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Jazz - Verschenen op 13 november 2020 | Sunnyside

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Jazz - Verschenen op 5 mei 2020 | Galileo Music Communication

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Jazz - Verschenen op 11 september 2020 | Concord Jazz

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Jazz - Verschenen op 4 december 2020 | Resonance Records

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Jazz - Verschenen op 4 december 2020 | Resonance Records

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Jazz - Verschenen op 18 maart 2021 | Ronin Rhythm Records

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Jazz - Verschenen op 10 februari 2021 | Tuk Music

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Paolo Fresu won't be stopped so easily! Not even at 60. In this, his birthday week, the Sardinian trumpeter with the XXL discography (his name appears on more than 300 records!) is releasing a triple album! The one who keeps slaloming between genres, inspirations and partners is offering up three sides of his art. This copious P60LO FR3SU opens with a remastered reissue of Heartland, a 2001 album featuring the voice of David Linx and arrangements for string quartet by Diederik Wissels. It closes with Heroes, a surprising vocal work, exclusively composed of David Bowie covers. These covers are often surprising and full of  freshness, performed by Petra Magoni and recorded at the end of 2020. Fresu has placed The Sun on the Sea, dead centre in this vocal romp. Also recorded in 2020, it was made with two faithful companions: his fellow bandoneonist Daniele Di Bonaventura and the Brazilian cellist Jaques Morelenbaum. A trio sailing on the currents of a Mediterranean jazz which is also pushed along by Latin American waves. More than two hours and forty-five minutes of protean and colourful music, made in the image of the trumpeter himself. © Clotilde Maréchal/Qobuz
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Jazz - Verschenen op 29 mei 2020 | ECM

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Jazz - Verschenen op 4 december 2020 | Resonance Records

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Jazz - Verschenen op 28 augustus 2020 | Jazzology

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Jazz - Verschenen op 20 juli 2020 | RevOla

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Jazz - Verschenen op 28 augustus 2020 | Jazzology

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Jazz - Verschenen op 11 december 2020 | RevOla

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Jazz - Verschenen op 16 oktober 2020 | ECM

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ECM is, without a doubt, the record label that enjoys blurring the lines between jazz and classical the most. So it’s hardly surprising that we find Anja Lechner and François Couturier on this album. Throughout Lontano they sculpt a sound with delicacy and finesse, using their respective experiences, travels, education and imagination to craft a superb borderless score. The German cellist and French pianist already worked together in 2014, linking East and West by revisiting themes by Gurdjieff, Komitas and Mompou. They also collaborated in the Tarkovsky Quartet and in the Il Pergolese project. Lontano’s repertoire is mainly original aside from a few glimpses of Johann Sebastian Bach, Henri Dutilleux, Giya Kancheli and Anouar Brahem (whose Vague - E la nave va was written with Couturier in 2006). Despite the mountain of references, Lechner and Couturier speak a language that is truly their own. It’s like a small chamber symphony nourished by classical, contemporary, folk and jazz music, as well as cinema and literature. Pure grace. © Marc Zisman/Qobuz
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Jazz - Verschenen op 12 juni 2020 | ECM

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Rather than contempt, familiarity breeds a comfortable groove on Swallow Tales, a shared vision for a group of notable tunes written by the venerable bass veteran Steve Swallow. This straight-ahead conversation between old friends and musical partners was recorded in a brief four hours; the result is a flavorful snapshot of a long and fruitful relationship now over 40 years old between guitarist John Scofield and his mentor Swallow. The pair is accompanied by Scofield's go-to drummer, the versatile Bill Stewart, whom the guitarist has played with in a number of different musical contexts. Energized by the easy charm of musical instinct, this session opens with one of Swallow's most beautiful ballads, "She Was Young," before shifting to "Falling Grace," where Stewart's natural and infallible rhythms support Swallow who sweeps into his signature broken time bass style. Scofield stretches out and shows his sense of invention and flair for concise solos in a fast take "Portsmouth Figurations," a tune he first heard on one of his earliest album influences, Gary Burton's Duster. The most famous number "Eiderdown," (also the first tune Swallow ever wrote and has been covered by the likes of Chick Corea, Bill Evans and Phil Woods), receives a spirited run through with Scofield, who says he once struggled to master these changes. He deftly travels up and down the guitar neck, preferring high notes, while Stewart takes an orderly, articulate solo. Another oft-recorded tune, the waltzy "Hullo Bolinas," is taken at a brisk pace while the bassist's playful borrowing from Cole Porter—"In F"—also features another measured, tasteful solo from Stewart. A reunion more interested in bringing fresh insights to well-known repertoire than pushing envelopes, Swallow Tales is the sound of masters at work. © Robert Baird/Qobuz
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Jazz - Verschenen op 6 november 2020 | ECM

