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Relapse presents a re-mastered version of Pulse Demon, one of Japanese noise artist Masami Akita’s most noteworthy records under his Merzbow alias. Originally released in 1996, the album was composed entirely with a fuzz box and the generation of musique concrete, without any studio trickery or manipulation. It now comes with a bonus track, ‘Extract 1’.

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There’s an argument that the explicit subject of The Gleaners & I—gleaners, their habits and practices—isn’t nearly as important as the woman at the center of it, director Agnès Varda. Her place in the film is deliberate—in telling the story of French gleaners, rural and urban scavengers protected by a series of hilariously specific but often debated French laws, Varda frames herself as a gleaner, a fellow traveler in a world of thrift-minded men and women who survive on what others throw away. As Varda follows gleaners who comb farmer’s fields for leftover produce and urban landscapes for food and other curiosities, the story mutates into a semi-autobiographical narrative about Varda herself, and the simple pleasures of finding. I love the film because it pings several intellectual currents in the late 1990s and early 2000s related to the sharing of information and memory thanks to the Internet. The Gleaners & I becomes a lo-fi take on memory, curating, nostalgia and the reframing of discarded cultural detritus, which itself becomes a metaphor for the film’s argument: that the world of poverty might also be reframed, because Varda’s exhaustive studies show the spirit of gleaning is strong among people of all walks of life.

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Bernard “Buddy” Rich was one of the most flamboyant drummers in jazz. Renowned for his speed, power, and primal sense of swing, he would show off his prodigious technique by indulging in extended drum solos, which were the precursor of those found in rock music.

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The Belgian concert was Coltrane's last European appearance, and perhaps the last filmed document of this genius in action. He died less than two years later. Out of the entire series of Jazz Icon DVDs, now in its second series, the Coltrane DVD may be the most valuable, as it documents five years of dramatic changes in the brief recording period of one of the greatest masters of the jazz idiom. For that reason, this is a must-buy for jazz aficionados.

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Born Joel Gibson in 1943 in Salt Spring, on the northwest outskirts of Montego Bay, Gibbs was one of several Jamaicans sent to the US naval base at Guantanamo Bay in Cuba, where he worked as an electronics technician as a young man. After returning to Jamaica in the mid-1960s, he opened a television and radio repair shop at 32 Beeston Street, a couple of blocks east of Orange Street, already the epicentre of the Jamaican music scene when Gibbs began selling records circa late 1966.

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Live In ’58 — The Duke Ellington Orchestra is featured just two years after its Newport Jazz Festival triumph made international headlines. This is the earliest filmed full set yet released by the remarkable ensemble that, at the time, had no less than 12 major soloists — including Clark Terry, Ray Nance, and Johnny Hodges. The repertoire is mostly comprised of older favorites and a long hits medley.

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Sibelius’ Op. 75 ‘tree’ pieces are as much about the Finnish landscape as the sturdy botanical specimens that inhabit it. The Birch bends in the wind, a drone bass rooting
it firmly in its native soil as it hums a jaunty little folk tune. The Spruce obviously
grew up in a palace park somewhere in the Austrian capital. In a reverie of nostalgic reminiscence, it recalls those warm summer nights when, as a sapling, it learned to sway to the strains of the Viennese waltz.

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For 40 years, she lived alone in Cape Verde, her husband, Joaquim, having abandoned her. Now, at long last able to reunite with him, she finds that she’s inherited the mess—worldly and spiritual—he left with his passing: the house he built for them, but also the demons he collected over the course of their separation. Each person who comes to Vitalina’s door has demons of their own, too, and no one the audience meets is free from grief, the emotion for which the movie’s pervading darkness functions as an avatar: There’s nothing here for Vitalina other than the task of reconciliation.

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He’d sample from the classical canon a number of other times over the years, but this remains one of the most dazzlingly effective examples of his collusionist creativity. While Bardot had left Gainsbourg a moping, heartbroken mess, he’d soon meet the woman who was to be the love of his life.

A great all-in-one collection of drum loops has become even bigger. Over the years it has gained an essential status offering everything from Hip Hop to Industrial and everything in between.

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G DOUGLAS BARRETT is an artist, theorist, and composer. His music and artistic work has been discussed in publications like The Wire, Postmodern Culture, MusikTexte, and Guernica. Presenting throughout North America, Europe, and Japan, Barrett was a recent artist-in-residence at USF Verftet (Norway), the Virginia Center for the Creative Arts (VCCA), and the Catwalk Institute (New York). He has received grants from Akademie Schloss Solitude (Germany), DAAD, and Franklin Furnace (New York). His writing has been published in Postmodern Culture, Contemporary Music Review, Mosaic, Glissando, and Tacet. His book, After Sound: Toward a Critical Music, was published in 2021 by Bloomsbury.

The two Dave Brubeck Quartet gigs on Live In '64 & '66 (2/119005; 67:24) *****, from Belgium and Germany, surpass any of their contemporaneous commercial recordings for creativity and flow. The directors concentrate on Brubeck's hands, bringing into relief his piano approach—one part barrelhouse, another Ellington-Monk, another 20th-century classical. Attention is also paid to Paul Desmond's nonchalant focus, and the interplay between bassist Gene Wright and drummer Joe Morello.

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I can't say enough about the presentation of these DVDs. Not only have the producers gotten the best possible picture and sound from the original films and videotapes, but they've packaged them with taste and tender loving care. The accompanying booklets are well worth reading; each one is filled with great photos and eloquent liner notes. Sarah Vaughan's daughter Paris provides a moving and revealing introduction, as does Duke Ellington's grandson, Edward K. Ellington II. Wes Montgomery's widow and son chime in, while the notes themselves are written with great passion by Pat Metheny, himself a guitar virtuoso.

While studying comparative religion, I was also studying computer music with John Rahn. Computer music gradually became my major interest. It also enabled me to make a living as a programmer, though I am now “retired” to work full-time on computer music. In the 1980s, I benefited greatly from Brad Garton’s openness to non-student participation in the woof user group and concerts at the Columbia-Princeton Electronic Music Center. I contribute code to Csound, wrote its algorithmic composition system, maintain its Windows version and the Csound for Android app, host the New York Csound Users Group, and am on the Steering Committee of the New York City Electroacoustic Music Festival. I write articles on computer music and create computer music. I am currently working to bring new developments in mathematical music theory into algorithmic composition software, and to create an integrated “playpen” for computer music, based on Csound and my algorithmic composition library Silencio, that works with HTML5 on desktops, Android devices, and on-line. I am married to Heidi Rogers, who was owner of Frank Music Company, a classical sheet music store in New York. We live on our farm in the Catskills, and sometimes on the Upper West Side of Manhattan.

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It is an album that rises above the shackles of genre, standing alone as a declaration of love for Gainsbourg’s then-partner Jane Birkin (who voices Melody in fleeting cameos throughout), utilizing the financial cashflow of ‘Je T’aime. Moi Non Plus”s international success (as well as that of a number of other tunes penned for others) in order to bankroll an album of peak indulgence. On this rare occasion, that indulgence was deserved and returned its dividends repeatedly.

There's so much going on in these tunes that it's difficult to know where to begin; suffice it to say they move from passages of great lyrical beauty to ones of volcanic intensity. There are mad, abrupt rhythm shifts and places where form seems to break down completely as everyone flies freely. The musicianship throughout is stunning: Mingus arguably had no equal on his instrument at that time; the mercurial Dolphy (who died shortly after this tour) was like a force of nature; and Byard in some ways is the lynchpin who holds much of it together with his elegant and intelligent playing.

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But the value of the set is not in such biographic details. The treasure is in discovering the musical gems that would still sparkle in any of today's bands.

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Guitarist Wes Montgomery was just on the cusp of mass popularity when these 65 sessions were filmed. The studio rehearsal from Holland has a fresh and candid vibe to it. The camera work on this session is startling. Due to the angles of the camera, you can actually see the callous on Montgomery's hands, and actually have a guitarist's viewpoint of the both hands delivering some of the most beautiful music to have ever been emitted. The versions of "Impressions" and "Four On Six"capture Wes at his best. Make sure you have your remote ready to learn a tone of fascinating fingerings. Are they going to make compact discs of these as well?

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The outstanding new series Jazz Icons (Naxos) offers tremendous audio and visual examples of concert performances spanning the decades of the '50s, '60s and '70s. The releases combine color and black-and-white footage, while also expertly communicating both the spontaneity and cohesion that's evident in topflight jazz playing. These concerts have also never been available in the home video market (at least legally) and in many instances present remarkable examples of great musicians at their peak.

But the uniquely appealing thing about the DVD is that these guys look so irresistibly cool. The disc begins with the band's bus pulling up outside a TV studio in Brussels. They get off, one at a time, decked out in dark shades, black shirts, some of them berets and goatees, and, man, if you didn't live through the era when a jazz musician was the hippest creature imaginable, this clip gives you a delectable taste.

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Dave Brubeck: Live in '64 and '66 - A favorite of horn-rimmed-glasses-wearing college kids in the '50s and early '60s, Brubeck is one of the most filmed figures in jazz history, so this DVD doesn't feel like that much of a discovery. I've always found his music too academic and emotionally stilted to truly appreciate, and this DVD, running just over an hour, didn't change my mind. I do admit a fondness for Paul Desmond's arid tone on alto sax, though.

Liszt’s transcription is a tour de force of rumbling tremolos in the bass, kaleidoscopic passagework in the treble and flying octaves throughout. Vladimir Horowitz, no mean transcriber himself, freely altered Liszt’s arrangement but Yevgeny Sudbin takes a middle path, pruning some of the textural additions of Horowitz while adding a few of his own.

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It controversially features a trio of songs liberally “interpolating” arrangements from Babatunde Olatunji’s Drums Of Passion, itself an album of modernized Nigerian chants. Gainsbourg essentially wrote new French lyrics for the songs ‘Akiwowo’, ‘Gin-Go-Lo-Ba’, and ‘Kiyakiya’, turning them into ‘New York USA’, ‘Marabout’, and ‘Joanna’ respectively.

Interested in the sound of instruments from around the world or in expanding your timbral palette by an amazing amount? Then this one is definitely for you!

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Orange Tree Samples has a new acoustic guitar library. But didn’t they already have one regarded by some as the epitome of such things?

At just 16, the precociously-gifted Connors, then still at school, subbed for Elvin Jones at a Coltrane gig in Philly, and, for a time, it seemed as if spiritual jazz would be his calling, especially after a stint playing with Pharaoh Sanders in the early 70s. Though Connors moved into the realm of R&B music, and became renowned as a hit-making producer and procurer of up-and-coming talent, he never forgot his jazz roots.

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West African music is a massive genre worth taking multiple deep dives into. Among the finest current acts within the category, Tinariwen is a sprawling band of hyper-talented Tuareg musicians. This is the sixth studio effort from the group and its finest, built around boiling blues guitar and jazz-inspired syncopation. There’s a depth to the sound you can only get with six (and sometimes more) musicians working tirelessly as a single unit. There’s an intriguing ruggedness to the LP and it jams to the core, built around communal riffing and charging rhythms.

The younger sibling of saxophonist Jimmy Heath and Modern Jazz Quartet bassist Percy Heath, Tootie made his recording debut with John Coltrane in 1957, and, with his blend of adroit time-keeping and inventive colourisation, quickly became a first-call sticksman in the jazz world. One of the oldest surviving players on this best jazz drummers list, Heath is still performing today, aged 82, leading an all-star percussion ensemble called The Whole Drum Truth.

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Jazz Icons Series 2 Reviews

Japanese noise-music icon Merzbow reunites with his countryman Keiji Haino and Hungarian composer Balazs Pandi for their second three-way collaboration, Become The Discovered, Not The Discoverer. Consisting of four side-long compositions spread over two transparent orange vinyls, any fan of post-rock will immediately find something to connect with here!

DVD REVIEWS Jazz Icons: John Coltrane

Flutist, composer, and improviser ANDREA LA ROSE makes cute songs, difficult chamber works, and weird noises. She works actively with ensembles Anti-Social Music and thingNY and has also been musically involved with A/B Duo, Lone Wolf Tribe, Mohair Timewarp, and Wild Rumpus. Back when she was under 40, NPR named her as composer (https://yamamotonight-m.ru/hack/?patch=5763) you should know. Print and online publications from Chamber Music America, to New Music Connoisseur, to Dusted have said lovely things about her fluting and composing (https://yamamotonight-m.ru/hack/?patch=6406) prowess. Presently a professional mom and stay-at-home musician in Prague, she formerly corrupted the youth of the world as a Music Teacher at the Franconian International School in Erlangen, Germany. Her music explores how people change roles over the course of a situation, spontaneously negotiating who is leading, who is following, or if there even needs to be leaders and followers at all. When it’s not about that, it’s about clapping.

