinavian Melancholy. And then there is Torun Eriksen's voice, the Of the purity of a Norwegian mountain stream is: melodic, Clear, and gently gentle. "The voice of the year on The jazz scene. "Dagsavisen Record Label: Jazzland Recordings Style: Jazz

A quartet from Norway, bursting with energy and self-confidence. Unconcerned old-school and at the same time with the snapping finger on the pulse of time: Rohey are a soul-band for the year 2017. Those who hear the nervous synthesizers at the beginning of "Can not get this" are not reminded of Stevie Wonder . At the same time, Rohey is a band that could hardly sound more contemporary. They play an organic R'n'B, which is only so sparkling before its originality, as it was at last heard by the Australians of Hiatus Kaiyote. The four met at the Conservatory in Trondheim. Keyboarder Ivan Blomqvist brings a very urban, retrofuturistic sound, while Kristian B. Jacobsen (bass) and Henrik Lødøen (drums) create a classic soul-radio foundation. And then there is the name of the group: singer Rohey Taalah. With her grandiose voice, she transports all the emotional complexity that a good soul singer expects. Also the pop art of an Adele and the jazz skills of a Zara McFarlane makes her own. Rohey have the ability to shake a sparkling dancefloor tune from the sleeve at any time. If they want it. Their first single "Is This All There Is" starts with an attack from synths and drums, then falls into a relaxed jazz groove with pearly keyboards. The warm melancholy of pieces like "My Dear" and "Now That You Are Free" testify to a remarkable maturity. Reduced to Fender Rhodes and singing, they show the entire songwriting format of the band. During their extensive tours, Rohey have already played at almost every major Scandinavian jazz festival. With the release of "A Million Things" on Jazzland Recordings at the beginning of 2017, they will undoubtedly also cause a sensation in southern regions. "Rohey's presence is clear." Rohey's presence is clear. - Andy Collins, Scandinavian Soul Record Label: Jazzland Recordings Style: Jazz

A quartet from Norway, bursting with energy and self-confidence. Unconcerned old-school and at the same time with the snapping finger on the pulse of time: Rohey are a soul-band for the year 2017. Those who hear the nervous synthesizers at the beginning of "Can not get this" are not reminded of Stevie Wonder . At the same time, Rohey is a band that could hardly sound more contemporary. They play an organic R'n'B, which is only so sparkling before its originality, as it was at last heard by the Australians of Hiatus Kaiyote. The four met at the Conservatory in Trondheim. Keyboarder Ivan Blomqvist brings a very urban, retrofuturistic sound, while Kristian B. Jacobsen (bass) and Henrik Lødøen (drums) create a classic soul-radio foundation. And then there is the name of the group: singer Rohey Taalah. With her grandiose voice, she transports all the emotional complexity that a good soul singer expects. Also the pop art of an Adele and the jazz skills of a Zara McFarlane makes her own. Rohey have the ability to shake a sparkling dancefloor tune from the sleeve at any time. If they want it. Their first single "Is This All There Is" starts with an attack from synths and drums, then falls into a relaxed jazz groove with pearly keyboards. The warm melancholy of pieces like "My Dear" and "Now That You Are Free" testify to a remarkable maturity. Reduced to Fender Rhodes and singing, they show the entire songwriting format of the band. During their extensive tours, Rohey have already played at almost every major Scandinavian jazz festival. With the release of "A Million Things" on Jazzland Recordings at the beginning of 2017, they will undoubtedly also cause a sensation in southern regions. "Rohey's presence is clear." Rohey's presence is clear. - Andy Collins, Scandinavian Soul Record Label: Jazzland Recordings Style: Jazz

The artist, lead singer and song writer Beady Belle will release her first album as a solo artist in May 2016. The Beady Belle band split up in 2015. The Beady Belle artist will from now on continue the journey on her own. The new album is symbolically entitled "On my own". On this new album (as also on all the previous Beady Belle albums) she has written all the music and lyrics. The famous jazz pianist, Bugge Wesseltoft is the producer of this new album and he also plays all the keyboards (Grand piano and Fender Rhodes). Beady Belle followed her dream. The "On my own" album was recorded in New York City, with world class American jazz musicians; Gregory Hutchinson (drums), Reuben Rogers (bass) and Joshua Redman (saxophone). The atmosphere from the pulsating city was successfully captured into the intimate recording studio on Manhattan. All songs live recorded. The sound of the album gives associations to the 70s. Recorded at Eastside Sound Studio (established in 1972) - with acoustic drums, double bass, grand piano and Fender Rhodes. There's a feeling of excellence. All the way from the sublime lyrics, the strong songs, the virtuoso musicians in the band and the featuring soloist to the intimately soft lead vocal. It's playful yet under control. Smooth yet with friction that bites. The songs are: melodic, groovy, powerful and alive! Each song is a mixture treat of genres - jazz, pop, soul and R&B - simply Beady Belle. Beady Belle (the band) is dead; long live Beady Belle (the solo artist). Recorded at Eastside Sound Studio in New York City, the album features a strong – but not overpowering – undercurrent of 70s soul and vocal jazz, mixtures of intimacy and exuberance, and pulsations both urban and urbane. The musicians include Bugge Wessletoft (who is also the album's producer) on keys, Gregory Hutchinson on drums, Reuben Rogers on bass and Joshua Redman on saxophone. While primarily an album of superb songs highlighting Beady's honey-smooth-yet-gutsy voice, the musicians are given plenty of room to shine, with high-end solos and great chops on display. Beady's compositional and lyrical skills are also showcased here as never before, offering us further dimensions only hinted at on previous releases. Melodically gripping, harmonically intricate, lyrically intelligent (without pretentiousness), and underpinned by solid grooves, the songs mine rich seams to bring many treasures for fans and newcomers alike. Whether warm and easygoing like a smoky late evening bar, or bright and sunny (with your iced coffee of choice), the album moves through a huge variety of moods, hues and colors, tones and shades. Further backline support comes from Mathias Eick, whose plaintive trumpet lines weave gracefully with Beady Bell's vocals, while Audun Sandvik's cello on "Almost" adds a unique resonance that lends the song a cinematic quality. Torun Eriksen and Anja Martine Mørk accompany on backing vocals with a high level of perfection, sounding as one. The album's guitar chops are provided by Fran Cathcart, and round out the diverse palette that constitutes a jewel in the Beady Belle crown. However, the true glint of that jewel is, as always, the stunning voice of Beady Belle herself, plaintive, seductive, exuberant, moody, evocative and unique. With each new release, Beady Belle's voice has become richer, more capable, and laced with nuance and subtle expressiveness. Simply put, there is no-one else like her Record Label: Jazzland Recordings Style: Jazz/Pop