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Vocal Jazz - Released March 22, 2013 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - Le top 6 JAZZ NEWS - Qobuzissime - The Qobuz Standard - Hi-Res Audio - Sélectionné par Ecoutez Voir
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Jazz - Released October 9, 2012 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - Indispensable JAZZ NEWS - The Qobuz Standard - Hi-Res Audio
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Jazz - Released March 30, 2012 | ACT Music

Hi-Res Distinctions The Qobuz Ideal Discography - L'album du mois JAZZ NEWS - The Qobuz Standard
A couple of months after pianist Esbjörn Svensson passed away in 2008 after a freak diving accident, what was thought to be the band's final album, Leucocyte, was released. It was considered final because the pianist had been involved in its mixing and sequencing as he had each of their previous 11 albums. The release of 301 comes as a surprise. The material included here was chosen from nine hours of tape recorded during the Leucocyte sessions -- which was, interestingly, originally conceived as a double album. The band fully expected another album would be culled from the remaining material. E.S.T. cut Leucocyte while on tour, having no compositions; what emerged came came out of individual ideas or group jams, making this set feel very much like an extension of the previous recording. The band's surviving members, bassist Dan Berglund and drummer Magnus Öström, along with regular sound engineer Åke Linton, all participated in 301's assemblage (named for the 301 Studios in Sydney). While it may have been sequenced or even mixed a bit differently had Svensson lived, everything here comes together as a compelling whole. Svensson was always keen to embrace more electronic sounds alongside his explorations of post-bop, and they are present here in tracks such as the formlessly experimental noise of "Houston, The 5th," the spacious electronic ambience that constantly yet hesitantly adorns the the backdrop (and even Svensson's piano occasionally) on the gorgeous, sinister "Inner City, City Lights," and in Berglund's blasting, fuzzed-out, phase-shifting basslines on the lengthy "Three Falling Free Part II." But the trio's jazz chops are abundant throughout. Opener "Behind the Stars" is a lovely, lilting, solo piano ballad. Another highlight is the stretched, swinging, balancing act of harmonic engagement in the nearly 14 minute "The Left Lane," while there's yet another shimmering blues in closer "The Childhood Dream." Ultimately, 301 proves that E.S.T. ended the way they came in, as a committed jazz group constantly seeking new ways of expanding the piano trio format as well the parameters of the music itself. This is not only a fine addition to their catalog, it is one of the finest entries in it. © Thom Jurek /TiVo
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Jazz - Released August 31, 2012 | ACT Music

Hi-Res Booklet Distinctions Découverte JAZZ NEWS - The Qobuz Standard - Hi-Res Audio
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Contemporary Jazz - Released March 28, 2014 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - Indispensable JAZZ NEWS - Hi-Res Audio
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Jazz - Released April 26, 2013 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - The Qobuz Standard - Hi-Res Audio
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Alternative & Indie - Released June 22, 2012 | ACT Music

Hi-Res Distinctions Découverte JAZZ NEWS - The Qobuz Standard - Hi-Res Audio
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Jazz - Released April 25, 2014 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - Hi-Res Audio - Sélection JAZZ NEWS
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Jazz - Released September 30, 2011 | ACT Music

Distinctions Sélection Les Inrocks - L'album du mois JAZZ NEWS - The Qobuz Standard
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Jazz - Released March 15, 2019 | ACT Music

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
4 wheel-drives may cause pollution, but they go fast! Nils Landgren was keenly aware of this power when he decided to name his album 4 Wheel Drive. Alongside him, the record’s three other wheels are Michael Wollny (piano), Lars Danielsson (bass) and Wolfgang Haffner (drums). These musicians, who are some of the driving forces of today’s European jazz, play with impressive unity under the leadership of a charismatic yet never despotic leader, Swedish Nils Landgren, who plays trombone (and sings). They revisit hits of 4 major pop artists, Paul McCartney, Billy Joel, Phil Collins and Sting, whose songs comprise eight out of the twelve tracks on the record, choosing a fan-friendly repertoire while always adding a distinctive twist. These songs’ melodic strength in today’s collective unconscious is never weakening the band’s inspired improvisations. Even Landgren’s intimate and delicate vocals bring an innovative light. © Clotilde Maréchal/Qobuz
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Jazz - Released May 19, 2017 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Jazz
What better way of making a new record than surrounding yourself with new collaborators? That was the idea that Youn Sun Nah had for She Moves On. Four years after Lento, the Korean singer has taken on a close-knit group comprising John Zorn, Jamie Saft on the piano, the Hammond organ, the Fender Rhodes and the Wurlitzer (he also produced the record), and Brad Jones on the bass alongside drummer Dan Rieser, who worked with Norah Jones in Little Willies. But it is above all the presence of the guitarist Marc Ribot on five of these eleven tracks that draws attention. Surrounded by these four strong personalities, Youn Sun Nah explores a fairly varied repertoire that owes as much to rock as to folk, to rhythms as to lyrics, taking in covers of Joni Mitchell (The Dawntreader), Paul Simon (She Moves On), Lou Reed (Teach The Gifted Children), Jimi Hendrix (Drifting with a searing solo from Ribot) or the traditional Black Is The Color Of My True Love’s Hair. Three original compositions, Traveller, Evening Star and Too Late, complete this album which is resolutely inspired by American music and which presents her impressive voice in a context which rightly recalls Norah Jones, or Melody Gardot. But Youn Sun Nah's vocal personality is strong enough that she never seems to be stepping on her illustrious sisters’ toes, and she offers, from the outset, a record that is all her own. © MD/Qobuz
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Jazz - Released January 27, 2012 | ACT Music