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Dino Saluzzi on record is rather uncommon, and Dino Saluzzi playing his bandoneon solo is even rarer.So, Albores is a real treat for aficionados of the Argentinian master. Recorded between February and June 2019 in his Buenos Aires studio, these nine tracks demonstrate how, even with the simplest of instruments, his music is an infinite wellspring of stories. A musical storyteller, Saluzzi renders the most intimate, even personal stories accessible to all. For example, he recounts the work of his composer father Cayetano Saluzzi on Don Caye and on Adiós Maestro Kancheli he pays homage to the Georgian composer Giya Kancheli who died in 2019 and whose repertoire he covered in 2010 on Giya Kancheli: Themes From The Songbook with Gidon Kremer and Andrei Pushkarev. More so than on his previous solo albums released under ECM such as Kultrum (1982) and Andina (1988), Albores completely breaks down the borders between Argentine folklore, jazz, contemporary music and improvised music. The minimalist soliloquies resonate his voice, and his bandoneon seems to play to the rhythm of passing time, drawing the contours of the end of a road that inevitably looms closer at the age of 85. Even in those moments of silence and space in the music, Saluzzi is as charismatic and untouchable as a bard. © Marc Zisman/Qobuz
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Jazz - Verschenen op 11 september 2020 | ECM

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Jazz - Verschenen op 18 september 2020 | ECM

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Moderne jazz - Verschenen op 12 juni 2020 | Blue Note

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There was The Beatles by The Beatles, The Stooges by The Stooges, Cypress Hill by Cypress Hill, Metallica by Metallica – the list goes on. Naming an album after yourself tends to signal either the first chapter of your music, or the final one. For GoGo Penguin, GoGo Penguin represents the latter as a brief decade of enchanting musical exploration draws to a close for pianist Chris Illingworth, drummer Rob Turner and bassist Nick Blacka. The Manchester trio had established their own unique style and their well-balanced blend of contemporary jazz, electronic music and minimalism is captured perfectly in this 2020 vintage. With an album like this, GoGo Penguin increasingly move away from the legacy left behind by EST (the defunct Esbjörn Svensson Trio), the masters of minimalism (Steve Reich, Philip Glass) and of electronic music (Aphex Twin, Roni Size) who were their main influences in their early days. Illingworth explains, “What I’ve been able to do on the piano – it’s the sort of thing I’ve been trying to get towards, in what I can physically play and what I can do to express who I am. And I know that the other guys take the same pride themselves in what they’ve contributed. We’ve all found our place, we’ve all got that confidence of being able to say, ‘This is how I want to play my instrument, and this is how we want to play as a band – that thing we’ve always been aiming for”. For the first time, GoGo Penguin took their time to make this album and spent six months writing and two weeks recording and experimenting. It was a relatively calm experience but also emotional, as Turner explains, “This time, there's a lot more facing the realities of becoming older, facing mortality, and watching people that you care about being very close to death. At the same time, Chris (Illingworth) became a dad. The longer you live, the more complicated your reality becomes, so we felt our music had to reflect that”. And this is reflected in the improvisations as well as the ambient lyrical flights in GoGo Penguin, inflected with deep emotional resonance. In F Maj Pixie, the power behind Nick Blacka’s bassline acts like the beating heart of the track. Overall, this fifth studio album is all about emotion and delicate melodies. The clean production is free of unnecessary flourishes and GoGo Penguin get straight to the point in GoGo Penguin. © Marc Zisman/Qobuz
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Jazz - Verschenen op 12 maart 2021 | Blue Note Records

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Jazz is often the mastery of the art of conversation and at 82, the always spiritual Charles Lloyd can speak in many different languages, on a nearly endless array of musical topics. Skilled at rock, world, mainstream jazz and Manfred Eicher's ECM, Lloyd has found his conversational equals in his group, the Marvels. Based in an elastic rhythm section of drummer Eric Harland and bassist Reuben Rogers, this Lloyd-led colloquy where everyone is a leader and also a follower is completed by the powerhouse electric guitar duo of Bill Frisell and Greg Leisz, both of whom speak in their own highly idiomatic, extremely articulate string patois. Tone Poem is a beautiful example of Lloyd's always expansive musical vision, what he calls his "elixir." It's jazz with elements of Americana, rock and even country—a classic example of his easy, graceful melding of sounds and styles. Filled with Lloyd originals and covers of tunes by Ornette Coleman, Leonard Cohen and Thelonious Monk, Tone Poem evokes two other seminal spiritual/musical concepts: "soul," not as in soul music exactly but as in the mood, the wisdom and grace that imbues everything here and "groove," as in the Second Line rhythm flavor that energizes Coleman's "Ramblin'" before morphing into a train-like chug over which the guitars talk around each other. Lloyd eventually eases in, adding his voice and some squawky tenor mangling that is a natural fit. Leonard Cohen's ethereal "Anthem," perfectly outlined by Frisell's single note lines given resonance through reverb, are supported by Leisz's legato background on pedal steel before Lloyd enters with his warm, searching tone and innate finesse. This is a bravado performance that shows the Marvels at their very best. As lovely as "Anthem," is, it's topped by a ten-minute cover of Ignacio Jacinto Villa Fernández's "Ay Amor," an enchanting triste melody that speaks of soul and hope and is here carried by elegance from Lloyd and both guitarists; it oozes romance tinged with the heartache inherent in the tune. Lloyd switches to alto flute for a bright, groovy, '60s-influenced performance of his "Dismal Swamp," where an insistent tempo provides a steady background around which Leisz wraps an impressionistic pedal steel solo. Produced by Lloyd and his wife, Dorothy Darr, and recorded by a trio of engineers in Spain and California, the sound here is peerless, capturing the instrumental interplay with detail and artistry. Tone Poem is the work of a creator, who as he says in the liner notes, remains inspired by the "fierceness of exploration." © Robert Baird/Qobuz

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Jazz in het magazine