Various Composers

By joining forces in a violin and piano duo, Fanny Robilliard and Paloma Kouider succeed in expressing perfect harmony between their two personalities, much like they had done as chamber musicians in Trio Karénine. Conceived with subtle tastes tinted with originality, their 2017 debut album features the very best sonatas of Debussy and Reval. The album sheds a new light on their works without debasing them and provides us with an alternative outlook on the masterpieces of these two giants of French music from the early nineteenth century.In the midst of the First World War, a sickened and diminished Debussy demonstrated his ‘Frenchness’ by composing his Sonata for violin and piano. The sonata paid homage to the 18th century through exhibiting the composer’s fantastic and imaginative side while communicating a sense of intense modernity, void of parody or pastiche. Weary of the classical reputation attributed to him, Ravel composed his Sonata for violin and piano (n°2) in the 1920s under the influence of the jazz that he had discovered in New York in the company of George Gershwin. Enamoured by classical culture, Karol Szymanowski conceived at the same time her three Mythes poems, a kind of sonata in disguise inspired by ambiant impressionism. On a completely different note, Reynaldo Hahn’s Nocturne works to skilfully weave together feeling of Antiquity and “American” modernity. © François Hudry/Qobuz

Some years before the release of his Incantation, in which a number of colleagues from the Royal Philharmonic Orchestra joined him to champion the great works of French violin music, the debut album from violinist Virgil Boutellis-Taft, under the label Evidence, offered a somewhat bizarre journey merging well-known works from the repertoire of chamber music like the Sonatas of Janáček and Claude Debussy and even Chausson’s Poème. But what’s immediately interesting here are the unusual works of Komitas, André Hossein and even Philippe Hersant, who has few recordings to his name. Pianist Guillaume Vincent acts an attentive partner who proves his musicality here and talents as a chamber musician. © Qobuz

The Great War was marked by real religious sentiment across all belligerent countries. Commémoration fraternelle, Alexandre Kastalsky’s (1856-1926) great oratorio written in memory of Russian soldiers and their allies who fell on the battlefield is an emblematic illustration of this phenomenon. In echo are three organ pieces written by composers, belonging to opposing nations, that reinforce the ardent message put forward by Kastalsky. Striking music like that of Commération fraternelle is rare, it’s hair-raising music that will draw you in with the beauty of its harmonies, so simple yet teaming with expression. The ensemble of interpreting musicians, under the direction of conductor Vladimir Degtiarec, is particularly invested. © Qobuz

Released on the label EPM, African Rumba is a compilation of eight major Congolese rumba tracks from the 90s. These include Malinga System, Géo Bilongo, Casimir Zoba a.k.a. Zao, and multi-instrumentalist Lokua Kanza who collaborated with the “king of rumba” Papa Wemba. Note the presence of the Zairean Solo Sita at the beginning with a wonderful soukous piece. © Qobuz

Before crossing the Atlantic and touching down in Cuba, rumba first appeared on the coasts of the Congo and Angola in the 19th century. Congo Fiesta Classical Pt.1, an important compilation album for the genre, brings together some of the key players from the golden era of Congolese rumba - the 1960s - on the eve of independence from Belgium. We find Sam Mangwana, Tabu Ley Rochereau, Franco Luambo, TP OK Jazz, Les Bantous de la Capitale and L’Orchestre African Fiesta created by the African Jazz members Tabu Ley Rochereau and Dr. Nico. © Qobuz