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In addition to his role in the development of early minimalism, Conrad also was involved in experimental filmmaking. He roomed for a time with Jack Smith and recorded music for Smith’s film Flaming Creatures (1963). He also provided the soundtrack to Piero Heliczer’s Joan of Arc (1968). Conrad also made his own films, including The Flicker (1966). This film marked an expansion of Conrad’s interest in perception from the aural to the visual domain, and it is among the earliest structural films to make use of the stroboscopic effects of film projectors. Conrad went on to make numerous other films, including collaborations with his wife Beverly Grant. In the 1970s Conrad collaborated with the German rock band Faust and recorded Outside the Dream Syndicate (1973), his first studio recording. He joined the Media Study faculty of the University at Buffalo in 1976 after teaching at Antioch College. In 1987 Conrad began to document the early innovations of the Dream Syndicate music in a series of new compositions and recordings titled Early Minimalism. He also returned to a more active performing and touring schedule in the United States and Europe.

A versatile drummer who can play anything from straight-ahead jazz to fusion, rock, R&B, and pop, Rochester-born Gadd is perceived as the drummer’s drummer. Combining technical brilliance with an innate groove awareness and an intuitive feel for what a song requires in rhythmic terms, Gadd prefers to play the role of consummate team player rather than spotlighted soloist.

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Matt recently finished scoring additional music for the Bollywood feature "Lahore". Matt worked on "Lahore" with award winning composer Wayne Sharpe, and is slated to start another feature film in the beginning of 2021.

More than a few of the performances presented on Jazz Icons' second batch of DVDs are available for free, whim-based viewing and even downloading on the Internet. That said, jazz devotees will value the opportunity to see these immortals at the top of their respective games on televised concerts and studio dates across Europe.

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La vie en bleu (2021) is a meditation on the clouds moving through the sky, as a melancholic metaphor for the passing of time. The opening of the piece is up to the electronic effects, which seem to be the background for something that will be happening. When the digital piano enters, however, one realizes that this piano part is the actual background: it is conceived as a long ostinato with no rhytmical layout. Going on with the piece, the two elements – electronics and piano – show a deep interconnection, just like the sky and the clouds, and it is impossible to say what is in the background. Fragments of the sky, always blue and represented by the piano ostinato, emerge from the clouds. Or is it the clouds – represented by the unstable electronic sounds – moving fast against the canvas of the sky? Time passes by, and the sky and the clouds always remain the same. The ending of the piece comes along smoothly, without any surprise. The title of the piece refers to the well known French song, La vie en rose.

But then Princess Cristina Belgiojoso, an Italian emigrée in Paris, scored the social coup of the season when she managed to engage both pianists for a charity concert (and pianistic cage match) that took place in her salon on March 31, 1837, at which opera fantasies were front and centre on the bill. Thalberg played his fantasy on Rossini’s Moses in Egypt and Liszt played his own on Pacini’s Niobe.

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Siren Song is fun, and you want to spend more time with it, but the title suggests that that might be a dangerous impulse. Heard in isolation, it would be hard to say much more than that, but with the added context provided by the rest of the Composer Portrait, this ambivalent relationship with the past comes to the foreground as a long-running theme in Wang’s work. She is not trying to erase the past or quash the memories that bubble to the surface, but even as she preserves these fragments of the past in lo-fi recordings and decaying paraphrases, she does not wholly welcome them. These things happened, she seems to say. It’s up to you to figure out what to do with them.

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A lot of videotaped jazz concerts are, frankly, boring. The musicians just stand there; the sound isn't as good as it is on record albums. Once you get over the thrill of seeing the legends you've only been hearing all these years, you feel like turning off the TV and going back to the stereo. But this one's worth the watching. It's what a video of this sort should be: it doesn't just supplement, it also enhances, the music.

This recording was made during a residency at Sonoscopia in Porto, Portugal, in April 2021. It was re-mixed in early 2021 at Issue Project Room to add acoustic reverb.

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Everything sounds better on vinyl. But, to nitpick, one could easily argue that the richer and more resonant genres of music sound better in this fuller, more robust sonic format. Great classical, jazz and experimental recordings do especially well here.

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Oh how easy it is to become possessed by Scriabin, one of the most enigmatic and controversial artistic personalities of all time. Once one is bitten and the venom, in the form of his sound world, enters the body and soul, the e ects become all-encompassing, even life-threatening! Not only emotionally – as one’s desperate quest for answers only results in more questions – but also physically, the reactions can be severe. Scriabin was not only the rst to introduce madness into music; he also managed to synthesise it into an infectious virus that is entirely music-borne and a ects the psyche in a highly irrational way. Thus ‘mystical experiences’ have been reported by listeners. One London critic described: “In my own case, on two occasions, I have seen radiant ashes of blinding coloured lights during performances of Scriabin’s music. It was totally di erent from the “thrill” of sensation or “tears” of pleasure, those emotions more commonly associated with conventional music. This experience convinces me that Scriabin’s music adjusts or negotiates human sensibilities in a mysterious and intuitive manner.

One of the best library developer strikes again. This time we go back in time to a dark age of our history to resurrect sounds from that era.

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It’s a rather inconsequential picture, but its score, again recorded with Vannier handling arrangements, is another story altogether. It’s a tour-de-force of heavy, sluggish rock riffs serving as foundation for deft electric piano runs, some wild strings, and brick-thick percolating basslines. It’s arguably the most ‘rock’ album Gainsbourg ever recorded, filled with drum breaks and acid funk workouts that are a dusty-fingered producer’s wet dream. The album layed the foundations for what was to be regarded as both men’s crowning achievements, both together and separately.

It wasn’t singing in the usual sense. It was making music out of the nature of speech itself. With the early speech-synthesis computers, you could do two things: you could make the voice go faster or slower than the speed in which it was recorded at the same pitch or you could shift the pitch independent of the speech rhythm. That was a kind of transformation that you couldn’t make in the usual way of making tape music. It was fascinating to put my hands on two ways of modifying sound that were completely, newly available. I’ve always liked humor and had an attraction to the bizarre, the surreal. These poems were almost dream-like in their take on reality. So that made me feel very at home somehow. This unreal voice taking about unreal life situations was a very congruent. The voices are very cartoon-like and that really pleased me- I was very interested in pop art like Lichtenstein.

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A little Cali love gets shown on "Switch Lanes," which sees Tyga enlisting Compton connect The Game for a hoo-banger of a track. Handling hook duties on this item, T-Raww ghostrides the track, spitting "When I switch lanes, phantom doors swing / Arm out the window screaming money ain't a thang / Call it automatic bang, bang, bang /Call it automatic bang, bang, bang," before volleying bars back and forth with The Game. Produced by Royal Nice, Laze, this Well Done 3 standout was so dope that it was added to Tyga's Hotel California album as a bonus cut (link) on the deluxe version, which further solidifies why it landed it a well-deserved spot on this list.

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Lay down, relax, take a deep breath and enjoy the beauty of Nada. It's a DYI toolkit for meditation and new age.

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One of my favorite tracks on the album is the simplistic “For the Reunion” with its ascending synth pad melody and scattered piano backing. It’s a powerful piece of music that really builds tension with its metallic percussion and wailing electric guitar chords from Tsuyoshi Sekito, and I like the fact that it’s so simple yet effective. Heading in the opposite direction, “Water” is an excursion into new age music with acoustic guitar, belltones, and choral pads that immediately reminded me of Uematsu’s Phantasmagoria album.

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Masami seems to be mostly working with tape loops here, and he hasn’t quite moved into full-bore ultra-harsh territory yet: so strange to hear a Merzbow album with so little distortion! First time vinyl release for this rare old tape, out on Urashima.

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Tenor man Clifford Jordan reels off so magnificent a solo that trumpeter Johnny Coles joins the formally clad audience in appreciative applause - but it's a mere prelude to a concluding Dolphy freak-out that's positively epochal. The sound is better than anticipated, the material is consistently revelatory, and the images are timelessly cool.

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Wes Montgomery: Live in '65 - He played the hollow-body jazz guitar on par with anyone. During the '60s, Montgomery was roundly considered the best. These three shows find him performing hot-swinging, blues-informed sets with pickup rhythm sections, employing choice single-note lines and countering with his famed sliding octaves. The first segment, filmed in Holland, includes a rehearsal where the guitarist explains how he'd like to approach "The End of a Love Affair," and walks Dutch pianist Pim Jacobs through the chord changes. Montgomery comes off as the antithesis of the aloof, moody bebopper; he's genial and quick to chuckle. During the performances, the many close-ups of his hands exhibit the astounding ease with which he played.

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Almost everything below that on the list, I have consistently found is either too dark or muffled and/or doesn't cut through the mix - especially the rolls. Probably the closest mics were still too far away to pick up the warmth of the head sound, thus getting mostly room reverb which quickly gets muddy and loses the distinctness of each hit, blurring the mix and losing the dynamics.

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Fluffy Audio’s Simple Jazz Bass is just that: a delightful jazz bass library with a clear, detailed sound

Spitfire introduces the third installment in the “things you didn’t think you could do with a string library” series. This time it’s Orchestral Swarm.

Aerosmith would probably have been just another New England bar band had it not been for Steven Tyler, the serpentine frontman who knew how to fill every available opening with something — a shimmy, a scat, a sustained note. On Aerosmith’s first album, he sounds at times almost adolescent, his scruffy voice spinning tales of breaking out — the wise-beyond-its-years “Mama Kin”, the anxious “Dream On”. As his band got bigger, so did his vocal command, although he never lost his desperate edge, swaggering and scatting through come-ons like the chugging “Lord of the Thighs” and painting paranoia on “Nobody’s Fault”.

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As such, it deserves much more than a free Spotify stream. Falling miraculously somewhere right smack-dab in the middle of blues, rock, jazz, and cinema, the album feels progressive even today, more than a half-century after it was released. It’s classic rock, for certain, but with a careful ear, you’ll detect all kinds of outside influences. And that kind of nuance is best enjoyed by way of vinyl and multiple listening parties.

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It is left to the Adagio cantabile to smooth over the listener’s ruffled feathers with the healing balm of a lyrical long-limbed melody worlds apart in shape and construction from the breathless motivic fragments of which the first movement was composed. Laid out in the A-B-A-C-A pattern of a rondo, it alternates between reverential major-mode serenity and passing shadows of minor-mode introspection. While the propulsive quality of the first movement stands emblematic of a distinctly masculine musical energy, the undulating triplets in which this slow movement’s melody is eventually draped unerringly betoken the fluttering of the female heart.

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The other "Jazz Icons" releases that hit the marketplace alongside Live in '64 are mighty fine, too. My favorites were John Coltrane Live in '60 & '61 & '65 and Dexter Gordon Live in '63 & 64 - but Duke Ellington Live in '58, Dave Brubeck Live in '64 and '66, Wes Montgomery Live in '65 and the astonishing Sarah Vaughan Live in '58 and '64 are also highly recommended.

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Schumann’s love life and his admiration for Ludwig van Beethoven interacted in a curious way in the composition of his C major Fantasy Op. 17, his largest and perhaps greatest work for solo piano. In 1836 the path of true love was not running smooth for young Robert as he pined in vain for his beloved Clara, the teenage daughter of his teacher Friedrich Wiecks. The Fantasy’s first movement was composed under the stimulus of these strong emotions and expresses them in a spontaneous flow of soaring melodies and swirling rhapsodic accompaniments that only finds temporary respite in the movement’s mysterious middle section Im Legenden-Ton (‘in the character of a legend’).

Finally, the box-set version of Jazz Icons 2 includes a bonus DVD with more performances from Coltrane, Gordon, Brubeck and Vaughan. Somewhere in this box is the perfect holiday gift for your favorite jazz fan. And if you really love him/her, get the whole box!

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The Sarah Vaughan disc includes three separate performances. The first, from Sweden in 1958, reveals a young, slim singer in full command of her craft, but not yet the worldly diva she would become. Still, there is a freshness to this set, with her working trio, that's hard to beat. Two other performances, from Holland in 1958 and Sweden in 1964, are equally good; the latter reveals a slightly more mature Vaughan, balancing her light, airy numbers with the drama of songs like "Maria" from West Side Story. Any way you slice it, this is vocal artistry at its best.

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By the end of 1961, when the second session in Germany was televised, Coltrane's group had evolved tremendously with the addition of Eric Dolphy into post-modal territory. There are three tracks from this 1961 date.

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That's exactly what Mingus did, recruiting Clifford Jordan (tenor sax), Johnny Coles (trumpet), Jaki Byard (piano), Dannie Richmond (drums), and Eric Dolphy (who had been playing with Coltrane and starting his own band) for this short swing through Europe. The results were galvanizing; Mingus introduced two of his most famous compositions-"Meditations on Integration" and "So Long Eric"-during this tour, a defining moment in the great bassist's career. The band meshed perfectly, playing with and against each other with such energy and verve that the effect was the transmutation of chaos into order-paradoxically (Mingus loved his paradoxes) an expansion rather than a contraction.