Hi-Res Distinctions Sélection Les Inrocks - The Qobuz Standard
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Jazz - Released January 1, 1997 | ACT Music

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released January 31, 2020 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Jazz
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Jazz - Released January 26, 2018 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Jazz
Love and peace. The program of this album by Joachim Kühn has the merit to be clear. With drummer Eric Schaefer and double bass player Chris Jennings, his trio formed in 2015, the German pianist, now 73, seems to have found a new playground in which the strength of his melodies proves central. Rather labelled as an avant-gardist—or even free—musician, Kühn, who has always rejected conventions throughout his extended career, is of course not sinking here into simplistic and plain music. Quite the contrary. Through rather concise themes, mostly original, aside from pieces from the Doors (The Crystal Ship), Mussorgsky (The old castle from Pictures at an exhibition) and Ornette Coleman (Night Plans), he lightens his improvisations and takes the time to play with space and even with silences. Released in 2016, Beauty & Truth, the first disc from the trio, already let you hear this somewhat uncommon Kühn. With Love & Peace, he found an inner peace which makes his music even more moving. © MD/Qobuz
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Jazz - Released April 29, 2011 | ACT Music

Hi-Res Distinctions Découverte JAZZ NEWS - The Qobuz Standard
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Jazz - Released January 30, 2015 | ACT Music

Hi-Res Booklet Distinctions Choc de Classica - 5 Sterne Fono Forum Jazz
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Jazz - Released February 24, 2012 | ACT Music

Distinctions Le top 6 JAZZ NEWS - The Qobuz Standard
It's almost impossible not to consider Accelerando by pianist Vijay Iyer's working trio with bassist Stephen Crump and drummer Marcus Gilmore a companion to 2009's excellent Historicity. Its obvious similarities are that it places a handful of originals alongside a host of cover versions. These come from well-known artists from the worlds of jazz, 21st century dance music, and R&B. But there are key differences, too: for starters, this trio has been together longer; nowhere does that matter more than it does in jazz. The intuitive interplay and collective mindset that this trio possesses are exponentially more mature than they were on Historicity, despite its sharpness and musical acumen. The willingness to take chances is greater, as is the ability to make those risks pay off. Take the reading of "Human Nature," a tune recorded by Michael Jackson for the iconic Thriller. The melody is irresistible and Iyer maintains its framework while he builds on it by syncopating, extrapolating, and coloring it so that it becomes rich with complexity and textures, all the while keeping its melodic integrity. The rhythmic pulse is doubled on the snare, hi-hat, and bass drum. Crump's bass accompanies rather than propels, so his bass is where the groove lies. Heatwave's "The Star of a Story" is likewise melodically intact, but its rhythmic basics are set on a groove that finds funk in waltz time. Iyer discovers subtleties and hidden harmonic corners in his middle register that are remarkable to anyone familiar with the tune. "Mmmhmm," by Flying Lotus and singing bassist Thundercat, is realized with bowed basslines by Crump that both accompany the melody and state it, sparse chordal suggestions by Iyer in the higher register, and a gradually increasing vamp by Gilmore (that sounds like a defective loop because of its intentional slippage), all of which enchant the listener enough to provide Iyer the opportunity to solo using knotty clusters of post-bop dissonance and lyricism. Herbie Nichols' "Wildflower" swings hard with its lean angular line accenting his use of the piano as both a palette of tonal colors and a rhythm instrument. Iyer's own tunes, such as the title track and "Lude," reveal an extensive, purposeful build on jazz history from Thelonious Monk (in the latter) to the future (in the former), where dynamic repetition and gradually complex harmonic multiplications result from simple beginnings. What's most remarkable about these tunes, and the others here, are how consciously danceable they are. The set closes with Duke Ellington's "The Village of the Virgins," from his and Alvin Ailey's jazz ballet entitled The River. The river is obviously the Mississippi; gospel, blues, early jazz, swing, and even 1940s R&B make their voices heard in a nearly processional strut. The trio's interplay takes the structure -- originally performed by a jazz orchestra -- and boils it down to its essences, leaving space for nuance, grace, and elegance. Accelerando is a triumph in creativity and expert musicianship, and further underscores Iyer's status as a genuine jazz innovator. © Thom Jurek. /TiVo
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Jazz - Released April 27, 2012 | ACT Music

Hi-Res Distinctions The Qobuz Standard - Hi-Res Audio
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Jazz - Released October 27, 2017 | ACT Music

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS - 5 Sterne Fono Forum Jazz

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