To mark the 75th birthday of Keith Jarrett, his long-time partner has compiled an album of five tracks available exclusively on Qobuz. This close friend of the American pianist happens to be Manfred Eicher, producer and founder of ECM, Keith Jarrett’s label for almost 50 years. On the 10th of November 1971, Jarrett was alone at his piano and Eicher was behind the console cutting the pianist’s first record with ECM: Facing You. “I don’t even know anymore how many records we have made together”, the German producer told Qobuz some years ago. “But looking at this collection retrospectively, it was quite an amazing achievement. The continuity! Everything down to continuity! This is where you can create new things and develop them.” With dynamic group performances and solo improvisations of great depth, this Sequence by Keith Jarrett curated especially for Qobuz by Manfred Eicher, unveils the extraordinary creativity of the great pianist in a variety of musical contexts. Choosing from such an extensive discography couldn’t have been easy and Keith Jarrett 75 offers tracks in solo, duet, trio and quartet… The record opens with Never Let Me Go recorded in January 1983 with bass player Gary Peacock and drummer Jack DeJohnette, an extract from Standards, Vol.2. The song represents the beginnings of a great trio which never ceased to reinvent itself, endlessly referring back to the great pages of jazz history… This intense flurry of improvisation is followed by Creation, Part VII, recorded in the Auditorium Parco della Musica in Rome on the 11th of July 2014, taken from the album Creation; a long string of chords which evoke Jarrett’s ties to the classical repertoire… Next up, a spot of retro on the third title, Personal Mountains, recorded on the 16th of April 1979 in Tokyo with saxophonist Jan Garbarek, bass player Palle Danielsson and drummer Jon Christensen, and taken from the album Sleeper released only in July 2012. The track is packed with lyricism and fury and reminds us of how these Scandinavian sidemen allow the American to develop an original discourse. On No Moon at All recorded in 2007 bass player Charlie Haden and released three years later on the album Jasmine, we are met with a magic and moving reunion after thirty years of separation as they jump at each-other’s throats. The combination of these egos produces an ethereal and sublime interaction…. To finish off this celebration, Manfred Eicher returns to the Jarrett/Peacock/DeJohnette trio with Flying, Part 1, an extract from the album Changes. While it was recorded during the sessions for the albums Standards, Vol.1 and Vol. 2 in January 1983, this recording displays a very Jarrett sense of improvisation and demonstrates his interactions with rhythm sections to which he leaves a large degree of freedom. A magical finale for a musician whose universe seems infinite. © Marc Zisman/Qobuz

From the opening rumble of John Lennon's "Come Together" leading into George Harrison's seductive "Something," Paul McCartney's tuneful doowop ballad "Oh Darling," and Ringo Starr's charmingly goofy "Octopus Garden," (all progressing to the nearly side-long medley that appropriately closes with "And in the end/the love you take/is equal to the love you make") Abbey Road—renowned as the final golden moment in The Beatles’ otherwise unpleasant demise—is arguably the band's masterpiece. The latest in a systematic remixing and reissuing of the Beatles catalog directed by original producer George Martin's son Giles, Abbey Road has been remixed and reissued in various configurations including 5.1 surround and Dolby Atmos to celebrate the fiftieth anniversary of the album's release. The 96 kHz/24-bit high resolution stereo remix adds space and dynamics to deepen and brighten the original. The allure for those already familiar with the original album are 23 alternate takes and demos meant to shed light on the band's famed creative process. The revelations are subtle but telling. Lennon's wit shows through on a bit of studio patter left into an alternate take of "I Want You" (he responds to a noise complaint from Soho neighbors of Trident Studio with "What are they doing here at this time of night?" and his impassioned vocals on "Come Together (Take 5)," where at the end he can be heard saying "I'm losing my cool," speaks to the enthusiasm that the band had for these sessions. The nearly-there 36th take of "You Never Give Me Your Money," and the 20th takes of "Sun King" and "Mean Mr. Mustard," are examples of how the material evolved and was sharpened in the studio. Conversely, McCartney's piano and plaintive singing on "Golden Slumbers/Carry That Weight" (Takes 1-3), a tune whose line, "Once there was a way to get back homeward," often cited as an expression of regret over the band's crumbling—shows how the band sometimes had a concept firmly in mind before the tape began to roll. Although the previously recorded Let It Be would be released six months later (and just a few weeks after the Beatles' break-up), Abbey Road is the sound of the most unique creative force in the history of popular music bidding farewell; those incredibly talented parts become a fabulous whole for the last time. © Robert Baird / Qobuz