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Music libraries are now expected to deliver quality that rivals the compositions found in today's biggest films. Matt brings his experience in writing for film to writing for high-end music libraries such as the cutting (our site) edge offerings found in Summerfield Music's Trailer Trash and Amot Plesner's Underground Music. Additionally, Matt has written for several volumes of the Fifth Floor Production Music Library in addition to partnering with Bobby Summerfield, of Summerfield Music, Inc, and establishing go:music which to date has three volumes released under the 5 Alarm Music library.

The final five numbers on the program were filmed May 7 in England with pianist Stan Tracey, bassist Rick Laird, and drummer Jackie Dougan. This session is quite different from the other two in that it includes commentary from club owner Ronnie Scott, who explains the career and music of Wes Montgomery as if he were giving a lecture. The music, of course, features more of Montgomery's great stuff with personable glimpses at each of the artists. The quartet swings and seems to enjoy every minute of the show. The guitarist's "West Coast Blues," in particular, makes this video stand out as an unforgettable piece of jazz history.

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Series producers: David Peck, Phillip Galloway and Tom Gulotta. Associate producer: Don Sickler.

First released in 1995 with an unwieldy CD/5” vinyl package, ‘Green Wheels’ from Japanese noise auteur Merzbow gets reissued as a double LP with two previously unreleased tracks included. It’s one of Masami Akita’s most unhinged and yet more accessible works, ragingly loud to the point of being cathartic and cleansing.

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If you listen closely you can hear a catalogue of music that made a difference at the time, like Three Voices For Joan La Barbara (Morton Feldman), snatches off of Loveless (My Bloody Valentine), Lontano (Gyorgy Ligeti), with a dash of Cole Porter sprinkled in, too. If you really listen closely, you might hear the modified rondo form, but that detail is not something you need to discern to enjoy listening.

What more can be said of Night of the Living Dead? It’s pretty obviously the most important zombie film ever made, and hugely influential as an independent film as well. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. More importantly, it established all of the genre rules: Zombies are reanimated corpses. Zombies are compelled to eat the flesh of the living. Zombies are unthinking, tireless and impervious to injury. The only way to kill a zombie is to destroy the brain. Those rules essentially categorize every single zombie movie from here on out—either the film features “Romero-style zombies,” or it tweaks with the formula and is ultimately noted for how it differs from the Romero standard.

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The former Velvet Underground frontman’s voice often sounded like he was frantically trying to tell you something, the nervy words tumbling out of his mouth seemingly faster than he could control them, which makes songs like “Run Run Run” sound more like a sprint than a song. Reed got swaggier in the ‘70s, allowing his voice to snap and crackle in the name of pop (look no further than how he enunciates the words “oh baby” on Transformer’s “Make Up” for some prime Reed sing-speak-slurs). But on gentle cuts, like “Pale Blue Eyes”, Reed’s voice quivered with the kind of melancholy that can only come from a lifetime of hurt.

The special jazz collections this holiday season look to the past. From rare films of jazz greats performing in Europe to Lady Day and even more from John Coltrane, there is plenty to please the jazz aficionado on your list. While prices are listed, online discounts can be found in most cases.

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A long-time musical associate of noted contemporary jazz pianist Brad Mehldau, California-born Ballard has demonstrated his exceptional talent in ensembles led by Pat Metheny, Joshua Redman, and Chick Corea. His style is dramatically dynamic, defined by an infectious sense of brio and fizzing energy.

Symphobia is a cinematic library, basically an orchestral library adapted to cinematic needs. But our reviewer thinks that Symphobia is a pure cinematic Pit-bull; It bytes every time when it hears the word "cinematic".

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All three performances, Reelin' in the Years productions, bring the singer into our living rooms for a warm evening of great music, which is what each of the original programs was intended for. When she sings "Misty," the whole room turns into mush, as hearts melt and tears begin to fall. Including an extensive mini- biography by Patricia Willard, this DVD package serves as an invaluable souvenir of one who meant so much to us all.

Godard is arguably the most prolific, impactful French director of all time, and Breathless is his first New Wave film: To some, it spawned a revolution, and even if you object to that narrative, its influence on his home country and the New Hollywood period in 1970s America is undeniable. Breathless stars Jean-Paul Belmondo as an incompetent criminal in love with an American student named Patricia (Jean Seberg) in Paris.

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Watch the latest set of DVDs in the Jazz Icons series (available individually and as a boxed set), featuring terrific performances recorded for European TV in the '50s and '60s. The seven artists include Duke Ellington, Sarah Vaughan and John Coltrane. The sound quality is first rate, and the performances are extraordinary.

A drama of contrasting poles of emotion, the explosive vs. the reflective,
plays out once again in the scherzo that follows. The movement begins with a powerful crescendo of jackhammer octaves that establishes a mood of brutal resolve and muscular exuberance that is interrupted by an episode of lyrical daydreaming. This middle section, with its sleepy, repetitious melody and gentle left-hand murmurings, is hypnotic, almost static, breathed out in a series of long sighs that are recalled at the very end of the movement, even after the opening turmoil has returned.

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Chopin’s second piano sonata was completed in Nohant, at the French country house of his paramour, the (female) writer George Sand, in 1839, although the famous funeral march around which is built had been composed a year or two earlier. It comprises four movements: a sonata-form movement followed by a scherzo, a funeral march slow movement, and a brief final movement that figures among the most puzzling works of the 19th century.

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Prince Mohammed’s smooth deejay portion, ‘Cool Runnings’, is equally appealing, and it’s also worth seeking out Mikey Dread’s alternate DJ piece, the hilarious ‘Friends And Money’, one of the tracks that circulated in Britain on cassette tapes of Mikey’s radio show on JBC, which drew the interest of the Clash, who later toured and recorded with him. The international success of the re-cut (https://yamamotonight-m.ru/hack/?patch=9744) ‘Money In My Pocket’ would ultimately see Gibbs negotiate a contract for Brown with A&M to very mixed results, but regardless of the major label outcome, ‘Money In My Pocket’ remains a landmark of crossover success.

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As the song builds to peak intensity, Keenan screeches “suck me dry,” and the “suck” is really the key here. On this word, Keenan hits the absolute highest point he can possibly go with his voice, and then holds it for as long as he possibly can.

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BRIAN BELET lives in Campbell, California, with his partner and wife Marianne Bickett. A CD of his computer music compositions has just been published by Ravello Records (Sufficient Trouble, July 2021). Additional compositions are recorded on the Centaur, Capstone, Frog Peak Music, IMG Media, Innova, SWR Music/Hänssler Classic, and the University of Illinois CD labels; with research published in Contemporary Music Review, Organised Sound, Perspectives of New Music, and Proceedings of the International Computer Music Conference.

It is the second movement of a four movement composition, A Glimpse beyond the Event Horizon. When I composed (our site) the longer piece, I considered each movement to be a complete composition.

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VANESSA ROSSETTO is an American composer, violist and visual artist from Austin, Texas, United States She uses primarily chamber instrumentation, field recordings, electronics and a wide array of different objects exploring them through extended and traditional techniques and other methods of her own devising. Trained as a painter, she seeks the same result in both her visual and sound work: the exposition of overlooked narratives. She has recorded and released two full-length CD-Rs as The Mighty Acts of God on the labels Ruralfaune and MYMWLY, as well as appearing on numerous compilation tracks and collaborative releases with Pulga, Wondrous Horse, Bright Duplex, Hwaet, Catrider and others, and in 2008 launched her own CD-R label, Music Appreciation. Through this imprint she released the first four solo albums under her own name: Misafridal, Imperial Brick, Whoreson In the Wilderness and the award-winning Dogs In English Porcelain.

By the time he was preparing to cut the follow-up with Dunkley, ‘Please Stop Your Lying’, Lee Perry had entered the picture as the chief arranger and supervisor of Gibbs’ productions. The track was again given its greatest musical texture from the picking lead lines of Lyn Taitt, whose guitar imitated the steel pan melodies he’d played as a youth in Trinidad, and this time there are shrill horn blasts, arranged by Tommy McCook, which emphasise the forlorn lyrics of a hapless beau, admonishing his wanton woman. In addition to being a huge success in Jamaica, the song became the inaugural release of the UK branch of Gibbs’ Amalgamated label, a subsidiary of Trojan Records solely devoted to his work.

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It's hard to imagine a better holiday gift for a jazz lover than the second series of Jazz Icon DVDS. Last year's batch was like a dream come true - hours and hours of rarely, if ever, seen concert and studio footage from Europe in the 1950s, '60s and '70s - with each crisp, carefully transferred performance featuring an individual artist. This year's gift basket of seven features John Coltrane, Charles Mingus, Dave Brubeck, Dexter Gordon, Wes Montgomery, Duke Ellington and Sarah Vaughan. The release is available at a discount as a box set with an eighth bonus disc. Twenty-four-page booklets include intelligent liner notes, full credits and loads of photographs. No bootleg outfit, production company Reelin' in the Years assures buyers that artists (or their estates) have authorized release of the material and a portion of the profits goes for jazz education.

The VRS has heard remarkable Schumann performances by Sir András Schiff, Radu Lupo, and Maria Tipo. Indeed, for a while it seemed that all young pianists offered Schumann’s magisterial Fantasy Op. 17 on their debut VRS programs.

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The title track ‘Qui Est „In“ Qui Est „Out“’ is another cynical skewering of the fickle attentions of pop fans, but this time, his sharp tongue struck record buyers right in their hearts, as he found himself on the charts with both this tune and the EP’s ‘Docteur Jekyll Et Monsieur Hyde’. Featuring arrangements by Arthur Greenslade, who had replaced the departed Goraguer (himself a jazzman), these songs ushered in what would prove to be Gainsbourg’s most successful era and the one for which he is most often recognized. He entered the public eye and pretty much never left, remaining a constant tabloid and television presence up until his death in 1991.

The immense popularity of vinyl records means that this kind of media is no longer the talking point of disk jockeys and psych-rock fanatics. It’s become the go-to way to stylishly play music. But more importantly, with the right turntable or record player, it’s often the best way to treat your ears to your favorite bands.

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The second piece is like a drowsy lullaby, or perhaps just something cozy to play in a room with plenty of coals on the fire and a hot bowl of punch at the ready. This is warm home life distilled into sound.

His music is included on the album West Coast Soundings (Wandelweiser Records) which has been listed as one of the top ten modern classical albums of 2021 by the Wire Magazine. A section of eldritch Priest’s Boring Formless Nonsense, Experimental Music and the Aesthetics of Failure (Bloomsbury Academic) is devoted to a lengthy discussion of his work Josef, Lieber Josef Mein. He holds an MA in composition from The University of Southampton (UK) and a BFA in composition and piano from California Institute of the Arts. He lives in New York City, and works as a freelance pianist.

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At that time, the film archivist-producer released a powerful set of classic jazz performers from the '50s through the '70s on nine DVDs. He said there could be more, and mentioned the second set could have John Coltrane from the '60s, Charles Mingus and Eric Dolphy, Dave Brubeck and Sarah Vaughan.

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Among many rare treats, the set offers the opportunity to hear a German recording of Coltrane performing with Stan Getz and Oscar Peterson in 1960, as well as an assortment of illuminating between-song moments, such as the one in which Wes Montgomery teaches a song to a group of Dutch performers, in the process explaining its structure and tempo. Unlike most recordings for American TV at the time, the European shows simply rolled tape for moments that display the performers' personalities, whether it was Montgomery's graciousness, Charles Mingus' cantankerous nature, or Sarah Vaughan's nervousness as she performed in 1958.

Nowadays remembered as the bandleader who launched Ella Fitzgerald’s singing career, Webb was also an innovative and influential drummer before his untimely death, at the age of 34, in 1939. He was a major proponent of the swing style that became hugely popular and dominated jazz in the 30s and early 40s.

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The final date presented here, August 1, 1965, found Coltrane near the end of his classic quartet period. This period was noted for 20 minute to 30 minute intense workouts. Noteworthy (https://yamamotonight-m.ru/content/uploads/files/download/noteworthy-composer-2-cracker-cuts.zip) in the last concert was unseasonably cold weather in Europe for an August time period. It is striking to see the body heat generated into smoke in the chilly confines of the Belgian countryside.

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MICHAEL GOGINS I was born in 1950 in Salt Lake City, Utah, and lived there till 1973, with many trips to mountains, deserts, and unlocked university labs. My father was an inventor, my mother a fine artist and commercial artist. I have pursued poetry, photography, music performance, and music composition. I was a jazz major at the University of Utah, where I was informally introduced to electronic music by Vladimir Ussachevsky and Nyle Steiner. I have also lived in Los Angeles, New York, Seattle, and New York again.

