Triptych in Blue is the latest installment from a music partnership that began in 1997 when Andrew Heath and Felix Jay, under the name Aqueuous, recorded the wonderful ambient album ‘Meeting the Magus’ with one of the founding fathers of ambient, Hans-Joachim Roedelius. Nearly 20 years later, Andrew Heath curated an exciting concert at ‘The Brunel Goods Shed’ in Stroud on September 2016 which bought together Roedelius and Andrew with fellow experimental musician, Christopher Chaplin. This rare opportunity to collaborate offered up three stunning live recordings.
Triptych in Blue captures that unique concert and is ambient music of the highest order: constantly changing and shifting, it presents the listener with three musicians in perfect balance with each other.
Lucy In Blue is a new band from Iceland that plays music in a blend of the psychedelic and progressive rock of the 70's (Pink Floyd…). Creativity always goes hand in hand with inspiration and Lucy in Blue is clearly influenced and inspired by the great psychedelic progressive rock groups of the 70s. But that would not live up to the whole package alone: "The inspiration for our music is blowing in wind, constantly, under the sea, among the fish and nature, as blissful as morning sun. We aim to bring the primal nature out of people and help it reach harmonious equilibrium".
For his sixth recording, Turkish born pianist Fahir Atakoglu has gone retro, recalling the '80s contemporary New York City/Seventh Avenue South neo-bop, skunk funk, and fusion of the Brecker Brothers and Steps/Steps Ahead. Playing exclusively acoustic and not electric piano, he also employs the quite different sounding electric guitarists Mike Stern or Wayne Krantz on alternating tracks, adding Michael Brecker disciple Bob Franceschini, electric bass guitar pioneer Anthony Jackson, and the dynamic drummer Horacio "El Negro" Hernandez. Atakoglu attains the sound he seeks quite easily, a bit derivative, but exciting and refreshingly done some 25 years after the fact.
Russian pianist Denis Matsuev has established himself as one of the most dynamic and virtuosic performers of his generation, and his program on this RCA album with Alan Gilbert and the New York Philharmonic is ideally suited to his extraordinary abilities. The pairing of Sergey Rachmaninov's Piano Concerto No. 2 in C minor and George Gershwin's Rhapsody in Blue is a natural one, particularly because of the works' shared post-romanticism (note Rachmaninov's influence on Gershwin's slow theme in the Rhapsody), as well as for the dazzling writing for the piano in both works. Of course, the challenge for Matsuev is to make his part appear effortless, and he succeeds so well in both performances that listeners may be a bit blasé about his playing, taking it in without really considering what knuckle-busters these pieces really are.