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Jazz - Verschenen op 14 augustus 2020 | Blue Note Records

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Before we marvel at the high-altitude interplay of the Bill Frisell Trio or the sometimes extreme sonic gyrations of its leader, let's begin at the most basic level—with stark, simple, standalone guitar declarations. Frisell opens several pieces on Valentine this way, in the clear. He'll send a carefully plucked single note out into the air, and then, after it subsides, he'll drop another. Tone is his only lure, and it's all he needs to suggest the framework of a tune like "Levees:" The initial phrase operates like an opening scene in a film, establishing a thick and specific atmosphere. Out of that blossoms a six-minute exploration in which Frisell, bassist Thomas Morgan and drummer Rudy Royston travel between strict tempo and drifty listlessness, blues repetition and free-jazz high dives, jittery conversation and disquieting silences. From a single note, there are many resonances; Frisell has been doing this kind of quiet alchemy for years, of course. Valentine is among the most rousing works in his extensive discography in part because it's so relentlessly visual. On just about every piece, Frisell and his trio work transfixingly together to conjure dirt-road sojurns and nature vistas out of thin air. They create contemplative spaces the jazz academy never visits. They dance through a blithe, lighthearted reading of Burt Bacharach's "What The World Needs Now" and a disquieting sorrow-filled version of "We Shall Overcome." And on many of Frisell's skeletal originals (the stunning "Keep Your Eyes Open," for example), they transform their three-way improvised abstractions into clear, singable music that has the sturdy narrative arc of classic country music. As these journeys unfold, it becomes clear that right along with the spontaneity there's some deep intention at work. The stylistic juxtapositions and sudden changes in density are hardly random. Neither are the fragile little introductions—somehow they're all Frisell needs to telegraph where he's going. As in so many aspects of life, the tone is set from the top. © Tom Moon/Qobuz
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Jazz - Verschenen op 26 juni 2020 | ECM

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Marcin Wasilewski has been a resident at ECM for sixteen years. And for 25 years, the Munich label has turned the Polish pianist and his trio of fellow countrymen (Slawomir Kurkiewicz on double bass and Michał Miśkiewicza on drums) into an intimate and pure workshop. To celebrate this anniversary, the band invited tenor saxophone giant Joe Lovano to their cosy fiesta. The American's lyricism, which is never raucous, is perfectly lined up in the piano inherited from Bill Evans and Keith Jarrett from the Polishman who always expresses himself economically. But it’s not only wisdom and recollection that we find here. Wasilewski knows how to be voluble and even unpredictable, like on the determined Cadenza, and even mysterious like his improvisations on Vashkar, the only cover on the record by Carla Bley. © Max Dembo/Qobuz
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Jazz - Verschenen op 29 januari 2021 | ECM

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In 2018, Shai Maestro marked a milestone by joining the ECM team. After four albums animated by a certain grace that stamped his name on the contemporary jazz scene, the Israeli pianist, with excellent rhythmic accompaniment (the Peruvian Jorge Roeder on double bass and the Israeli Ofri Nehemya on drums) embarked once again on the path of vibrant stories-within-stories. Melodies inherited from the jazz repertoire but also from traditional oriental music or even Western classical music. Sources of inspiration like this great narrative tailwind are again summoned on Human, which was written with the same trio plus Philip Dizack, who brings a real personal touch. While taking care to digest the values of the trio, the American trumpeter brings this music closer to a certain classicism. It's a heritage that the Maestro has always kept in his sights and that he celebrates here with Duke Ellington's In a Sentimental Mood, the only cover on the album, or on Hank and Charlie, a tribute to Hank Jones and Charlie Haden. But it is the virtuosity – which is never ostentatious – of these four that impresses throughout Human. An impressive technique (GG) is put to work on the melody of the delicate (Compassion) and poetic (The Thief's Dream) themes on this record: themes all composed by the Maestro himself. © Marc Zisman/Qobuz
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Jazz - Verschenen op 13 november 2020 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama
In 2018, Elina Duni went solo. Well, she put her name on an album cover and no one else’s. After leading a jazz-based quartet for two albums, the Tirana singer brought out Partir on ECM. The magnificent folklore and popular pieces were played on piano, guitar and percussion and evoked love as well as loss and bereavement. With Lost Ships, Duni continues her collaboration with the young British guitarist Rob Luft which began in 2017. The duo brings together songs of love, exile and suffering. They explore the world’s ills - from migration conflicts to ecological concerns - through truly moving melodies. It’s like a chamber symphony that mixes Mediterranean textures with jazz arrangements. Sometimes, the duo is joined by English pianist and percussionist Fred Thomas and Swiss trumpeter Matthieu Michel. Whether it’s a jazz ballad, an Italian song (Bella Ci Dormi), an Albanian folk tune (Kur Më Del Në Derë and N'at Zaman), a standard made popular by Frank Sinatra (I'm a Fool to Want You) or Charles Aznavour (Hier encore), these diverse sources are brought together by Elina Duni’s expressive voice. Sitting somewhere between a Balkans fado and European blues, it’s a voice that brings hope. © Marc Zisman/Qobuz
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Jazz - Verschenen op 27 februari 2015 | ACT Music

