Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire, Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Recorded at midnight on the eve of Halloween on the largest organ in New York City, Zorn approaches this performance as ritual, creating a mysterious mood of contrasts, colors, bells, drones, counterpoint and simultaneity. This fourth volume documenting Zorn’s legendary organ recitals presents organ improvisation at its most surprising, extreme and sublime.
Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire, Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Performed at St. Paul’s Chapel at a time when the organ was undergoing extensive reconstruction, the limited number of stops available to him focused his imagination to new heights, resulting in Zorn’s most revelatory recital to date. The second volume documenting these legendary organ recitals is a overwhelming experience filled with moments of passion, tenderness, fragility and extraordinary power.
This is the first volume documenting Zorn's breathtaking solo organ improvisations. Although organ was Zorn's first instrument (he often credits Lon Chaney in the silent classic Phantom of the Opera as a primal influence), in 2011 Zorn surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. Premiering at the historic Christ Church in Philadelphia, the word on these concerts spread like wildfire and further events were set up in Belgium, France and of course in New York.
This is the first of Stephane Grappelli's sessions as a leader during the 1950s to be issued on CD, which is rather surprising given the availability of his work from the last two decades of his life. Grappelli is heard exclusively in a quartet with pianist Maurice Vander, bassist Pierre Michelot, and drummer Baptiste Reilles, except for two takes of "Someone to Watch Over Me," when Vander makes an ill-advised switch to harpsichord. The violinist is not nearly as aggressive as he would become in the decades to follow, seemingly concentrating more on achieving a beautiful tone than dazzling listeners with his considerable abilities as an improviser…
Piotr Orzechowski is one of the most interesting pianists of the new generation of Polish jazz musicians. The pianist perfectly finds himself playing both classical and jazz music. It moves in complex harmonic structures in an ostentatious way pretending that it does not feel any creative effort. Such as "pianohooligan".
In 2009 the venue of the Duisburg Philharmonics, the Philharmonie Mercatorhalle, received a new concert organ in the anglo-late romantic style, modeled after the English Town Hall organs of the time. We now present the first solo album featuring the new instrument, with Roland Maria Stangier at the organ.