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Jazz - Paru le 6 avril 2015 | ECM

Hi-Res Livret Distinctions Top du mois de Jazznews
De Hem, le petit village de Norvège où il a grandi, jusqu’aux vastes plaines du Dakota. Tel est le périple musical entrepris par Mathias Eick tout au long de ce bien nommé Midwest. Le trompettiste a fait appris que c’est dans ce Midwest américain que des centaines de Norvégiens arrivèrent par la mer à la fin du XIXe et au début du XXe siècle. Logiquement, ils avaient emmené avec eux leur musique… Eick s’engage avec cet album dans un périple identique. Et sa trompette fortement influencée par le jazz nord-américain incorpore des couleurs et des textures de la musique folklorique de sa Norvège natale. A ses côtés, son compatriote violoniste Gjermund Larsen, dont les racines sont précisément dans la tradition folklorique norvégienne. A l’arrivée, trompette et violon viennent converser avec une brillante section rythmique, norvégienne elle aussi, composée du pianiste Jon Balke, du percussionniste Helge Norbakken et du contrebassiste Mats Eilertsen. © MD/Qobuz
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Jazz - Paru le 6 avril 2015 | ECM

Distinctions Top du mois de Jazznews
De Hem, le petit village de Norvège où il a grandi, jusqu’aux vastes plaines du Dakota. Tel est le périple musical entrepris par Mathias Eick tout au long de ce bien nommé Midwest. Le trompettiste a fait appris que c’est dans ce Midwest américain que des centaines de Norvégiens arrivèrent par la mer à la fin du XIXe et au début du XXe siècle. Logiquement, ils avaient emmené avec eux leur musique… Eick s’engage avec cet album dans un périple identique. Et sa trompette fortement influencée par le jazz nord-américain incorpore des couleurs et des textures de la musique folklorique de sa Norvège natale. A ses côtés, son compatriote violoniste Gjermund Larsen, dont les racines sont précisément dans la tradition folklorique norvégienne. A l’arrivée, trompette et violon viennent converser avec une brillante section rythmique, norvégienne elle aussi, composée du pianiste Jon Balke, du percussionniste Helge Norbakken et du contrebassiste Mats Eilertsen. © MD/Qobuz
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Jazz - Paru le 4 avril 2011 | ECM

Distinctions Indispensable JAZZ NEWS
Avec Skala, le trompettiste norvégien Mathias Eick, ancien partenaire de Manu Katché, interprète des compositions originales fortement mélodiques. Il est appuyé par un groupe d’excellents musiciens dirigés, par deux batteurs, pour ne rien changer. Un album moderne qui dépasse le cercle des amateurs de jazz.
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Jazz - Paru le 24 septembre 2021 | ECM

Hi-Res Livret
When We Leave is trumpeter/composer Mathias Eick's fifth leader outing for ECM and his first since 2018's acclaimed Ravensburg. Recorded over two days in November 2020, his sidemen include violinist Håkon Aase, pianist Andreas Ulvo, bassist Auden Erlien, drummers Thorstein Lofthus and Helge Norbakken, and pedal steel guitarist Stian Carstensen. All but the steel player -- who has also worked with Eick before -- appeared on Ravensburg. The trumpeter composed all seven pieces here; they are each identified by a single-word title. Fans of Jaga Jazzist, Eick's other band, will need to adjust their expectations. These compositions reflect the trumpeter's long-held preoccupation with the murky spaces between folk music and modern European jazz. Opener "Loving" offers a drifting, moody piano playing elegiac chords that introduce a lithe lyric line played by trumpet and violin. The two lead instruments circle one another and gradually, as the drummers begin to exchange phrases and time signatures as accents for the frontline players, engage major and minor modes before Aase delivers a sumptuous solo complemented by fills from Ulvo. "Turning" is introduced by plucked violin and bass before piano, violin, and trumpet cascade in a languid, vamp-like melody. Eick's lyricism offers staggered cadences for doubled brass and string harmonies. They add levels of depth and dimension that resist easy classification. The trumpeter's solo, while brief, elevates the tune's entire dramatic premise. While "Flying" appears improvised initially, it opens to express a sparse, even skeletal piano melody that Carstensen and Eick hover over and dole out in single lines for the other players to improvise on. "Arvo," obviously inspired by Estonian composer Arvo Pärt, commences with a wispy Gregorian chant feel as Eick's trumpet, wordless vocals, and Aase's spectral violin exchange phrases, lines, and a mode. The drummers then enter one at a time, followed by Erlien and finally Carstensen, who adds sweeping chord voicings and canny pedal work to elevate the entire proceeding texturally and dynamically. It actually approaches the orchestral until the drummer's snares engage in staggered, nearly martial breakbeat rhythms. "Playing" follows logically. Carstensen controls the tune's body as the two drummers speak in a somewhat urgent processional language. Eick and Aase converse along the economically notated lyric line. Closer "Begging" sounds like a benediction or an exit hymn. It's slow, atmospheric, and at once pastoral and regal. The delicacy in Eick's aching melody expressionistically weds the sacred and the natural worlds while the pianist walks out the changes as an affirmation, and both drummers employ brushes in painting the backdrop with whispering cymbals and snares. Carstensen and Aase speak directly to Eick's lyric solo, embellishing it with textured phrases and elongated octave notes. Eick's composing on When We Leave is muted yet rich, lovely, and sophisticated. He understands exactly how to write to this particular ensemble's strengths, and draws them out individually to express, along with him, longing and vulnerability. © Thom Jurek /TiVo
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Jazz - Paru le 4 avril 2011 | ECM