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
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Moderne jazz - Verschenen op 30 april 2021 | WM Germany

Hi-Res Booklet Onderscheidingen Qobuzism
In a world that is so fond of reducing and simplifying everything it comes accross, Isfar Sarabski is at risk of being nicknamed "the Azeri Tigran". But the Baku pianist is far from being a photocopy of his Armenian colleague. Of course, he comes from "the East", listens to more than just jazz, and has certainly been influenced by the folk music of his ancestors... But Isfar Sarabski is very much his own artist with his own identity. His first album Planet (a Qobuzissime!) is jazz to the bone both in its approach to improvisation and the exchanges that Sarabski develops with his impeccable rhythm section, composed of two American aces: drummer Mark Guiliana and double bassist Alan Hampton, as well as the way Sarabski integrates space into the music. A student of the prestigious Berklee College of Music and winner of the International Competition of the Montreux Jazz Festival in 2009, the 30-year-old Azeri sometimes shows flashes of Brad Mehldau – the presence of Guiliana helps the comparison – but he also ventures into the classical minimalist approach of the Nils Frahm/Max Richter/Ólafur Arnalds school... The participation of the Main Strings Ensemble and the Baku Strings Quartet amplifies links which are more impressionistic than genetic. Isfar Sarabski also has a strong sense of narrative, as shown with the respect given for Mugham tradition (a mix of jazz and traditional Azeri music largely popularised by the late Vagif Mustafazadeh) on The Edge and Novruz, for which he invited Shahriyar Imanov, a player of the târ, the long-handled lute which is a part of Azerbaijani musical culture. Even when he has fun revisiting an aria from Tchaikovsky's Swan Lake, he brings a flavour which is all his own. We leave Planet Sarabski with a desire to return as soon as possible, especially since this beautiful acoustic album does not show every side of Sarabski’s talent, as he is also an electro experimenter in his spare time... © Marc Zisman/Qobuz
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Jazz - Verschenen op 28 augustus 2020 | ACT Music

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Jazz - Verschenen op 23 april 2021 | Universal Music Division Decca Records France

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Jazz - Verschenen op 20 november 2020 | Gondwana Records

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Jazz - Verschenen op 29 mei 2020 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama
If Benjamin Moussay’s name ever appeared on any ECM album covers it was always as sideman for Louis Sclavis, on his albums Sources, Silk and Salt on Melodies and Characters on a Wall. But with Promontoire, the 47-year-old has finally released an album for Manfred Eicher’s label that is entirely original solo material. Based in Munich, ECM Records already boasts an impressive number of major solo piano works, including the best-seller Köln Concert by Keith Jarrett, and Promontoire is now one of them. Moussay is a rather unassuming musician on the contemporary jazz scene, but those in the business have always recognised the clarity and strength of his playing. This includes Martial Solal, who said “He plays fair. Not too much, not too little”, but also an enormous list of musicians who have worked with him, including Sclavis, Archie Shepp, Dave Liebmann, Jean François Jenny Clark, Marc Ducret, Daniel Humair, Steve Swallow, Vincent Courtois, Michel Portal, Vincent Peirani, Youn Sun Nah, Airelle Besson and a few dozen others. He often plays in a trio (mainly with Eric Echampard and Arnault Cuisinier) but the solo piano pieces he performs here are timeless, characterised by simplicity, profound lyricism and improvisations with a strong narrative. Sensuality of the string’s vibration illuminating silence. Dance in its essence, solitary, unfolds with the flow of the internal rhythm. Elasticity of time, freedom of action, space, fleeting pleasure…Writing, infinitely reshuffling pretexts to the discretion of the instant. (…) Playing solo piano, I know the starting point and the destination. Mystery lies in the surprises of the journey”. This vision is a theme that flows throughout the twelve tracks on this album, which reveals a little more of itself with every listen. You can hear influences from all of his favourite musicians, from Thelonious Monk and Claudio Arrau to Lennie Tristano and Paul Bley, appearing and then disappearing before the melody takes over once again. Moussay always generates strong imagery with his melodies as he also composes music for film and theatre, but his work never sounds like music that has been churned out quickly without much thought or meaning behind it. Promontoire is particularly impressive during the more simplistic sequences (Villefranque and Monte Perdido), where Benjamin Moussay seems to say it all in just a few notes. This album proves that Less is more, yet again… © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 februari 2016 | ACT Music

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Jazz - Verschenen op 27 maart 2020 | ECM

