John Taylor and his two minds. A cryptic title for the new work of the English piano player, which was released a little more than one year after his previous recording for CAM JAZZ, “Giulia’s Thursdays”. This is a concise album, for piano only (or at least so one might assume), in which Taylor bares himself, revealing two sides of his personality: his innermost, quiet and introspective side as opposed to his more lively, vivid, and cheerful side. Are these his “two minds”? A quite regular alternation of pieces in opposite moods seems to confirm this assumption. The enigmatic words with which Taylor comments on his album lead to the same conclusion. But, certainly, that’s not all. It’s not by chance either that Taylor talks about being “in two minds whether to make this recording a solo or a duet project”.
This book explores the idea that we have two minds. In recent years there has been great interest in so-called dual-process theories of reasoning and rationality. According to dual-process theories, there are two distinct systems underlying human reasoning — an evolutionarily old system that is associative, automatic, unconscious, parallel, and fast, and a more recent, distinctively human system that is rule-based, controlled, conscious, serial, and slow. Within the former, processes are held to be innate and to use heuristics that evolved to solve specific adaptive problems. In the latter, processes are taken to be learned, flexible, and responsive to rational norms.
The joyous fusion of funky African rhythms and vocals with the unpredictable spontaneity of jazz characterizes the sound of Pili Pili, not only the most exotic but also the most popular result of Jasper Van't Hof's continuing quest for fresh and entertaining forms of music expression. … Angélique Kidjo was perfectly at home with this funky musical fusion and joined the group in 1984 as their lead singer. …
Drummer Bill Bruford and Dutch pianist and keyboardist Michiel Borstlap have performed together as duos on a very occasional basis during the past few years. The music on In Two Minds features the two old friends at four live concerts from 2006-2007 that were performed in England and Norway. All of the crowd noise and applause has been edited out, so it sounds like a studio set. However very little editing and no overdubbing or mixing took place, so this is an accurate reproduction of the live performances. Borstlap and Bruford perform 11 free improvisations plus Miles Davis' "All Blues." While the playing is spontaneous, it is often melodic with a logical development and plenty of variety. A few of the selections have such strong structures that they almost sound like a standard. Some of the other pieces mostly set moods, emphasize color or have one basic idea or plot. The results are consistently intriguing and rewarding.
Pianist Paul Bley was touring Scandinavia with a quartet made up of longtime associate Gary Peacock on bass and two brilliant British musicians, drummer Tony Oxley and John Surman on baritone saxophone and bass clarinet, when they made this Oslo recording in 1991. Rather than a conventionally organized quartet session, the CD consists of seven largely improvised solos, three duets, and two tracks–the collectively improvised "Interface" and Surman's "Article Four"–with the full quartet. Even more unusual is the frequent emphasis on bass frequencies and slow, even solemn, tempos. Only extraordinary musicians could keep such a format interesting, and these four do, exploring room resonance with almost ceremonial levels of concentration.
Previously available only on a limited Japanese edition. These two sessions were produced by Lee Kraft in 1957 featuring the inimitable tenor saxophonist John Coltrane in two different formats; a quintet with Donald Byrd, Walter Bishop, Jr., Wendell Marshall and Art Blakey, and a 15-piece big band organized by Blakey. Coltrane was featured prominently in both settings and played exceptionally throughout. While the other soloists were all top-notch musicians, Coltranes compositions and performance clearly stole the show. His solos were powerful and confident, ripping out sequences of 16th note lines that soared over the full range of the horn with complete command.
Krenek’s Karl V is the kind of opera that can be appreciated on several different levels. (…) Remarkably, it’s the earliest large-scale opera to use the 12-note system, though Krenek triumphantly refutes the notion that adherence to this technique inhibits creativity and emotional power. The composer’s widow has claimed that this performance, recorded in connection with the Beethoven Festival in Bonn last year, is by far the finest she has ever heard. With wonderful singing from David Pittman-Jennings as Karl and superb commitment from conductor Marc Soustrot and his fine orchestra, there is little reason to disagree with this verdict.