Hi-Res Livret
Avec Skala, le trompettiste norvégien Mathias Eick, ancien partenaire de Manu Katché, interprète des compositions originales fortement mélodiques. Il est appuyé par un groupe d’excellents musiciens dirigés, par deux batteurs, pour ne rien changer. Un album moderne qui dépasse le cercle des amateurs de jazz.
A partir de :
HI-RES19,99 €
CD14,49 €

Jazz - Paru le 16 mars 2018 | ECM

Hi-Res Livret
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Jazz - Paru le 2 juin 2008 | ECM

Hi-Res Livret
The Door - Stavanger - Cologne Blues - October - December - Williamsburg - Fly - Porvoo / Mathias Eick , trompette, guitare, vibraphone - Jon Balke, piano, Fender Rhodes - Audun Kleive, batterie, percussions - Audun Erlien, basse électrique, guitare - Stian Cartensen, pedal steel guitare
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Jazz - Paru le 2 juin 2008 | ECM

The Door - Stavanger - Cologne Blues - October - December - Williamsburg - Fly - Porvoo / Mathias Eick , trompette, guitare, vibraphone - Jon Balke, piano, Fender Rhodes - Audun Kleive, batterie, percussions - Audun Erlien, basse électrique, guitare - Stian Cartensen, pedal steel guitare
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Jazz - Paru le 24 septembre 2021 | ECM

Livret
When We Leave is trumpeter/composer Mathias Eick's fifth leader outing for ECM and his first since 2018's acclaimed Ravensburg. Recorded over two days in November 2020, his sidemen include violinist Håkon Aase, pianist Andreas Ulvo, bassist Auden Erlien, drummers Thorstein Lofthus and Helge Norbakken, and pedal steel guitarist Stian Carstensen. All but the steel player -- who has also worked with Eick before -- appeared on Ravensburg. The trumpeter composed all seven pieces here; they are each identified by a single-word title. Fans of Jaga Jazzist, Eick's other band, will need to adjust their expectations. These compositions reflect the trumpeter's long-held preoccupation with the murky spaces between folk music and modern European jazz. Opener "Loving" offers a drifting, moody piano playing elegiac chords that introduce a lithe lyric line played by trumpet and violin. The two lead instruments circle one another and gradually, as the drummers begin to exchange phrases and time signatures as accents for the frontline players, engage major and minor modes before Aase delivers a sumptuous solo complemented by fills from Ulvo. "Turning" is introduced by plucked violin and bass before piano, violin, and trumpet cascade in a languid, vamp-like melody. Eick's lyricism offers staggered cadences for doubled brass and string harmonies. They add levels of depth and dimension that resist easy classification. The trumpeter's solo, while brief, elevates the tune's entire dramatic premise. While "Flying" appears improvised initially, it opens to express a sparse, even skeletal piano melody that Carstensen and Eick hover over and dole out in single lines for the other players to improvise on. "Arvo," obviously inspired by Estonian composer Arvo Pärt, commences with a wispy Gregorian chant feel as Eick's trumpet, wordless vocals, and Aase's spectral violin exchange phrases, lines, and a mode. The drummers then enter one at a time, followed by Erlien and finally Carstensen, who adds sweeping chord voicings and canny pedal work to elevate the entire proceeding texturally and dynamically. It actually approaches the orchestral until the drummer's snares engage in staggered, nearly martial breakbeat rhythms. "Playing" follows logically. Carstensen controls the tune's body as the two drummers speak in a somewhat urgent processional language. Eick and Aase converse along the economically notated lyric line. Closer "Begging" sounds like a benediction or an exit hymn. It's slow, atmospheric, and at once pastoral and regal. The delicacy in Eick's aching melody expressionistically weds the sacred and the natural worlds while the pianist walks out the changes as an affirmation, and both drummers employ brushes in painting the backdrop with whispering cymbals and snares. Carstensen and Aase speak directly to Eick's lyric solo, embellishing it with textured phrases and elongated octave notes. Eick's composing on When We Leave is muted yet rich, lovely, and sophisticated. He understands exactly how to write to this particular ensemble's strengths, and draws them out individually to express, along with him, longing and vulnerability. © Thom Jurek /TiVo
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Classique - Paru le 24 août 2018 | Butler Records

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Jazz - Paru le 16 mars 2018 | ECM

Livret
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Jazz - Paru le 2 février 2018 | ECM