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After a beautiful introspective debut for the label ECM, Avishai Cohen changes gears with his band Big Vicious. A unique cast around the Israeli trumpeter boasts two drummers (Aviv Cohen and Ziv Ravitz), an electric bass player (Yonatan Albalak) and a guitarist (Uzi Ramirez). This jazz-wielding quintet grew up with a thousand other sounds in mind. Hence this assembly of plural sound textures from electronic music as well as rock, classical, pop and trip hop. We are treated to big and improbably leaps, such as the one between Massive Attack and Beethoven, the two names whose works Big Vicious revisits (Teardrop and Moonlight Sonata). Avishai Cohen sometimes seems to be wearing the clothes of his elders Jon Hassell and Don Ellis. In particular, he tones down his leader's aura to let the quintet advance as one. It is precisely the homogeneity and atmospheric sound of Big Vicious that makes the whole original. And whether the compositions are trippy (Intent), uptempo (King Kutner) or downright experimental (Fractals), they share a real unique narrative force. © Marc Zisman/Qobuz
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Jazz - Verschenen op 18 september 2020 | ECM

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Jazz - Verschenen op 15 januari 2021 | Klarthe

Hi-Res Onderscheidingen 5 de Diapason
Although she was born, clutching a bandoneon, in Gennevilliers, Hauts-de-Seine, Louise Jallu continues her career at the service of the music of the Buenos Aires slums: the powerful Tango. In defying sexist and geographical taboos, although France has a soft spot for Argentine expression, her approach is holistic and luminous. In particular, she built her encompassing love on the back of the intoxicating work of Astor Piazzolla, the great revolutionary of this ecstatic form of musical expression, a lover of classical music who broadened its horizons and blazed it a path to modernity and freedom. At the head of her brilliant quartet, rounded out by Mathias Lévy (violin and guitar), Marc Benham (piano) and Alexandre Perrot (double bass), Louise Jallu pays tribute to the master on the occasion of the hundredth anniversary of his birth. A tribute that matches the stature of its subject, it is respectfully inventive.For proof, just listen to the unexpected revival of the classic Libertango. Or indeed see the presence of Gustavo Beytelmann, Piazzolla pianist from the 70s who caresses the ebony and ivory on half of the covers gathered here. Like Piazzolla himself, Jallu flirts with the spirit of jazz, taking risks, while favouring swing and an atmosphere of passion. On Oblivion, a composition from the later part of the big beast's life, she invites one of the most daring bugle players of the French jazz scene, Médéric Collignon. Even in the Porteño district of San Telmo that saw the birth of tango, Piazzolla 2021 should command much admiration. Louise Jallu brings a very contemporary and personal dimension, coloured by her origins. She co-wrote the arrangements with the director of the Gennevilliers Conservatory, Bernard Cavanna, a contemporary pianist and composer, a companion of Henri Dutilleux and Georges Aperghis, who certainly encouraged revolutionary aspirations in his former student. © Benjamin MiNiMuM/Qobuz
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Vocale jazz - Verschenen op 24 april 2009 | ACT Music

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Vocale jazz - Verschenen op 24 september 2010 | ACT Music

Hi-Res Onderscheidingen Qobuz Referentie
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Jazz - Verschenen op 3 juni 2016 | Nonesuch

Hi-Res Booklet Onderscheidingen 4F de Télérama - Indispensable JAZZ NEWS
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Jazz - Verschenen op 31 augustus 2018 | ACT Music

Hi-Res Booklet Onderscheidingen 4F de Télérama
To say that Vincent Peirani shook the world of jazz accordion is an understatement... In 2015, his album Living Being further broke down the preconceptions of the instrument. "I wanted to start my own band, in which I needed to feel confident", explained the accordionist. I wanted to feel like a "family". That’s why I got in touch with four musicians who are good friends of mine". Peirani teamed up with Emile Parisien, his partner from the duo Belle Epoque, as well as the bassist Julien Herné, the drummer Yoann Serra and the keyboardist Tony Paeleman... The compositions by Peirani and the covers of Michel Portal and Jeff Buckley make Living Being an incredibly holistic album. These young musicians succeed in closing the gap that sometimes exists between composition and improvisation. Vincent Peirani's writing is touching and imaginative yet also surprising and elusive. The accordionist is from a generation that draws its inspiration from various musical sources, hence the albums’ richness. Three years later, with the same group members, Living Being II (Night Walker) is also wonderfully rich. Peirani also includes four covers alongside his eight compositions: Bang Bang by Sonny Bono, What Power Art Thou, an extract from King Arthur by Purcell and two hits by Led Zeppelin, Kashmir and Stairway To Heaven. His approach towards this atypical choice of covers is fascinating, as is the way in which his instrument adapts the score of Jimmy Page and Robert Plant. Living Being II (Night Walker) is principally the success of a group who are in perfect equilibrium. Osmosis at its best. © Max Dembo/Qobuz
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Jazz - Verschenen op 18 november 2014 | Proprius

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Moderne jazz - Verschenen op 1 januari 2000 | Proprius SACD

Hi-Res Booklet Onderscheidingen Stereophile: Record To Die For

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