Catchy melodies - particularly from the Impressionist period - in fresh new arrangements that bridge the gap between jazz, pop and classical music. Featuring Bugge Wesseltoft and Lars Danielsson.
Ce n’est pas parce que cette fanfare issue du monde alternatif exhibe fièrement une faute d’accord dans son patronyme qu’ils sont coutumiers des fautes de goût ou des fausses notes. C’est davantage le sens de l’audace et l’irrespect pour les conventions qui animent ces canassons du son, dont certains membres forment la section cuivre du gang du contrebassiste Fantazio. Champions de la course d’obstacles, ils sautent avec aisance d’une compo sous influence afrobeat ou éthio-Jazz à un morceau de be-bop, rendent hommage au P-Funk de George Clinton avec leurs invités Push Up, Sandra Nkake et Allonymous, ou font sonner leurs conques pour défricher des terres inconnues, seuls ou en compagnie de la chanteuse italienne Bianca Iannuzzi. Joyeux et débridé, ce Colis Suspect finit bel et bien par nous sauter à la figure, mais on ne regrette pas de l’avoir ouvert.
Mehr als fünfzehn lange Jahre hat es gedauert, bis Jazz-Ikone Lisa Ekdahl nun endlich auch eine ihrer unnachahmlichen Liveperformances verewigen liess. Auf "At The Olympia Paris" präsentiert sie der Hörerin das ausverkaufte Abschlusskonzert ihrer fulminanten Europatournee aus 2009/2010 und interpretiert, neben einigen eigenen Songs, vor allem zeitlose Jazz-Standards wie "April in Paris", "Nature Boy" oder "Tea for Two" - natürlich in gewohnt Ekdahl`scher Manier.
“Celestial Circle” is the recording debut of the band of the same name. First assembled for Marilyn Mazur’s season as artist-in-residence at Norway’s Molde Jazz Festival in 2008, the group has since become a popular institution on the concert circuit, and the present disc, recorded in Oslo’s Rainbow Studio in 2010 is issued on the eve of a European tour. It’s a band of diverse strengths and changing moods, song-oriented but also instrumentally expressive.
The music in Bailador is abundant, torrential, brilliant and sophisticated. Everything in Portal is here: rigour and fun, knowledge and generosity, dazzling technique, pleasure in profusion, precision, and jeté… You can hear him everywhere: a playful hedonist enamoured of sharing and, at the same, a cerebral, cutting-edge musician. (Source: EmArcy website)
Official Release #90. Frank Zappa's pioneering work on the Synclavier gave him the freedom to hear works that he considered too challenging for live musicians to perform, though Ensemble Modern worked hard enough to be able to play several of his works for the instrument in concert before his death in 1993. Since the technology behind the Synclavier was evolving along with Zappa's music, approximately doubling its processing and memory capacity every two years, it gave the composer greater tools to work with to realize his compositions. Feeding the Monkies at Ma Maison was compiled for an LP by Zappa prior to his death, but never mastered and released, though some of the music on this CD was further edited and eventually issued in altered and brief form.
Before she’s truly freed from the shackles of EMI, Joss Stone must endure one final indignity: that standard end-of-contract ploy, a greatest-hits album, covering her six years with the label. Every one of her 12 singles for the label is here, with the Jamie Hartman duet “Stalemate” – originally released on Ben’s Brother’s 2009 album – added as a concluding track. If this doesn’t dig deep, it nevertheless hits all the highlights – her White Stripes cover “Fell in Love with a Boy,” her Top Ten U.K. hit “You Had Me,” “Don’t Cha Wanna Ride,” her only charting U.S. single “Tell Me 'Bout It,” the Common duet “Tell Me What We’re Gonna Do Now” – drawing a picture of the decade when Stone was always on the cusp of stardom yet never quite truly there. As introductions go, it’s a solid one, capturing her potential and promise, alternating between singles frustrating and fun.
Following in the footsteps of Justin Bieber and Soulja Boy, Croatian cellists Luka Sulic and Stjepan Hauser, aka 2Cellos, were discovered through YouTube, after six million people viewed their classical cover version of Michael Jackson's "Smooth Criminal." Now with a major-label deal under their belt, the classically trained musicians face the tough prospect of translating what could be seen a one-trick pony novelty into a full-length album. It's a task made even more difficult considering that, unlike violinist David Garrett's forays into classical rock, which add layers of orchestral production on top of his virtuoso skills, the two 24-year-olds' self-titled debut doesn't feature any other instruments. Luckily, the pair's masterful talents, which seem to produce sounds from a cello that otherwise wouldn't seem possible, more than make up for the lack of background support.