From beyond the grave, Leonard Cohen has returned with Thanks for the Dance, three years after the amazing record You Want It Darker. His previous album contained fiercely determined lyrics (“I’m ready my Lord”) and that dark deep voice that makes your hairs stand on end, all layered over choir and organ melodies. Cohen died in the night nineteen days later, on November 7th 2016. But the singer already had plans for the afterlife: a posthumous album. He entrusted the task to his son Adam, who had been involved with the production of what everyone thought was the master’s final work. Adam commented: “I know my father’s sound very well and we had already discussed the arrangements during the recording sessions for You Want It Darker.” Gathering together the nine songs that were deliberately set aside, both solo and with guitar, Adam Cohen called upon his faithful colleagues for the accompaniments. “Despite everything, I went through a phase of doubt. So I decided to call on all the talented artists from the last album, starting with Javier Mas, the Spanish guitarist who accompanied my father on stage.” We find Feist, Beck (on guitar), Daniel Lanois, Damien Rice and Patrick Watson. The opus unfolds in a sober key – with just guitar, mandolin, piano and choir – and it is utterly moving throughout. We are treated to The Hills and its powerful build, the light percussion in The Night of Santiago, the dazzling brilliance of The Goal and a humble invitation to ponder life in Listen to the Hummingbird: “Listen to the Hummingbird, don’t listen to me” he sings in the closing song. But above all, it is the Canadian’s deep voice that serves as raw material, exploring all his favourite themes: loneliness, disappearance, humility, Jewishness. After the curtain fell on You Want It Darker, it’s time for the curtain call. Masterful. © Charlotte Saintoin/Qobuz

Her sensual voice is irresistible. Elizabeth Grant, aka Lana Del Rey, could sing the instruction manual for a wireless vacuum cleaner and she would still have our full attention. Even when she invites the whole world to join her (A$AP Rocky, The Weeknd, Stevie Nicks and Sean Lennon all featured on Lust For Life, her album released in 2017), she lives in her own little world where time moves slow and melancholy reigns supreme. Making music is her way of talking about her era, her contemporaries, the American Dream and, as far as we can tell, herself... With its shocking title, stylised album cover (featuring Duke Nicholson, Jack Nicholson’s grandson, aboard a boat sailing away from a burning coast) and her particularly slow tempos (only ballads here), Norman Fucking Rockwell! is largely rooted in folk. Del Rey roams around this great soundscape, more melancholic and evanescent than ever. She closely collaborated with Jack Antonoff on this album (a sought-after producer for pop stars such as Taylor Swift, St. Vincent, Lorde, Carly Rae Jepsen and Pink) and the producer shapes her melancholy with equal amounts of sobriety and slickness. The slow rhythms on this beautiful record offer a welcome break from the turbulence of today. One of the tracks that stands out is a cover of Sublime’s Doin’ Time (1996), itself a new interpretation of Gershwin’s Summertime, offering further proof of Lana Del Rey’s originality, something which is much more complex than some would have us believe... © Marc Zisman/Qobuz

“This is my life in Songs. Some of them reconstructed, some of them refitted, some of them reframed, and all of them with a contemporary focus.” That is the description of Sting’s latest record, making this more than just a collection of his biggest hits (either solo or with The Police). It was a particular kind of rhythm that he wanted to work in, so as to eliminate the ‘dated’ feel to some of his songs (according to Sting himself). More striking than the original, the drums of Demolition Man, If You Love Someone Set Them Free, Desert Rose and even Englishman in New York will take listeners by surprise. Regarding this famous tribute to gay icon Quentin Crisp, the song released in 1988 is seasoned by pizzicatos and a soprano sax solo.As for the other ballads, it’s more in the singer’s texture and vocal prowess that the reinvention is most noticeable. Less pure but more structured than before, Sting’s voice carries a new dimension in Fields of Gold and Fragile, two songs that also prove that the Englishman’s talent as a melodist has not aged a bit. The same goes for tracks taken from his Police years too, in particular Message in a Bottle and Walking on the Moon, as well as the ubiquitous Roxanne (presented here as a live version). © Nicolas Magenham/Qobuz

