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Jazz - Verschijnt op 4 december 2020 | Klarthe

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Vocale jazz - Verschenen op 20 november 2020 | Island

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Jazz - Verschenen op 20 november 2020 | IN+OUT Records

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Jazz - Verschenen op 20 november 2020 | Universal-Island Records Ltd.

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Moderne jazz - Verschenen op 17 november 2020 | Rattle

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Jazz - Verschenen op 16 november 2020 | DVL Records

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Jazz - Verschenen op 16 november 2020 | SEED JAZZ

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Jazz - Verschenen op 14 november 2020 | Playground Music Estonia

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Jazz - Verschenen op 13 november 2020 | Provogue

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Jazz - Verschenen op 13 november 2020 | Motema

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Gospel - Verschenen op 13 november 2020 | Elevation Worship Records

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Jazz - Verschenen op 13 november 2020 | Memorylane

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Moderne jazz - Verschenen op 6 november 2020 | Mi'ster

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40 melodies for 40 years. Ibrahim Maalouf is celebrating another decade on earth and he’s gone all out. How else would he be able to cover all the sides to his sound? Over the course of his albums and collaborations, the Franco-Lebanese trumpeter’s world has expanded into a fascinating mosaic of jazz, pop, oriental music, French chanson and a thousand other genres. Though what makes this album so great is just how intimate it is. This 12th album stands out from his others. For the first time in his 15-year-long career, Maalouf plays in duet with his old friend – the Belgian guitarist François Delporte. The duo revisit key melodies from the trumpet player’s previous albums and soundtracks. We also find a few previously unreleased tracks. The cherry on the (birthday) cake is the long list of party guests: Sting, Matthieu Chedid, Marcus Miller, Alfredo Rodriguez, Richard Bona, Trilok Gurtu, Jon Batiste and Arturo Sandoval. As shown by his previous records, Ibrahim Maalouf is like a musical crossbreeder. Here, he lays bare his playing, his sound and his relationship to melody and improvisation. Plus, he never forgets about Delporte, whose guitar isn’t just ornamental. The brilliance of Maalouf’s playing becomes even more obvious in this minimalist setting. While in the past it has been hidden amongst heavily orchestrated, heavily arranged and heavily produced works, it sounds here almost like a confession. One that’s swathed in emotion, especially in the context of a wounded Beirut and crumbling Lebanon… With just a melody, just a trumpet and guitar, Ibrahim Maalouf floats through various landscapes and eras on what might just be one of his best recordings yet. © Marc Zisman/Qobuz
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Jazz - Verschenen op 6 november 2020 | Dave Brubeck

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Jazz - Verschenen op 6 november 2020 | JMS Productions

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Jazz - Verschenen op 6 november 2020 | Galileo Music Communication

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Jazz - Verschenen op 6 november 2020 | Dox Records

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Jazz - Verschenen op 30 oktober 2020 | ECM

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On the 21st October, 2020, nine days before the release of Budapest Concert, Keith Jarrett revealed to the New York Times that he had fallen victim to two strokes in February and May of 2018. These unfortunately left him partially paralysed. "The most I'm expected to recover in my left hand is possibly the ability to hold a cup in it" lamented the 75-year-old pianist, who will likely never be able to perform again. In his vast discography there are many live recordings. For Jarrett, the concert recordings hold just as much value as those done in the studio, if not more...  On the 3rd July, 2016, the American was alone onstage in the Bela Bartok concert hall in Budapest. As is often the case for Jarrett, the material he plays here has no title and is instead divided into parts, here numbered from 1 to 12, just like on his Munich 2016 album which was released in November 2019 and recorded on the 16th of July 2016, a few days after his Budapest performance. For a Bartók fanatic like Jarrett, who on his mother's side is himself a great-grandson of Hungarian emigrants, this performance has a special flavour to it. Unsurprisingly, Jarrett's improvisational prowess is on show here, as well as his ability to make his piano swing like his elders and improvise in rhythmically and harmonically complex phrases with ease. A tsunami of notes (the middle of Part III draws from his 1977 Survivors' Suite) precedes a blues theme that has been reworked from scratch. A folkloric standard replaces an overtly classical construction. And so on and so forth. The parts don’t really communicate with each other but Keith Jarret’s ever fascinating style keeps the listener engaged with his sporadic stylistic decisions. As in Munich, this fusion creation closes with the standards It’s a Lonesome Old Town, popularised by Sinatra, and Answer Me, popularised by Nat King Cole. This is his way of reminding us where his heritage lies, even if it has been audaciously turned upside down here... An astounding new journey from Jarrett. © Marc Zisman/Qobuz
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Jazz - Verschenen op 30 oktober 2020 | Okeh

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Jazz - Verschenen op 30 oktober 2020 | Okeh

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Jazz in het magazine