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This piece revisits and challenges traditional composition technique by having “effect” presented first and then “cause”. The main materials that I use are marble sounds. There are several sound sources all created by the marble ball: the marble striking the metal board, the marble dropping on the pan lid then rolling, and the marble bouncing on the pan lid. I use the “developed” materials first and then reveal the original form of the sound at the end of the piece. The whole piece is reversed “logically”.

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The Crime and Punishment-inspired Pickpocket is of a piece with Bresson’s previous masterpiece, 1956’s A Man Escaped. Both hold a single-minded focus on the richly detailed world of the lead character, in this case an aspiring criminal who thinks he’s extraordinary enough to take money from others without any concern for morality or the law. That titular pickpocket, Michel (intentionally played with no emotion by first time actor Martin LaSalle), elevates his love of theft above any of his personal relationships, turning it into an almost euphoric act despite his stone-faced exterior, and one that ultimately leaves him alone.

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While the first theme remains elegantly static throughout the work, the second undergoes considerable development in a texture of ornamental figuration that dances alternately above it and then resonantly rumbles below. This development is the dramatic heart of the piece, and immediately follows a third theme area of remarkable flamboyance, with extroverted multi-octave arpeggios issuing into joyously rambunctious passagework over large swaths of the keyboard.

Santa brings to our Alex a virtual symphonic orchestra with two solo instruments. He had just one wish: that all presents should sound authentic, be simple to use, and not be overpriced.

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With more than 100 titles in its catalog (plus 54 JMT titles reissued to date), W&W features an unconventional combination that attracts loyal listeners. Though Winter would like to have more security, the label is financially self-sustaining, putting it in better shape than many independents. But Winter does not worry about how well a particular title sells. Instead, he pursues projects that excite him and that he feels connected to. The stylistically far-flung catalog mirrors his decidedly broad tastes.

This dark yet dryly witty lyrical undertone, combined with a sharp, syncopated musical arrangement by frequent early collaborator Alain Goraguer – whose train-invoking rhythm anchors the acidic percussive attack of Gainsbourg’s delivery – led to a number of cover versions throughout the year by French cabaret performers and chansonniers. Its accompanying debut album, Du Chant à la Une, featured Goraguer arrangements rooted in modern jazz which stayed rooted in a rather straightforward format, displaying Gainsbourg’s roots as a performer and a rock-solid, competent understanding of the style for which he’s not always given credit.

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To hear this music with fresh ears is to suddenly realize how many avenues of opportunity never had a chance to be explored. Jazz musicians in the first decade after World War II were just gaining their own identity; the young players were full of new ideas.

I don't see any love for VSL here, and they tend to be some of my favorite libraries. I don't have much experience with their timps, what do others think?

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In the New Year of 2008, I sent copies of the following typewritten letter from Ireland to around forty potential cooperators, in advance of a project called TRUE MIRROR for that year’s Whitney Biennial: Written by Alex Waterman. Recorded at (1) The 7th Regiment Part Avenue Armory Building, New York City, 23 March, 2008, performed by Peter Evans (trumpet), Marina Rosenfeld (phonographs), Hrabba Attladottir (stroh violin), and Alex Waterman (violincello); (2) The Kitchen, New York City, 25 November 2008, solo; and (3) The ICA, London, 30 May 2009, solo. Mixed by Alex Waterman in Brooklyn.

Featuring an 11-piece band playing opulent, cinematic arrangements by Bob Hammer, this 1963 concept album from bassist/composer Charles Mingus was notable for its use of overdubbing, a procedure usually shunned by most jazz musicians. Even so, Mingus produced one of his most compelling studio creations here: a thrilling collision of jazz, blues, and gospel flavors (which he once described as “ethnic folk-dance music”) that was distinguished by taut, cohesive ensemble work and stunning solos. The influence of Duke Ellington is almost palpable, but such was the force of Mingus’ individuality as a composer that his personality dominates the album. In Mingus’ canon, this album’s brilliance is only eclipsed only by the earlier Mingus Ah Um.

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There are a couple of excellent deejay pieces on the same rhythm, too, with Prince Far I’s ‘Under Heavy Manners’ being the most impressive, and it was one of the tunes that helped punk fans in Britain tune into reggae’s ominous power. Trinity’s portion of an extended 12″ reworking of the tune has plenty of appeal too, with synth noises, syndrums and melodica overdubs giving more complex musical backing to this portrait of victimisation.

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STEPHEN RUPPENTHAL is Principal Trumpet and Contemporary Music Advisor for the Redwood Symphony, and has been Guest Artist-in-Residence at numerous universities in the US, holding courses in Electronic Music Studio Arts and Composition at the Center for Experimental and Interdisciplinary Art (SFSU). Stephen was a founding member of the Electric Weasel Ensemble, and more recently, SoundProof, and is known internationally for his performances and writings on text-sound composition and sound poetry. Flamethrower, a CD of new electroacoustic works for trumpet and flugelhorn performed by Stephen is currently available from Ravello Records.

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The only entry in the best jazz drummers list to be born in the 19th Century, this New Jersey sticks-meister had the distinction of being Duke Ellington’s first ever drummer. He joined in 1924 and stayed with the jazz aristocrat until 1951. What set him apart from other drummers at the time was his penchant for creating tonal colour by using gongs, chimes, and other exotic percussion instruments.

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While Histoire De Melody Nelson often receives the highest accolades of Gainsbourg’s solo discography, this 1976 prog-funk heavyweight is the dark horse in the running. A long-form concept album, L’Homme À Tête De Chou tells the tale of a man’s lust for a freewheeling, open-minded and sexually experimental hairdresser named Marilou, who the narrator catches fucking a band of acid-fried hippies and murders with a fire extinguisher in a fit of jealous rage. He finds himself jailed in an insane asylum by album’s end, believing his head to be fed upon by the Playboy bunny, as it is made of cabbage. Histoire De Melody Nelson this is not.

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Jones rose to fame with John Coltrane’s groundbreaking quartet in the early 60s and immediately distinguished himself by the kinetic forcefulness of his drumming. As well as brute power, he possessed subtlety and knew how to construct a nuanced rhythm track that flowed and was acutely attuned to the needs of a song.

A lynchpin of The Modern Jazz Quartet from 1955 until 1974, Kay’s elegant “less is more” aesthetic and sublime sense of swing resulted in him an being in-demand drummer outside the band. His versatility (he played on Joe Turner’s 1954 R&B classic, ‘Shake, Rattle And Roll’, as well as Van Morrison’s Astral Weeks album) ensured that he was never out of work.

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With all respect for the likes of Miles Davis, John Coltrane, Herbie Hancock, and more, this album, which was released in the late 50s, demonstrates the addictive complexity that is jazz. It’s tremendously busy musically, without sacrificing trademark swing and jaw-dropping improvisation. It’s also compelling in that Blakey, one of the brightest minds in American jazz, led his band from his throne at the drum it, a relative rarity in the field. The album truly is a jazz milestone.

This is the second Jazz Icons collection to be released on DVD. Journalist Ashley Kahn, author of The House That Trane Built: The Story of Impulse Records and a frequent Morning Edition contributor, appears in this segment to discuss what's special about the series and these performances in particular. Kahn, who wrote the liner notes for the Coltrane disc, describes the performances' circuitous journey from government-sanctioned European television to American audiences.

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Roach emerged in the late 40s as one of bebop’s first significant drummers. One of his chief calling cards was using the ride cymbal to emphasise the rhythmic pulse, which was an innovation that brought fluidity and a more subtle type of swing to jazz. He grew to become an expressive sticksman – one of the best jazz drummers in history – who would use his drum set to create contrasting tonalities to underline different elements of a song during a performance.

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The Klondike gold rush made the perfect setting for Charles Chaplin’s tramp to run wild. Chaplin took all the motifs he could find from adventure novels, melodramas and other stories of the northern frontier, tossed them in a blender and served up a collection of what would become his most famous scenes. He finds humor in peril—with a suspenseful teetering cabin scene, as well as starvation (when he famously makes a meal of his boot) and of course finds time to show off with his dancing roll scene. However, no one has succeeded in finding any humor in the atrocious voiceover Chaplin added to the 1942 rerelease. Be sure to watch the original version. For a more serious take on the Klondike hardships, see Clarence Brown’s The Trail of ’98 (1928).

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Purportedly the first sticksman to use a bass drum on a recording session, big-band swing meister Gene Krupa can claim to have influenced the format of the modern drum kit. He was also instrumental in establishing the popularity of cymbals and tom-toms. Renowned for his explosive “drum battles” with Buddy Rich.

If you feel like being taken aback by a kid prodigy, then this record is perfect for you. Released in 1962, the album also calls your name if you just like pure improvisational jazz. One of the first recordings of the great Stevie Wonder, this LP record clearly foreshadows a long and wonderful career. Better still, it feels like the kind of garage-set jam sessions where all the greats were born. There are no rules, save for playing to your heart’s content.

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Before The Conformist, Bertolucci had always been a master stylist, but here he worked within the strictures of noir and—excuse my hyperbole—made something of a perfect film. Proving that even the most common means of cinematic pulp could be used to transcendent ends, the director’s efforts found popular praise, garnering him both Oscar and Golden Globe nominations (among many), and paving the way for his riskier arthouse fare.

Gino Legaspi looks at three sample libraries from Bluezone and Zero-G in an ongoing series of such reviews

One of the most impressive cinematic instruments we’ve encountered lately. FORZO is an absolute winner on all fronts.

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You all know Spitfire Audio for its beautiful, majestic string libraries. Well, London Contemporary Orchestra isn’t that. Strings just got weird – in a most delightful way.

JAZZ ICONS, VOLUME II (Naxos/Reelin' in the Years Productions) - I must have been sleeping when Volume I of this extraordinary series debuted last year. Having now digested the best of Volume 2, I can't wait to catch up with the first set of releases. As a lifelong jazz fan, these discs capture some of the heroes and legends of music in live performance, from European television broadcasts that, for the most part, have gone unseen since they first aired.

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Stratus is a highly realistic guitar sample library that simply exudes personality. From clean tones to full-on shredding, it has what it takes.

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The birth of the Jazz Icons label has been made possible by an arrangement that has resulted in some of the material being released to the general public, and the surviving musicians, and the estates of those no longer with us, being properly compensated. Nine DVDs were released in 2006, and now seven additional ones have come out. Each individual DVD features a major artist or group performing at an important time in their history. In addition, an eight-DVD set has those seven, plus a bonus disc of additional numbers by John Coltrane, Dave Brubeck, Dexter Gordon, and Sarah Vaughan.

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Spitfire Audio returned to Iceland for another collaboration with Olafur Arnalds. Given the previous successes of this partnership, the superb results should surprise no one.

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Chopin had something of a problem with (and possibly not that much interest in), the idea of extended and/or multiple movement compositions. He did create a pair of concertos that were early calling-card pieces, very useful for a touring pianist/composer; there’s a piano trio, a cello sonata, and a pair of piano sonatas. But all are considered to some degree – problematic.

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Canone all’Unisono (2021) is a part of a strand of my work that utilizes, most markedly, very rudimentary, toy like midi instruments, employed, in part, as a means of exploring issues of artifice and reality in electronic music. This issue of timbal artifice is, however, only part of a broader inquiry in my recent composed electronic music that has to do with the relationship between syntax, meaning and the meaningless-object nature of sound as a physical phenomenon.

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I've only had time to spend with these three discs so far. Others in the new set are John Coltrane, Dexter Gordon, Dave Brubeck, and Charles Mingus. The DVDs are available singly, or in a box set which includes a bonus disc of additional selections by Coltrane, Brubeck, Gordon, and Vaughan.

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A graduate of the formidable Jazz Messengers – drummer Art Blakey’s famous “Hard Bop Academy” – New Jersey’s Wayne Shorter recorded for Vee-Jay before joining Blue Note in 1964. Speak No Evil was the saxophonist’s third album for Alfred Lion’s iconic jazz label and was recorded three months after he had joined the Miles Davis Quintet. Shorter fronts an ace quintet of his own here, comprised of Freddie Hubbard, Herbie Hancock, Ron Carter and Coltrane’s then-drummer, Elvin Jones, and together they conjure up a memorable session featuring six songs composed by the saxophonist. Highlights include the beguiling opener, “Witch Hunt,” with its snaking melody; the cool title song, with its sublime horn theme played by Shorter and Hubbard; and the gentle, much-covered ballad “Infant Eyes,” which is now regarded as a jazz standard. Wayne Shorter has made many fine albums during his long career but this one, recorded on Christmas Eve 1964, is extra special.

Though small in stature, Tony Williams was undoubtedly one of the true giants of jazz drumming. At 17, he was playing with Miles Davis and quickly became regarded as a trailblazer with his intricate patterns and deft rhythmic displacements. He was supremely versatile too – as well as straight-ahead jazz he could play fusion and rock with consummate ease.

