Michel Plasson is one of the most important French conductors from the later twentieth and early twenty-first centuries. He is well known for his interpretations of French opera, particularly those of Gounod and Massenet. He has also received praise for his work in the choral music of Duruflé and Fauré, and the orchestral works of Magnard, Ravel, and other French composers.
A really cool bit of bossa jazz from reedman Buddy Collette – an artist who's not as well associated with the genre as Stan Getz or Paul Desmond – but who really cooks nicely here! The setting is relatively lean and groovy – with guitar from Howard Roberts, bass from Mel Pollan, and percussion from Leo Acosta and Darias – both of whom bring a nice sort of west coast vibe to the set, one that's different from some of the Verve bossa modes of the time. Jim Helms handled the arrangements, with a nice airy sort of mode – and Buddy plays both tenor and flute, on titles that include "Nao Pode Ser", "Porque De Moras", "A Pele Do Marfin", "A Meie Noite", "Samba Da Tartaruga", and "Amor Levado".
NON co-founder Chino Amobi heads up one of the label collective’s definitive releases, Airport Music For Black Folk; presenting his radical perspective on contemporary electronic music and his impressions of “the airport as an international space and yet a totally Eurocentric & Western manicured experience.” The title is an obvious, punning reference to Brain Eno’s classic ambient cornerstone, Music For Airports, but takes on greater meaning when filtered thru Amobi’s personal cultural coordinates, cannily incorporating his stance as a first-generation Nigerian who grew up in Virginia, US of A, as well as that of a convention-challenging and highly critical artist boldly holding a mirror up to western, white privilege.