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Folk - Verschijnt op 23 oktober 2020 | Nonesuch

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Folk - Verschijnt op 2 oktober 2020 | Nonesuch

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Alternative en Indie - Verschenen op 18 september 2020 | Nonesuch

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Alternative en Indie - Verschenen op 18 september 2020 | Nonesuch

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Pop - Verschenen op 17 september 2020 | Nonesuch

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Folk - Verschenen op 10 september 2020 | Nonesuch

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Moderne jazz - Verschenen op 28 augustus 2020 | Nonesuch

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Folk - Verschenen op 23 augustus 2020 | Nonesuch

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Alternative en Indie - Verschenen op 24 juli 2020 | Nonesuch

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Alternative en Indie - Verschenen op 16 juli 2020 | Nonesuch

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Alternative en Indie - Verschenen op 14 juli 2020 | Nonesuch

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Jazz - Verschenen op 13 juli 2020 | Nonesuch

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Jazz - Verschenen op 10 juli 2020 | Nonesuch

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Joshua Redman, Brad Mehldau, Christian McBride and Brian Blade. A mere glance at RoundAgain’s line-up is enough to arouse a sense of collective hysteria among jazz fans. The original members of Joshua Redman's first quartet haven’t recorded together since MoodWing was released in 1994. “We would have done it ten years ago if it were up to me”, explains Mehldau, “Josh, Christian and Brian are all my heroes. It’s like playing with The Avengers!” It’s a worthy comparison seeing as these four really are considered superheroes in today’s jazzosphere. In almost a quarter of a century, their aura and playing has developed in an exponential way, to the point that the quartet has achieved an irrevocable spiritual chemistry. On this brand-new album (three compositions by Redman, two by Mehldau, and one each for McBride and Blade), they immediately show off a bond which allows them to perform extraordinary and colossal swing. Under the hood of this sparkling, perplexing yet vintage Rolls Royce of a record, RoundAgain is a meaningful four-way conversation. From beginning (Undertow) to end (Your Part to Play), mutual respect is at the heart of their drive and direction; even Redman’s verbose saxophone never steals the spotlight. Let’s just hope that we won’t have to wait another 26 years before they do it all again… © Marc Zisman/Qobuz
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Pop - Verschenen op 30 juni 2020 | Nonesuch

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Alternative en Indie - Verschenen op 29 juni 2020 | Nonesuch

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Jazz - Verschenen op 12 juni 2020 | Nonesuch

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The pandemic, lockdown and social distancing were the start and end point for this solo piano album that Brad Mehldau had clearly never expected to record nor publish. The impact of this most outlandish situation can be seen clearly in track’s titles on Suite: April 2020 (waking up, stepping outside, keeping distance, stopping, listening: hearing, remembering before all this, uncertainty, the day moves by…) and even the record’s sleeve, a self-written text and sort of explanatory waybill of a period that ended up more exciting than mundane. The piano playing is indeed exciting and purer than usual as if each note holds weight and questions itself own individual purpose. There’s an ambiance that gives Mehldau’s improvisations an authentic simplicity and surreal purity. It’s without doubt about the simplicity of finding oneself, like never before, among family and enjoying basic daily tasks and pleasures, as written on the cover. And to conclude this work: an indoor promenade of three parts: Don’t Let It Bring You Down by Neil Young (a song Mehldau often looks to for guidance), New York State of Mind by Billy Joel, a love letter to the Big Apple which has suffered greatly during the epidemic (and a place he considers a home away from home), and the classic Look for the Silver Lining, which closes in a reassuring, warming manner full of hope for a period in which the world stopped spinning; or almost. © Marc Zisman/Qobuz
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Jazz - Verschenen op 28 mei 2020 | Nonesuch

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Klassiek - Verschenen op 22 mei 2020 | Nonesuch

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Alternative en Indie - Verschenen op 15 mei 2020 | Nonesuch

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Is there such a thing as being too prolific or having too much to say? Stephin Merritt, one of popular music's true eccentrics, is also one of its most copious songwriters. Over the years, in side projects like The 6ths, The Gothic Archies and Future Bible Heroes, as well as his main band, The Magnetic Fields, Merritt has spun his own wonderfully ornate and populous creative universe, one that has often expressed itself in massive multi-song, multi-volume epics. While he may never again equal the massive chunk of creativity of the exceptional 69 Love Songs (1999), Merritt did give it an equally compelling run for its money with his last outing, 50 Song Memoir (2017). While there is no doubting the craft and intelligence behind his artful melodies and silly, absurdist sense of humor, there is an argument to be made that Merritt might focus his vision more effectively by distilling even further his folk pop sprawl. That may be some of the inspiration behind Quickies, a 28-track collection of bite-sized snatches of love, wit and wisdom. Musically, the uber brief format—all songs are well under the two and a half minute mark, with the shortest at 13 seconds—compresses his synth folk melodies into hooky flashes, all orchestrated with his trademark blend of keyboards (Moog, ARP, Omnichord, Wurlitzer) and exotic acoustic instruments (cigar box guitar, banjolele, wine box cello). Along with Merritt's deep, resounding croon, the vocals are handled by longtime Magnetic Fields vocalists Claudia Gonson and Shirley Simms. Lyrically, random thoughts become tuneful snatches with typically droll titles like "Kraftwerk in a Blackout," Let's Get Drunk Again (and Get Divorced)," and "I Wish I Had Fangs and Tail." With highlights like the New Orleans swirl "Evil Rhythm," the abject frolic "I've Got a Date with Jesus" or topical single "The Day The Politicians Died," these deadpan bursts are not only essential for fans but a prime introduction to the austere methods and approachable humor of Merritt's musical cosmos. © Robert Baird/Qobuz
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Klassiek - Verschenen op 14 mei 2020 | Nonesuch

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