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Semegen was the first woman awarded a McKim Commission from the Library of Congress. Semegen was awarded the 2009 Susan B. Anthony Lifetime Achievement from the Susan B. Anthony Center for Women’s Leadership. Recordings of her music include Rhapsody (for Yamaha MIDI grand piano), Electronic Composition No. 1; Arc (electronic/dance); Spectra, Music for Violin Solo; Jeux de Quatres.

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But for [the kids] it was a whole secret symbolic language that told them what kind of dope to smoke, where things were hidden, where to go and all kinds of things they naturally needed to know. Film is one more way you can convey secret information. Dont Look Back provided coded information for people who didn’t want the other generation to know what they were really into.

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The Sarabande is the longest movement in the work, clocking in at a robust 4-5 minutes of performance time. Normally a slow stately dance in triple meter with a distinct inclination to “sit” with some sense of ownership on the 2nd beat of the bar, this sarabande diverts our attention away from the slow pace of harmonic movement in the bass by means of pertly alive and florid elaboration in the treble.

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Even images of the piano keyboard-shot directly over Brubeck's right sholder-create fascinating views of a luminous, mini-world of ebony and ivory. Deliberately playing on the glistening 88 keys' serial, rectangular shapes, the camerawork extemporaneously creates a minimalist or conceptual art masterwork on the screen.

Sarah Vaughan: Live in '58 and '64 - Pure pleasure from start to finish, though one admits she's even "sassier" in the 1958 telecasts. Try to watch her slip-slide through "They All Laughed" without bobbing your head along with hers.

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And sure, maybe they experienced racism and suffering, but they decided to be evil so they got what was coming! If you kill one of these guys your conscience is clean!

Guitarist Metheny is the author of the ten-page-long liner notes (sample). His sentences are clear, concise, delightfully informative and tender without the banal use of glowing adjectives and nouns that's en vogue when it comes to writing about jazz in general and jazz greats in particular. Metheny's notes are excellent, even when I disagree with him.

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In jazz, arguably the most technically demanding form of popular music, a drummer’s role is often more exacting than those in the fields of rock and pop. In its infancy at the beginning of the 20th Century, it was the drummers who gave jazz its heartbeat with an intoxicating, eminently danceable groove. But as the music evolved, its requirements changed. After the bebop era, when jazz became more cerebral, the best jazz drummers were expected to match the other soloists in the band with their virtuosity. No longer was their role solely focused on providing a constant rhythmic pulse, they had to contribute to the music in other ways: by supporting and lifting the soloists, building tension and drama, supplying percussive colour, and helping to invoke a mood or atmosphere.

Harris jokingly calls Qrow Branwen this. After his introduction in Volume 3, Qrow's constant sarcasm aimed at the self-serious elements of the show make him a joy to watch and reflect the opinions of the viewers who are getting tired of the exposition and just want to get back to the fights.

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Tool is perhaps most famous for songs that allow Keenan to vent, at great volume, about his personal demons and display his contempt for a shallow, materialistic, anti-intellectual society. But Keenan never allows himself to be kept in the box of “angry rock dude,” as his true muses are love and empathy (and really good wine). Dig in deeper to his work with both Tool (especially on Lateralus) and his second band, A Perfect Circle, and he’s just as likely to use his voice to soothe and comfort his listeners. He can sound almost unnervingly fragile as he encourages them to move past their anger and look within themselves for healing.

Two realistically-sampled cellos with many articulations and implemented controllers. All you need is to ask yourself is if you are in a Romantic or Modern mood for recording.

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The first Jazz Icons DVD series, released last year by Reelin' In the Years Productions and TDK, brought back into circulation excellent, lengthy television performances by jazz legends, including Art Blakey, Louis Armstrong, and Dizzy Gillespie. Those nine DVDs are now joined by seven additional releases, each featuring a jazz great in shows originally broadcast on European television. All seven DVDs, along with a bonus disc of performances not included on the other discs, have been released as a nicely packaged boxed set. The discs vary in length from a little over an hour (Sarah Vaughan, Dave Brubeck, and Dexter Gordon) to two hours (Charles Mingus). The remaining DVDs feature Duke Ellington, Wes Montgomery, and John Coltrane.

That opening chord of “A Hard Day’s Night” is iconic on its own, but when it’s paired with scenes of the Fab Four gleefully outrunning a crowd of screaming fans? Forget about it. The first Beatles movie—a mockumentary filmed at the height of Beatlemania—also happens to be their best; it’s funny, silly, weirdly melancholy at times (it’s hard not to see the foreshadowing when Ringo temporarily quits the band after feeling unappreciated) and full of some fantastic early performances.

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Keyscape Creative is a huge patch library for users of Spectrasonics Omnisphere 2 and Keyscape. You may be surprised by what you can do by combining the two.

Recruited by John Coltrane in 1965, this Philly-born drummer featured on the saxophonist’s most outré albums, including Interstellar Space. He brought a fresh avant-garde sensibility to jazz drumming, jettisoning swing and a constant pulse in favour of abstract colourisation and the creation of drama and ambience.

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Over the past four years, I have been making regular excursions to Mammoth Cave National Park in Kentucky. My interest in the space stems from its unique acoustical features, its fascinating ecosystem, and long history of both tourism and musical performance. This performance is one part of the long term project, that continues to expand. Recordings were conducted through a research permit provided by the National Park Service. My enormous gratitude to the numerous rangers who have assisted me in making recordings and guiding me to places of such sonic intrigue, and thanks in particular to Rick Toomey.

Usually after the program aired, the film was put in the television studio’s vaults and forgotten. Over time, thousands of hours of priceless performances accumulated in archives, largely forgotten and rarely seen. The rise of the VCR and more recently the DVD has resulted in a few programs seeing the light of day, but most remain obscure.

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His first electronic composition was selected for a performance during the ICMC 2021 Conference. In summer 2021 he was trainee at ExperimentalStudio des SWR in Freiburg, and in 2021 at ZKM in Karlsruhe. His works have been performed in Australia, Austria, Belgium, Brazil, Canada, France, Germany, Greece, Ireland, Italy, Japan, Mexico, Slovenia, Sweden, Taiwan, UK and USA.

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Having seen Dexter Gordon many times, it was especially nice to see Live in ’63 & ‘64 in this batch of Jazz Icons releases. The first of three broadcasts here was filmed in Holland in 1964 in a nightclub setting. It opens like a move with Dexter walking down the street and into a club where a jazz trio is playing. He goes by the bar, takes off his overcoat and walks on stage. He’s accompanied by George Gruntz/piano, Guy Pedersen/bass and Daniel Humair/drums, a rhythm section he played with often at the time. Gordon and band are in fine form as they serve up “A Night In Tunisia,” “What’s New” and “Blues Walk,” and the nightclub atmosphere is a nice touch on this set. Dexter’s wonderful personality always came through as he introduced each song, often saying the title twice. The second set, recorded in Switzerland in 1963, finds Gordon with in a TV studio with Kenny Drew, Gilbert “Bibi” Rovere and Art Taylor playing “Second Balcony Jump” and “You’ve Changed” with quite a large audience. The third set is in ’64 again with the same trio as the first set (Gruntzet al), but this time in a TV studio in Belgium.

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This is the album that deservedly launched the prog-rockers into the foreground. It shows the band’s out-of-this-world chops, namely in the form of intricate song structures, plenty of pace, and a jumpy style of rock very much informed by the limitlessness of jazz. It’s also where one of the best songs in all of prog-rock lives in the multi-faceted I’ve Seen All Good People. Every song feels like an amazing juggling act of highly organized multi-tasking mayhem.

Born Leo Morris prior to his conversion to Islam, Muhammad was an in-demand session drummer who played with the likes of Ahmad Jamal and Pharoah Sanders before successfully effecting the transition to solo artist (his 1974 album, Power Of Soul, is deemed a soul-jazz classic). His eloquent style drew from R&B as well as straight-ahead jazz.

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The company just unleashed its second batch of titles, all of them culled from black-and-white European TV shows. It follows a first round that included Art Blakey, Count Basie, Chet Baker, Monk and others. Each of these DVDs is vital in its own way - some more than others. I'm not enough of a jazz scholar to gauge which among the series is the most important, but I know which are most important to me, and I'll rank them accordingly.

Charles Mingus: Live in '64 - The bassist/composer's 1964 European tour is widely regarded as a watershed moment featuring perhaps his best band: drummer Dannie Richmond, pianist Jaki Byard, tenor saxophonist Clifford Jordan and Dolphy on various reeds. This two-hour DVD captures three Scandinavian shows shot during a weeklong period.

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The organ is often called the King of Instruments. In this review we look at a virtual organ expertly sampled from an Italian instrument that offers you a cathedral experience in your studio at a modest price.

Musicians on the series, or their estates, also benefit, according to Peck and Galloway. They cite their new Wes Montgomery Live In '65 DVD as an example.

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Lotte Reiniger spent three years moving back-lit cardboard cutouts around to make this animated feature adaptation of the ancient Arabian Nights stories. The characters move with their own unique rhythms, taking on an otherworldly feel. The silhouette format naturally limited what could be communicated via facial details and the like, but that didn’t stop Reiniger from using her careful craftsmanship and design skills to create emotionally expressive body language.

Bunny Lee introduced Gibbs to aspiring teen singer Errol Dunkley soon after, and Gibbs gave Dunkley some American R&B records to adapt which he’d acquired during his stint in Guantanamo Bay. This yielded a couple of instant hits, turning Dunkley into Jamaica’s second child star, following in the footsteps of Delroy Wilson. Then the Pioneers arrived in Gibbs’ camp just as Lee ‘Scratch’ Perry entered the picture, fresh from five years of underpayment at Studio One, where a lack of proper recognition for his work rankled nearly as much as the lack of recompense.

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Although a few notable critics have since written off his work as high school poetry — and yeah, it doesn’t help that Philip Seymour Hoffman’s “drunken buffoon” barb from Almost Famous tends to shadow his name everywhere nowadays — the whiskey-drinking crooner was an ideal voice at a time when vitriolic rock ‘n’ roll wasn’t exactly there yet. Singers back then were angry, sure, but nobody played with fire like Morrison, not even the likes of Mick Jagger. No, there was a flamboyant edge to the Lizard King, steeped mostly in underground theater, and the guy knew how to not only connect with his audiences but prod them.

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Importantly, the music cuts completely when Mike stumbles into the room of the injured prostitute. While the song was completely non-diegetic up until this point, the prostitute puts the needle on a record, resuming the song where it had left off. This use of music elicits a number of possible interpretations. By shifting the song from non-diegetic to diegetic (and eventually back), Skolimowski blurs the boundaries between interior and exterior space.

The idea of symptomatic or even «reflective» relationships between music and politics implies a direct correlation between text and context that may seem to evade agency. Despite my historical argument's reliance on the political contexts of the music and film, much of my primary evidence relies on the individual subjective accounts from the members of Can. As composers and performers, Can did not merely «reflect» by representing the contexts of their surroundings, but «reflect» in an interpretive sense that involves critique and creativity. Moreover, the reimagination of cultural forces like music and politics were not entirely unique to Germany, and indeed my argument does not contain any sense of an essential German national identity.

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This jazz aristocrat’s band was famed for its panache, dynamism, and unerring sense of swing, and all those qualities can be heard on this explosive 1957 recording. In an age when big bands were mostly extinct, the release of The Complete Atomic Basie marked a resurgence in the fortunes of the debonair pianist from Red Bank, New Jersey. All the material was written by rising composer/arranger Neal Hefti, and features some dynamite brass charts. At the center of all the action is Basie’s laconic piano, its piquant fills a model of dissonant minimalism. As well as swinging uptempo numbers with blaring horns, the album contains some beautifully subdued slower numbers defined by deft and subtle orchestral nuances. The complete version, with bonus material, was released in 1994.

The idea of listening points out another quality of Montgomery's playing that comes through clearly on this DVD (though the same could be argued for most, if not all of his work), and that is, when Wes Montgomery plays he acts as both player and listener, here meaning "listener" in the audience sense. By 1965, many proficient jazz instrumentalists had drifted (or run) away from listener-centric (friendly) music in favor of musician's music - music that's more player-centric and that places the burden of pleasure more on the listener than the musician. Montgomery was willing to lead the general listener into rhythmically and harmonically complex territory, but not at the expense of leaving the listener behind.

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Yes, here is yet another piano library. And yes, we can hear you yawning already.

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Gainsbourg would never make another record that sounded like Confientiel, and with good reason: it is a perfect, concentrated statement, one which throws daggers at love, life, and the lackeys of youth culture – though he’d soon change his mind on them and beckon them forth with some of his most successful songs. Confidentiel was a commercial bomb, but stands today as one of Gainsbourg’s most accomplished albums.