“We are not serious when we are 17.” But Billie Eilish has all the marks of a serious young lady and someone who we should indeed take seriously. At the age of sixteen she released the noteworthy Don’t Smile at Me, an EP created with the help of her older brother, Finneas O’Connell. The EP is comprised of the singles Copycat, Bellyache and Ocean Eyes and was posted two years earlier on Soundcloud when Eilish was just 14 years old. Critics hailed her music due to its depiction of a lost adolescent with bleached hair, dressed in oversized sweaters. With the album When We All Fall Asleep, Where Do We Go? and its strange title and shocking cover, Eilish and her dark hair flaunt their more obscure side. One is immediately struck with how well polished Finneas O’Connell’s production is after an intro in which Eilish jokingly mocks her brother for his Invisalign (a kind of invisible dental brace). The first track Bad Guy features an EDM beat which contrasts with the dreaminess of the subsequent Xanny. The rest of the album follows this trend, weaving together both harsh and soft songs combined with the mature lyrics of a girl who was diagnosed with Tourette’s at the age of 11 and speaks of Xanax and young girls descent into a hellish existence. In this mix of gloomy pop and creepy trap beats, Eilish excels. A real eye-opener. © Charlotte Saintoin/Qobuz

His third album is entitled Kiwanuka… does that mean that Michael Kiwanuka has finally come to peace with himself? Since starting out in 2012, the Londoner has not stopped questioning his place in the arts, his relationship to his musical influences, his own identity and his role in a society still plagued by racism… Following the release of his brilliant debut album Home Again, Kiwanuka was inaugurated as the next big thing for contemporary soul. His thought-provoking soul was blended with Terry Callier-style folk and scents of the seventies. Some even compared him to Bill Withers, Otis Redding and Marvin Gaye! On his second album, Love & Hate, released in 2016, the songwriter explored his rock side without forgetting his gospel and soul roots, and was joined by Danger Mouse in the production studio.Kiwanuka walks in the footsteps of the artist’s previous records: the lyrics are still politically engaged and the instrumentals just as rich, though he seems more relaxed on this album. Danger Mouse is once again behind the production console, this time adding a new dimension and strength to the sound: we find cinematic soul, larger-than-life gospel, funky wah-wah guitars, sensual strings, big bass, long instrumentals… we could go on! It’s all there right from the opening track You Ain’t The Problem, a real masterpiece of soul. Michael Kiwanuka has never tried to hide his love for Marvin Gaye and What’s Going On (his favourite album of all time) and Trouble Man often come to mind, even if the two men’s voices are fundamentally different. This third work from the 32-year-old Brit reveals an unprecedented density. And each time you listen you notice something new, be it a subtle arrangement, a thoughtful lyric or a thinly disguised instrument. A magnificent album. © Marc Zisman/Qobuz

Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless "Nightingale." She also includes convincing readings of Hank Williams' "Cold Cold Heart," J.D. Loudermilk's "Turn Me On," and Hoagy Carmichael's "The Nearness of You." There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. © David R. Adler /TiVo

Time, mercifully, has not softened Fiona Apple's edges. Her long-awaited fifth album is exciting, nervy and seemingly on the verge of collapse. Apple lets it bleed without running over the edge. On "I Want You to Love Me," her voice is Mama Cass strong; she holds notes to the point that they become something else. "Shameika" and "Cosmonauts" are sonic tornadoes, while the title track is madness with its rushed vocals, chanted chorus ("Fetch the bolt cutters/I've been in here too long"), percussive manic typing, and a barking dog. Apple's humor remains wickedly sharp. "Under The Table" is laugh out loud funny, about a dreaded dinner party: "Kick me under the table all you want, I won't shut up." Over a bed of baroque or even circus sideshow piano, she tries on Lizzo-worthy sass for "Rack of His" ("Check out that rack of his! / Look at that row of guitar necks"). Occasionally, it's all breathtaking: "For Her" snaps from playground chants fueled by #MeToo fury to a soaring swell of "Good morning! You raped me in the same bed your daughter was born in." As powerful as anything she's ever made. © Shelly Ridenour/Qobuz

