This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax – on "The Blessing" – in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections.
Reissue with latest 2014 DSD remastering. Comes with liner notes. This four-part suite is actually a film soundtrack to the debut feature by Conrad Rooks, though it was never used as such. Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context.
Reissue with the latest remastering. Comes with liner notes. A brilliant large ensemble work from Ornette Coleman – ambitious material recorded with full orchestra, in a haunting sound that's light years from any of his smaller group recordings of the 60s and 70s! There's an incredible feel to the strings used here – played by the London Symphony Orchestra, conducted by David Measham – all tied up and dark, with swirling sounds that run up beautifully from the bottom, then take off to the skies promised in the title – opening the door for Ornette to come in and solo freely over the top – in a magical mix that easily makes the record a standout in his long and mighty career!
Instrumental Quartet open to the sounds of the world. The Camerata Flamenco Project comes from the friendship and communication during the many years of work of their members touring around the world with big dance companies, orchestras and, above all, composing and performing for the theatre, where the project took shape naturally as chamber music …until it took a life of its own with certain features that make it not only absolutely original, but also so intense in its live appearances that it's very difficult to match.
A long-awaited new release of one of the world’s most respected medieval music ensembles, Crawford Young’s Ferrara Ensemble continues its interpretation of late Gothic composers, in the first recording ever of what has been called the Mt. Everest of music notation puzzles - Angelorum psalat of the Codex Chantilly, recently published in a new edition by Crawford Young. A pinnacle of complexity, the Codex Chantilly, c1400, reflects the taste of popes and secular rulers such as Jean, Duc de Berry.
Dejarme solo! est un album de Michel Portal, sorti en 1980 et comportant 8 morceaux. Pour cet album, il a utilisé la technique du re-recording : Michel Portal est le seul musicien de tout l'album, il s'est enregistré sur plusieurs pistes pour à la fin toutes les mixer. Sur cet album, il joue du saxophone alto, du saxophone ténor, de la clarinette, de la clarinette basse, de la clarinette contrebasse, du tenora, du soprano, du sopranino, du bandonéon et des percussions.
Reissue. Comes with new liner notes. This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax.
The Unknown is saxophonist/composer Phillip Johnston's soundtrack to the 1927 silent film of the same name. As with much of Johnston's other work, the music here is a witty, often changing mix of sounds and styles from various eras. Appropriately, there is an emphasis on various film music archetypes, although not just from the silent film era, but from more modern times, too. The tracks weave in and out of frantic, polka-driven chase-scene themes, genteel waltzes, nostalgic parlor-room piano sections, sultry noir-jazz passages, and more. Johnston also adds in more modern elements, from dissonant horn harmonies and free-leaning improvisation to a few rock-oriented rhythms and even some electronic/synthesizer touches.