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Cinesamples Percussion Timpani (soft, medium, hard mallets available which gives with the microphones a lot of "mixing" and "performance" options). Imo one of the best if not the best timpani. Sony Stage is imo for that stuff one of the best if not the best, big room resonance but with a nice adsr characteristic with a lot of oompf, splash and very mouldable from ambient to very dry.

A bebop disciple who wasn’t afraid to venture to jazz’s far side, alto saxophonist Jackie McLean was in an experimental mode in the early 1960s, pushing the hard bop aesthetic to breaking point with a series of increasingly progressive albums for Blue Note. His most outré offering was Destination. Out, a remarkable session featuring rising young jazz stars trombonist Grachan Moncur III (who contributes two of the set’s four tunes), and vibraphonist Bobby Hutcherson, along with bassist Larry Ridley and the versatile drum maestro Roy Haynes. The haunting ballad “Love and Hate” exudes an otherworldly beauty while the episodic “Esoteric” begins as a macabre waltz. Only the final cut, the gently swinging “Riff Raff,” doffs its cap to hard bop on what is an ambitious but hugely impressive recording.

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As with the first batch of nine releases from last year, Jazz Icons Series 2 is available both as a boxed set or as individual releases. I must say, too, that even though I came to these discs with certain favorite artists I was excited about hearing (taste and preferences always being subjective), I can truthfully say that every one of these is superb and worth owning.

The Sonata in G major K 455, by contrast, is unabashedly dancelike and popular in tone, filled with the rhythmic click and snap of the castanets. Guitar idioms are heard in the repeated notes that dominate the last section of each half, making this piece an impressive showpiece of digital dexterity for the performer.

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Joining recently unearthed audio recordings of Charlie Parker, Coltrane/Thelonious Monk, Charles Mingus and a few others is a series of DVDs called Jazz Icons, by Reelin' in the Years Productions. They're handsomely packaged and intelligently annotated, but more importantly, the sound and video quality are almost always impeccable.

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The producers of the "Jazz Icons" DVDs aren't just hurling any old footage at the consumer. These are excellent performances by John Coltrane, Sarah Vaughan, Dexter Gordon, Wes Montgomery, Duke Ellington, Charles Mingus and Dave Brubeck, from the prime of their careers. And they're beautifully shot, mostly filmed for European television. They include a previously unreleased performance by Coltrane, with Stan Getz; a superb Montgomery show with some between-song conversations (red alert, guitar freaks); and heartbreakingly good Vaughan.

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Not only has she visually matured, but her voice has lost some of its innocence and has been replaced by a smoky richness. Her vocal selections tend to run more toward the drama of musical theater ("I Feel Pretty," "Maria"), and these songs provide Vaughn with plenty of emotional subtext, which she utilizes as she gazes over the audience with expressive eyes. Of course, it's not all serious when she skips through "I Got Rhythm," complete with an impressive acapella intro. Her maturation as a performer is also quite evident, while she invokes a playful sense of humor whenever possible, even making light of the fact that she's sweating like a racehorse. By the time she reaches the seemingly never-ending encore of "Bill Bailey, Won't You Please Come Home," the mugging Vaughn goads the audience into letting her keep continuing the number, and it's evident that in six years she has made the transition from intriguing young lady to commanding leading woman of the stage.

The films alternate between mediation and action, both in context as individual movies and as parts of a greater whole; Samurai II: Duel at Ichijoji Temple in particular emphasizes action more than its siblings, ending with a massive battle between Musashi and a horde of bad guys in need of a few sword slashes apiece. But even so, that movie can’t help being about tenets of samurai discipline, and the search for self-improvement through marriage of mind and body.

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The 1956 Newport Jazz Festival provided the stage for Duke Ellington and his band to conquer America. Paul Gonsalves' groundbreaking solo on "Diminuendo in Blue and Crescendo in Blue" was just one of the highlights of a show that has become legend. Over the next two years, Ellington and his band began supplementing their one-night-stands and barnstorming tours with more performances on TV and radio, which consequently brought their music to a much wider audience. For Ellington and his band, the time was right in 1958 to return to Europe, where they'd last played nearly a decade before. In contrast to Mingus exploding into Europe's consciousness in 1964, Ellington on his '58 tour was royalty, and he behaved as such, a master of ceremonies, a conductor sifting effortlessly through his deep catalog, a maestro in control of every note.

Just about anything from The Beatles is worthy of the highest honors but The White Album is a real musician’s album. It marks the band’s official foray into more exploratory genres, beyond the delightful LSD-fueled chaos of Sgt.

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Sarah Vaughan is presented here on three TV programs, and is educational in the progress of The Divine One's presentation. On the two 1958 recordings, she is attired in lovely and stately white as she give improvisational delight to songs like "Tenderly" and "Cherokee".

This prolific one-man drum orchestra from LA was a pioneer of the cool, West Coast sound. Like Art Blakey, he led from the back and proved to be an astute talent spotter. Able to blend power with finesse and a nuanced sensitivity, he used drums like a painter, colourising his music with different tonal shades.

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Perhaps most famous for his work in the New Pornographers, Dan Bejar is also the brainchild of Destroyer. His solo work is fascinating, combining vivid lyrics and a contemporary sound with the confidence and composure of an experienced crooner. The result is an avant-garde kind of music that’s wildly sophisticated yet full of smooth-as-velvet entry points. It’s the work of a singer-songwriter with a real storytelling gift and an infatuation with the unexpected.

But Gibbs was too shrewd to be out for the count for long. In the late 1990s, he reopened the studio at Retirement Crescent, with ET still on board and Sidney Crooks of the Pioneers as in-house producer, revamping old rhythms with new vocals, aimed at the thriving yet very particular reggae market in the north-eastern Brazilian city of Sao Luis. The death of Errol Thompson in November 2004 was the final ending of the Mighty Two, and though he remained active on business fronts right to the end (setting up Joe Gibbs Europe in 2005 and inking a deal with VP Records a few years later), Gibbs suffered a fatal heart attack himself in February 2008.

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There are extraordinary moments of discovery throughout the series, such as the way Vaughan's voice and style deepen between her '58 concerts in Sweden and Holland and a Swedish date in '64. The three Mingus concerts, recorded within eight days, are memorable not only because of Mingus, but also for multi-instrumentalist Eric Dolphy, performing just a few months before his death.

Over a backing of quietly skittering minimalist funk drumming, acid-fried guitar accents and stratospheric strings, the album is anchored by the traveling liquidity of an electric bass guitar and Gainsbourg’s nicotine-stained tale of hitting a teenage cyclist whilst driving his Rolls Royce. Sparks fly, they hook up in a seedy hotel, and then, of course, she has to die so that the narrator can be punished for his moral crimes. A true masterclass in aesthetic economy, there is absolutely no fat on this album; everything is pared down to the essentials.

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13 essential records by Joe Gibbs, the record producer who

By 1973, Gainsbourg and Vannier had parted ways creatively, and Serge had begun working with British keyboardist, composer and KPM library music maestro Alan Hawkshaw as his new bandleader for the next extended stretch of albums. The first of these collaborations was the loping scat-funk classic Vu De L’Extérieur, which found Gainsbourg framing his lyrics around more explicit themes of sex and the human body.

Add extensive 24-page booklets, expert notes from a host of experts and/or musical guests, rare photographs and you've got perhaps the finest collection devoted to jazz in many years, perhaps ever. Everyone who loves this music should hope that Jazz Icons keeps things coming, because these seven releases are awesome.

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BONNIE JONES is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, Maryland. Bonnie creates improvised and composed text-sound performances, videos, and installations that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual), exposing the tensile nature of identity, history, form, and meaning. Bonnie has received commissions from the London ICA, Walters Art Museum, Vox Populi and has presented her work extensively in the US, Mexico, Europe, and Asia. She collaborates frequently with writers and musicians. She received her MFA at the Milton Avery School of the Arts at Bard College.

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Swope purges the company of most of its “lilys,” replacing them with Black Panther acolytes and Five Percenters and assorted blue collar Black workers to resist the tide of empty corporatism taking over America. In turn, Swope takes on the personae of various revolutionaries—sometimes dressing in NOGE garb, sometimes suiting up like a Castro impersonator—navigating the many strains, violent and not, of anti-establishment thinking at the tail end of the ’60s, but ultimately unable to escape the lure of capitalist power. Swope is a bad leader, in other words, stealing ideas from his underlings and generally embracing every hypocritical behavior he can, but the genius of Downey’s vision is that his idea of corruption corrupts absolutely, no regards for race or inequality. A sort of pre-Zucker Brothers bounty of slapstick and absurdity, Putney Swope portrays people floundering through these many layers of power (and, therefore, oppression), unsure of how best to get what they want from society—unsure if that’s even possible.

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Fauré wrote a considerable amount of music for the piano and was much influenced by the accomplishments of Chopin, Mendelssohn and Schumann. In keeping with the quality of moderation and restraint that characterized his own personality, his piano music is characterized by an emphasis on melodies placed in the middle of the keyboard, often divided into gossamer textures of arpeggiated filigree. More given to understatement than exaggeration, he was possessed of an artistic personality closer to that of Verlaine and Proust in literature, than to the more direct theatricality of Gounod or Massenet, the virtuoso exuberance of Saint-Saëns, in music.

Each disc in the series contains between 60 and 90 minutes' worth of material. Some feature one long set, while others cull performances from various shows. There are no extra features on the discs, but each one comes with an illustrated booklet that provides about 20 pages of background material on the artist and critical song-by-song appraisals of the specific performances. In some cases, this material is written by jazz luminaries (Pat Metheny crafts a well-written essay about Wes Montgomery and Dave Brubeck's son pens his), and in others by academics. Without exception, the essays are erudite and engaging, placing these performances in the context of the artists' careers.

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He frequently comes back to it and mocks it for being some of the most generic plotting the show has done to date, especially as it heavily involves Jaune and Neptune, who are voiced by the show's head writers. Whenever Harris complains about RWBY's slow pace and lack of character growth, he usually immediately points out that the dance arc should have been cut.

The Mazurka in F major Op. 68 No. 3 is a product of Chopin’s early years, before he arrived in Paris, and must surely count as one of the most naively simple pieces he ever wrote. The uniform chordal texture and repetitive military rhythm of its opening section suggests a patriotic march, perhaps of a village band, while its crude contrasts of tonal colour bespeak the limited harmonic vocabulary of rural music-making. Most clearly folk-like are the drone 5ths of its middle section, supporting a fife-like lydian melody (with sharpened 4th degree) in the treble high above.

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This is a library of big drums for scoring professionals, but the price is accessible to all. So, maybe it is time to become a novice professional.

This totally shouldn't make sense, but it absolutely does: American grind act Full of Hell may be the fastest act out there, in some moments, but their breakdowns are more akin to moments of pure white noise and power electronics than hardcore. Their slow and sometimes inaudible approach to performing grind is a perfect fit for prominent noise-maker Merzbow, who joins them for this collaborative record. Full of Hell are amazing, and Merzbow sure is loud - so this should be something.

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The suite ends with La Vallée des cloches, a multi-layered sonic depiction of the lingering overtones of bell tones hovering in the air. Sonorities based on 4ths and 5ths evoke the muffled metallic resonance that drifts in every direction as bell-clappers in towers near and far strike their target.

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After two performances that add little to John Coltrane's recorded legacy on Live In '60, '61 & '65 (2/119007; 96:20) ****1/2 comes a conjure-the-spirits quartet performance of "Vigil," "Naima" and "My Favorite Things" on an August 1965 night in Belgium. The cameras capture the steaming bodies of Elvin Jones and Jimmy Garrison, the extraordinary force of McCoy Tyner's left hand, and Coltrane's face and posture.

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Some of the transformations are, among the others, water drop to percussive kick, percussive sounds to pitch intervals, intervals to specific instrument timbre, breathing to musical tones, musical tones to running, and amphibians to humans, In this piece, golden mean has been applied as a common ratio of change to different elements and events. The proportions of the large structural sections, the proportions of the events with connected content, the rate of rhythmic change and pitch organization are some examples. Golden mean in the mentioned paradigms has been used in other pieces frequently, however, the way it has been employed in the pitch organization of this piece is innovative (to our knowledge). The ultimate goal was to generate pitch collections that their components intervallically differ by golden mean. However, applying golden mean to normal frequency measurement can be problematic since psychoacoustic studies have shown that above 500 Hz, increasingly large intervals are judged by listeners to produce equal pitch increments. This difference between the measurement and perception could make the ratio imperceptible. To address this issue in this piece, a convertor was designed to apply golden mean to mel scale measurement which has been shown to fix the problem. Furthermore, the context in which transformations happen is exceedingly important. For instance, the mentioned pitch collections appear in the large-scale golden section of the piece, which mostly carries the ambient nature sounds. This context makes the micro entities and the narrative interconnected and is one among many others in this piece.