Does the cliché of the artist improving with time, just like good wine, apply to Van Morrison? For several years now, the old bard from Belfast has been unstoppable, publishing up to two albums a year. With Three Chords and the Truth (his sixth in four years!), he proves it is possible to have both quantity and quality. Composed of 14 previously unpublished songs (not covers, as was often the case on his previous records from the 2010’s), this 2019 vintage encapsulates all of Van The Man’s art. His unique style of jazz and blues tinged with gospel soul is supported by a refined, warm instrumentation. With his slick double bass, groovy vintage organ, raspy brass and inimitable voice, Van Morrison carries on carving his own path and the result often touches the sublime. His old guitarist Jay Berliner (found on Astral Weeks, his 1968 masterpiece) even brings a delicate touch to the record. And Bill Medley from The Righteous Brothers sings with him on Fame Will Eat the Soul. Ultimately, Van Morrison is never a parody of himself, and the pleasure that making music brings him at 74 years old is more than obvious. © Max Dembo/Qobuz

War on her mind? Whatever Beth Hart’s mind-set was in Autumn 2019, the Californian tigress has long shown her feisty side without ever getting caught up in the clichés. With the album War in My Mind, she adds the finishing garnish to her classic rock’n'blues’n’soul cocktail by looking inwards and confronting her inner demons. “More than any record I’ve ever made, on 2019’s War In My Mind I’m more open to being myself on these songs”, she explains. “I’ve come a long way with healing, and I’m comfortable with my darknesses, weirdnesses and things that I’m ashamed on – as well as all the things that make me feel good.” On songs such as Bad Woman Blues, Let It Grow and Woman Down, Hart pours her heart out – without being overly gushy - and uses her voice as an irresistible magnet that pulls every word, every sentence, every chorus. The cherry on the cake is that we find Rob Cavallo behind the console, crafting a slick yet never rushed production. © Clotilde Maréchal/Qobuz

10 years after their last album, Rammstein is back in business with a new album, making this quite an event; in 25 years of being active, they sold 20 million records, managing to get Americans to listen to German-language metal. The first single Deutschland is rather ironic with this supposed mise en abîme of the history of their country, but is above all triumphant, dark and extremely powerful. Unstoppable, even, thanks to this chorus that forces us to sing with them.Despite metal guitars in the intro, the following track Radio is almost pop, and there is even an acoustic interlude at the end of Diamant. Auslander sounds like a last dance, with some words in French, Italian and English. It’s a very hypnotic album, and one that would be difficult to not listen on loop. Above all, beware of Puppe’s seductive oriental kiss, he lets us imagine the worst abuses imposed on this doll… Rammstein handles the art of fire of ice with their talent and brilliance, which is exactly what we love about them. © Christian Eudeline/Qobuz

For their second release, Tool explore the progressive rock territory previously forged by such bands as King Crimson. However, Tool are conceptually innovative with every minute detail of their art, which sets them apart from most bands. Make no mistake, this isn't your father's rock record. Sonically, the band has never sounded tighter. Long exploratory passages are unleashed with amazing precision, detail, and clarity, which only complements the aggressive, abrasive shorter pieces on the album. There is no compromise from any member of the band, with each of them discovering the dynamics of his respective instrument and pushing the physical capabilities to the limit. Topics such as the philosophies of Bill Hicks (eloquently eulogized in the packaging), evolution and genetics, and false martyrdom will fly over the heads of casual listeners. But those listening closely will discover a special treat: a catalyst encouraging them to discover a world around them to which they otherwise might have been blind. If these aren't good enough reasons to listen to Ænima, then just trust the simple fact that Tool deliver the hard rock goods every time the band chooses to release something. © Rob Theakston /TiVo