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Cannabis was a 1970 feature film starring Gainsbourg which reunited him with director Pierre Koralnik, who was at the helm for their successful 1967 collaboration Anna. While Anna was a romantic pop art romp that stands as a vivid portrait of the swinging mod Europe in the 60s, Cannabis was an entirely different affair – Serge plays a hitman (named Serge Morgan) who broods around shooting people in a massive fur coat while Birkin romps around in the nude for most of the film.

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The samurai himself, summoned to the trial via spirit medium? Even when Kurosawa generously reveals what actually happened when the bandit crossed paths with the samurai and his wife via the post-trial testimony of a humble woodcutter, we’re still left to wrestle with the question of who, and what, we should believe.

Most of these performances were recorded and broadcast in Europe, where the musicians were given plenty of room for invention without time constraints or commercials. So, in essence, you're seeing these artists here as you rarely got to see them even on the "artiest" of American television programs.

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Cars had tail fins, gas was 30 cents a gallon and anything was possible. Then the 1,200-pound gorilla called rock 'n' roll came in and sat on all the musicians. Fascination with new rhythms, unexpected chords, shifting harmonic structures and blends of European classical and Afro-Cuban sounds were over.

It remains the powerhouse band’s only double album ever released and maybe George Harrison’s official arrival as a songwriting force (most obviously with While My Guitar Gently Weeps). The Beatles do it all here, from the western country of Rocky Raccoon to the ragtime-y-ness of Honey Pie to the lullaby-like qualities of Cry Baby Cry.

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Their relationship has allowed him to explore his varied ideas and cultivate different audiences from the jazz and classical worlds. With the live CD finished, he is working on tracks with his Bedrock electric trio and an opera based on Othello. Caine is impressed with Winter's ability to heed the details and still maintain the long view.

It was originally conceived as a piece for sinewaves and glissando-flute, but since it is a five-part canon, it may also be heard without the instrumental part as purely electronic music. The flute produces a sequence of 15 fundamental pitches from B3, rising chromatically up to C#5. The possibility of extending the length of sounding tube by sliding out the head-joint lowers each of these pitches by a different interval, which gradually increases as the fundamental rises and ranges from approximately a large major second (15/17) to a small fourth (10/13). This sequence of intervals embraces all of the ‘seconds’ and ‘thirds’ which fall just outside the critical band, from the large septimal wholetone 7/8, to the very small septimal minor third 6/7, all the way to the very large septimal major third 7/9. The fact that this beautiful family of microtonally varied intervals is so readily produced on the glissando-flute suggested to me the form of a chromatic ground.

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Peck often scours web sites looking for footage, and this led to his new release of a Duke Ellington performance in Holland, Live In '58. After discovering videotapes that had been thought lost, Reelin' In The Years was able to seamlessly piece together an almost entire Ellington concert. Some segments have not been viewed for almost 50 years.

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For example, "Sarah Vaughan Live in '58 and '64" reveals, in the first date, a still demure but sublime Vaughan. I was trying to identify the lean, handsome, bespectacled bassist behind her in many shots. Then he started flashing an impishly genial smile. There, behind those Clark Kent glasses, was Richard Davis, the super bassist and beloved Madison music educator.

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A simple solo Cello library that sounds great, makes for quick work, and is easy to play. What’s not to like

Chamber Strings might have the most extensive articulation set of any chamber string library. See what happens when small ensembles meet a large hall.

Damned by the faint praise of one jazz critic, who described him as the “middleweight champion of the tenor saxophone,” Georgia-born Mobley was often eclipsed by the work and reputation of fellow tenor players John Coltrane and Sonny Rollins. Though not a jazz pathfinder, he was prolific and produced a formidable body of work for Blue Note between 1955 and 1970. His 26 albums for the label are all strong, but none are quite as perfect as Soul Station. Surrounded by the supreme talents of Wynton Kelly, Paul Chambers, and Art Blakey, Mobley delivers a masterclass in relaxed hard bop. A sublime mellow version of Irving Berlin’s “I Remember” sets the tone for the album, which also includes four strong original numbers (“Dig Dis” is the best of them) that demonstrate Mobley’s unsung abilities as a composer. Earns its place among the best jazz albums of all time by being one of the best albums on Blue Note.

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ASHKAN FAKHR TABATABAIE’s artistic and scholarly works are interwoven. Thanks to his different backgrounds, ranging from engineering to music composition, and his exploration of music psychology, he has reached an interdisciplinary approach between science and sonic art. He applies psychological, mathematical and conventional music theory considerations to his works, many of which have been published and performed. In the process of musical composition, he schemes an aesthetic model based on subjective emotional reflections. Afterwards, by exploiting the existing music cognition findings or designing new studies, he tries to find a way to make the model as widely perceptible as possible. Currently, he is a composition PhD student and Graduate Teaching Assistant at the University of Utah. He has also studied at Tehran University of Art and Azad University and taught at Iran University of Applied Science. His other interests are sonic art legal protection, marketing and therapy.

The austerity of German New Wave’s enfant terrible and ridiculously prolific Rainer Werner Fassbinder’s emotionally sadomasochistic romance/character study is a bit of a joke. In the tormented relationship between Petra (Margit Carstensen), her muse Karin (Hanna Schygulla) and Petra’s silent and subservient assistant Marlene (Irm Hermann) is an air of deadpan terror and eroticism. Fassbinder distributes power unequally amongst the trio: Karin has her way with Petra, going hot to cold from one line to the next, while Petra regularly dismisses and disregards Marlene. The women around Petra von Kant—her mother, her friend, her daughter—all look back with varying amounts of awe and disgust as they recount their own interpersonal relationships and how those relationships are connected to Petra’s sense of self.

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Still playing today, aged 80, this Detroit drummer’s career began in the late 50s when he recorded with Horace Silver, John Coltrane, and Cannonball Adderley. Hayes’ specialty is his ability to provide a hard-swinging, free-flowing rhythm track that is sensitive to the needs of the soloists.

Montgomery's uncanny ability to hear, feel, then adjust to a musical environment is well demonstrated by his performances in both the Holland and England sessions. The adjusting isn't a one-way street. While the rhythm sections listen and anticipate Montgomery, he does the same thing with their contributions and you'll find him making sensitive adjustments according to what unfolds. Montgomery leads, but it's collaborative leadership not blind follow-the-leader sets. With Montgomery, it's a matter of let's take who we have and what we have and mine it for the joy it has to offer. There's dialog, action, and reaction, with the reaction just as often as not coming from Wes.

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Long before the arrival of LSD and Dr. Timothy Leary, Scriabin established “trippy-ness” as an aesthetic goal in his music. And in his first single-movement sonata, the Sonata No. 5 in F# major from 1907, we catch him tripping in mid-flight.

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Lee Perry was fresh from five years of rip-offs at Studio One when he landed himself in Gibbs’ camp. Perry added greater textural depth to Gibbs’ productions, introducing some of the wildcat percussion and psychotic voices that would frame his later work on songs like ‘Kimble’, a dramatic reworking of Stranger and Gladdy’s superb ‘Seeing Is Knowing’, which he’d also assisted with. Other Gibbs-issued tracks in this era by the Mellotones, Cool Sticky, the Overtakers and the Pioneers all bear the hallmarks of Perry’s involvement, and this one-off swipe at Coxsone’s head is pure Perry, a playful jibe at his former boss atop another great Lyn Taitt rhythm that holds plenty of bile and bite.

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Review - Three Great Kontakt Libraries from Indiginus

HOP Timpani: Immediate, big sound, easy to play. Loud hits lack just a bit of melodic content in the sound.

So. who's got the best timpani

Is this a tool just for media producers or it could serve as an ultra up-to-date library for modern Chill - Trop House production? A gift from the past for all our future needs?

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The discs are being sold individually as well as in a set including a DVD with extra footage. They are on the Reelin' in the Years label, released by Naxos.

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It could be a scene culled from a classic detective picture: Masked by shadows, a tall man, clad in a trench coat and a tough-guy fedora, strides down a dark alley. Bouncy jazz plays in the background. Our hard-boiled hero finds a door and pushes.

Another selling point is that the shows feature the mesmerizing Eric Dolphy on alto sax, flute and bass clarinet. These are some of the Dolphy's last-known recorded performances since the musical genius died three months later, on June 29.

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Duke Ellingtons 1958 Holland concert is, amazingly, the earliest known footage of a complete Ellington concert. Capturing the band at it's last peak, the band still featured it's all star reed section of Hodges, Carney, Hamilton, Procope and Gonsalves. The clarinet trio during "Creole Love Call" is rich and absorbing. Clark Terry gives a stunning treatment of "Harlem Air Shaft' on his golden trumpet. Hodges' alto work on "All Of Me" is as silky and smooth as anything you could wish for. The band is raucous and rocking, and Ellington keeps them together with his traffic cop directions. This is as close as you'll ever get to seeing this band live if you are from the boomer or later generation.

Best Jazz Albums: Essentials You Need To Hear

His RWBY video includes several quotes, Tweets and segments from interviews with Monty, Miles and Kerry where they make crass jokes about the protagonists and their bodies. Many of these immediately cut (https://yamamotonight-m.ru/hack/?patch=6483) to one of the trio noting that Weiss, Blake and Yang were all seventeen at the start of the series, while Ruby was just fifteen.

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Soon, broken caskets litter the entire road. The cause of the coffin calamity is revealed when Teresa sees that an open-back truck transporting caskets has collided into the mountainside, killing its passengers. The scene is oddly pleasant, though, as opportunists have quickly begun selling off the least damaged goods to a line of passersby, both seeming giddy about the exchange. Death is pervasive in the film, but it is often funny, and coincidentally Teresa is on her way to a funeral. Her grandmother—the beloved matriarch of Bacurau, a small Brazilian village where she grew up—has died. The entire town mourns her death, oblivious to the fact that their little village is slowly, literally, being erased from the face of the earth. Here, what has seemed like a horror film morphs into a weird Western that incorporates psychoactive flora, a seemingly benign history museum, and even an apparition or two. That’s not even counting the UFO. Bacurau is wildly creative, and its hilarious, Dadaist aura provides an uncanny comfort despite ample bloodshed. This is not to say that it’s without heart-wrenching loss and tearful contemplation of a world on fire.

She's featured here filming in a Swedish television studio session in 1958, performing at an auditorium in Holland that same year and, several years later, performing at an auditorium in Sweden. She works comfortably with two different piano trios, interpreting songs that show her at her best. Up-tempo romps such as "Cherokee" and sultry ballads such as "Lover Man" reveal the depth of her repertoire. Vaughan, sensitively supported by her sidemen, interprets each song with a veteran's confidence.

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Like most collector’s items with vinyl, it’s all about limited runs and scarcity. That, and one-off pressings or foreign versions of iconic albums. Another thing to consider is the label itself. Oftentimes, an act will release an EP or LP through a handful of labels (or sometimes sub-labels of the overarching label). Some of these labels are long gone and therefore have accrued a sort of nostalgic value.

The new titles, released on September 4th, each contain more than an hour of classic jazz performances filmed in Europe between 1958 and 1966, most of which have been hidden away ever since in the vaults of European television stations. In addition to Mingus, there are concerts by Dave Brubeck, John Coltrane, Duke Ellington, Dexter Gordon, Wes Montgomery and Sarah Vaughan.

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Various Artists: Jazz Icons Series 2

Wes Montgomery - Live in '65 puts the great guitarist in various studio settings for a program of mellow blues, standards and some pop pieces. Montgomery was clearly enjoying the exchanges and banter with his mates, whether they're a Dutch rhythm crew (the first set, New York pals during the second session (though it was cut in Belgium) or with the pickup British crew that accompanied him on the last tunes. Some of the participants include the very young drummer Hans Bennik (now among the most famed percussionists in the European avant-garde), pianist Harold Mabern and drummer Jimmy Lovelace or English bassist Rick Laird, who'd later become much better known as part of the Mahavishu Orchestra. But most importantly, you see through tight close-ups the extraordinary and individualistic Montgomery guitar technique, especially his use of the thumb in his playing.

Sir Elton’s best offering is a majestic piece of piano pop and glam rock gold. Most artists can only produce six or seven great tracks in an entire career. Here, they fall on a single record—an impressive feat atop a career that was already extremely impressive at this point. Many see it as Elton John’s magnum opus or the album that made him a household name. The record includes hits like Benny and the Jets, Saturday Night’s All Right For Fighting, Harmony, Candle in the Wind, and Sweet Painted Lady.

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The Larghetto that follows, however, is in dead earnest in its lyrical intentions although experimental in their implementation. Written in a highly unusual 5/4 meter, its rhythmic pulse is somewhat difficult to pin down. The ornamentation of the right-hand melody into prime-number groupings of 3s, 5s and 7s against a stable left-hand accompaniment of duple 8th notes presages the operatic arias of the concerti slow movements and the moonlit meditations of the nocturnes.

Organism in Kyoto for some slabs of racket. The A side sees the duo in collaboration, whilst the B side is solo sessions that took place after the joint performance.

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When Duke Ellington mentioned the freedom associated with jazz, he was talking about the expression of the mystery of composition and expression. The way a standard melody like "My Favorite Things" can be transformed under the fingers of John Coltrane into something wild and inventive and passionately individual. It's the essential idea of the American experience, wrapped up in the modernist dictum of Ezra Pound: "Make it new" And that's exactly what you're watching in these sets-musicians experimenting and innovating, making the old new, and nightly producing sounds that had not been heard before.

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In February 2021 I went to New Orleans, where I grew up, for the first time since having begun my field recording practices. It was bittersweet and illuminating in the way that only a trip home after a long absence can be. I was there during Mardi Gras, which that year coincided with my birthday. I recorded favorite places from my past, the chaos of the crowds, casinos, parades, and long conversations with my mother, the results of which became the skeleton of the pieces on Whole Stories. While talking with my mother, certain themes began to emerge – the idea of luck (in the casino, in relationships) and whether believing in luck blunts one’s personal agency. If you believe, as she stated at one point, that “everyone in our family had a rotten life,” will you have one too, or if you are aware of patterns can you sidestep them? Do we internalize these ideas without being aware of them by steeping in them long-term? The resolutions to these questions still play out in an open-ended way in my own life, so I can’t really offer any definitive answers, but I felt like the questions themselves were universal and that hers was a voice I was compelled to give an audience.

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NICHOLAS CLINE writes acoustic and electroacoustic music – often a quiet music with an emphasis on subtle, nuanced sounds. Deeply influenced by the natural world, his music often draws on sensuous as well as intellectual experiences of nature with the belief that music should reveal, challenge, and shape the listener’s understanding of the world. His music has been performed by the International Contemporary Ensemble, Northwestern Contemporary Music Ensemble and he has been commissioned by Jeff Siegfried and Jena Gardner. His music has been presented at festivals in the US and in Europe. He is featured on the SEAMUS electroacoustic miniatures recording series: Re-Caged and is a High Concept Labs sponsored artist. He holds degrees from Columbia College Chicago and Indiana University. He is currently completing his doctorate at Northwestern University and teaching at Illinois College.

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A leading exponent of hard bop and a founder member of The Jazz Messengers in the 50s, Horace Silver was a Connecticut-born pianist/composer who was instrumental in establishing the two-horn frontline as de rigueur in post-bop small-group jazz. During his 28-year stint with Blue Note he produced many fine albums, but few as truly satisfying as Song For My Father, whose immortal title track is defined by infectious horn motifs and a loping intro (famously borrowed by Steely Dan for their 1974 hit “Rikki Don’t Lose That Number”). Recorded in three separate sessions between 1963 and ’64, the album featured two different incarnations of Silver’s quintet, though it’s the four songs by the newer line-up (featuring trumpeter Carmel Jones and saxophonist Joe Henderson) that impresses the most. Song For My Father remains Silver’s most seminal work.

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If not, Varda wonders, then why not? Shot practically in real time, Cléo from 5 to 7 waits along with our character as she waits for life-changing news, floating from coffee shop to home to park to wherever, not doing much of anything with the life she has, the life she may find out she’s losing soon enough. She watches a silent film featuring cameos by Jean-Luc Godard and Anna Karina, meets a soldier on leave from the Algerian front (Antoine Bourseiller) who confesses he believes people are dying for nothing, drives past a murder scene and senses that the universe maybe has misdirected her bad luck towards another soul.

Captured with his "classic" quartet with altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello, pianist Dave Brubeck is captured on film in Belgium (64) and Germany (66) performing some of his best known pieces. The 64 Belgium version of "Take Five" is in many ways superior to the original, as the band seems completely relaxed with the adventurous rhythms. Visually, the band is a treat; almost all bespeckled and dressed in shark-skin suits, the band looks more like a reunion from "Revenge Of the Nerds" than trend setting artists. The visual rapport between all 4 musicians is palpable; these gents truly enjoyed playing with each other, and dug the music that they were performing. The reserved Belgium audience, while being filmed seems to be experiencing a group bad hair day listening to this fresh and vibrant music.

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Annihilation is a film about exploration and self-discovery. For its first two-thirds, it plays out sort of like a road movie and its score, composed by Ben Salisbury and Portishead’s Geoff Barrow, mimics that form. It’s filled with scratchy guitars that evoke a dusty Western sentimentality, as the five members of the research team sent into the Shimmer take in the wonder and the beauty of this mutated world as the terrifying consequences linger in the background. But as Natalie Portman’s character forges ahead into the film’s final 30 minutes, the music takes on a distinct shift. The surreal closing sequence — which acts as an homage to 2001 and, more recently, the mirrored nature of Under The Skin — is where Barrow’s handiwork really comes into play. The stabbing synths in “The Alien,” the track that plays out over the film’s climax, are disorienting and nausea-inducing. It’s one of the best music cues in a movie this year, though I’m a little miffed that the film’s trailer used them so frequently as it sort of lessens their effect in the film itself. But divorced from that context, down the line the last moments on Annihilation will be something to be treasured — an ambitious impressionistic dance to human nature’s inevitable end.

Prior to their beef, Tyga and Drake linked up for a collaboration titled "Still Got It" that was well-received by fans and radio alike. Drake dominates with the hook, singing, "I feel good / Got some time off, Girl it's been so long / Did you have fun? Cause I'mma need a cab just to get me home," while attempting to rekindle the flame with a love from his past. Tyga comes through with a candid opening verse, rhyming "Probably one of my realest loves ever, four page letters / In time it’s all better, ‘cause time heal whatever / I'mma need a moment cause moments last forever / Cars with cream leather, females are on regular," and lamenting the effects long-term commitments.

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His experience with this group led to his allowing a large degree of freedom to the performer, especially in Aus den sieben Tagen (1968), a set of prose poems intended to stimulate the musician’s intuition. With Mantra for two pianos and electronics (1969–70) Stockhausen entered a new phase, basing each work on one or more haunting melodies. Sometimes, as in Mantra or Inori for dancer and orchestra (1973–4), the result is a massive, continuous development; in other works, such as Musik im Bauch for six percussionists (1975), the emphasis is on the ritual enactment of a musical fable. The orchestral Trans (1971) combines musical strength with dramatic effectiveness, having the strings alone visible, placed behind a gauze and bathed in violet light, while the other sections are heard from behind. The natural next step was opera, and Stockhausen took it in a typically grandiose manner, embarking in 1977 on Licht, a cycle of seven operas for the days of the week: Donnerstag (1981), Samstag (1984), Montag (1988), Dienstag (1993), Freitag (1996), Mittwoch (1998), and Sonntag(2003). Each is a mosaic of self-sufficient scenes for various combinations of singers, instrumentalists, and dancers, often with electronic means, and the libretto is a collage of autobiography and myth. Large roles were assigned to members of the composer’s entourage, especially his sons Markus (trumpet) and Simon (electronic keyboards) and his regular companions Suzanne Stephens (basset horn) and Kathinka Pasveer (flute), all appearing on stage in costume. Neither Mittwoch nor Sonntag has had a complete staging. From the early 1950s to the end of the 1970s Stockhausen had an enormous influence on younger composers, and he travelled the world lecturing and performing.

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In 1839 Chopin composed (https://yamamotonight-m.ru/hack/?patch=787) three etudes for inclusion in the Méthode des méthodes (1840), a comprehensive piano instruction manual published by the Belgian music educator François-Joseph Fétis (1784-1871) and the Bohemian pianist Ignaz Moscheles (1794-1870). By no means as technically challenging as the composer’s daunting Op. 10 and Op. 25 sets, these “new” etudes assigned the aspiring pianist tasks of a more concentrated, distinctly musical nature: how to maintain interest in a melodic line set within accompaniment patterns that vie with it for the listener’s attention.

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The April 4 session in Belgium is much more serious. With pianist Harold Mabern, bassist Arthur Harper and drummer Jimmy Lovelace, the guitarist moves faster with a steely drive.

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Smith is at her best in those compositions that explore multiple dynamics — once again, her ability to shape and control the power of the vocal and the performance — where she can modulate from whisper to shout to high priestess, calling the tribe to order on epic journeys like “Land”, “Gloria”, or even “Birdland”. But it’s important to remember that she would break through to the mainstream with “Because the Night”, a love song, and it’s not accidental that that’s one of the few songs others have dared to try to cover over the years. Her energy has not waned with the years; if anything, she’s more comfortable with it now, more in control, more willing to let the throttle back a little — although just a little.

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Seriously, though, there are still a few weeks of the regular season left, and then the playoffs (which - yes, I know - my Oakland A's won't be participating in). So that means whatever TV time I have available in the coming weeks will likely be spent watching grown men play a child's game.

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A Philly native, Gravatt took over from Alphonse Mouzon in Weather Report’s drum chair in 1972 and played on three of the band’s early LPs – his propulsive, polyrhythmic style undoubtedly imbued the group’s music with a primal, fiery energy (especially on their Live In Tokyo LP). In the late 70s, Gravatt, unable to support his family as a musician, became a prison guard for several years. More recently, he has played with McCoy Tyner.

While there's something to be said for each video, the John Coltrane stands out, showcasing three different groups in three different phases of his career. There's a 1960 date with Miles Davis' rhythm section and guests Oscar Peterson and Stan Getz. There's the early quartet with Eric Dolphy just a month after the famed Village Vanguard dates in 1961. And there's his classic quartet in 1965, launching into the stratosphere shortly before disbanding. Three sessions for Charles Mingus were all filmed within the same week and feature arguably his best band ever, with Eric Dolphy, Jaki Byard, and Clifford Jordan. Cool, debonair sax man Dexter Gordon is superb, filmed in the era of his best work for Blue Note. Likewise, the not-often-seen Wes Montgomery demonstrates why he was the pre-eminent guitarist of the day. The Duke Ellington Orchestra from 1958, the divine Sarah Vaughan, and the ever-popular Dave Brubeck Quartet with Paul Desmond all shine brilliantly as well, preserved by a Continental standard that knew better.

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The last TV show is hosted by jazz club owner Ronnie Scott and has titles and introductory commentary by Scott to each of the five tunes. The situation is a bit more formal and Montgomery seems less at ease, but continues to play superbly. A couple of the tunes are duplicated among the three sources, but this provides an opportunity to compare their differing treatments, just as different versions of tracks on reissue CDs. The sound is excellent on all three sections, though of course mono. The picture, although black & white, is also very good. The note booklet is a gem of fascinating reading. Jazz Icons has done a good turn for jazz fans everywhere by digging up and presenting these jazz time capsules!

Now something of a classic in French music, the album laid the groundwork for what was to come. Its success was a freak occurrence, though, and Gainsbourg would toil in the frustrating zone of critical acclaim without chart success for the bulk of his early career, writing songs for others to make money while having the Philips label bankroll his inspired yet eccentric genre experiments. We’re off to a great start, but the best is yet to come.

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JOHANNA BEYER (b Leipzig, 11 July 1888; d New York, 9 Jan 1944). American composer of German birth. She moved to the USA c1924, where she studied with Dane Rudhyar, Charles Seeger, Henry Cowell and Ruth Crawford. She was a close associate of Cowell’s, acting as his administrative assistant during his San Quentin years. Despite prolific composition between c1932 and 1940, she was largely ignored as a composer, even by the experimental music community in New York to which her music most appropriately belongs. Several of her works from the early 1930s, particularly those for the piano, show the influence of Crawford and Seeger in their use of dissonant counterpoint; the works for percussion are particularly innovative. Formalist tendencies are combined with a quirky sense of musical humour in the two string quartets. At the time of her death, Beyer’s compositions had received few performances.

A Strange Diversion is a real-time composition for two synthesis systems: Stephen Ruppenthal performing on a vintage Buchla Music Easel analog synthesizer and Brian Belet performing using the Kyma digital sound design system. Following a time line score of gestural and episodic styles, the performers improvise within a consistently evolving soundscape. What is presented here is therefore an aural snapshot of one incarnation of this composition. The title is an homage to Allen Strange (1943-2008), a good friend and mentor for both of us.

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Created in my teens, Loretto Alfresco (1970) is a musique concrète miniature comprised entirely of “found percussion” sounds. It was recorded under a tree on a small Wisconsin farm belonging to my sister; the percussionist is my childhood friend Tom Loretto. After resting comfortably in my archives for nearly four decades, Loretto Alfresco was premiereed during the first New York City Electroacoustic Music Festival (2009).

Building a history with an artist is significant to Winter too, who puts so much of his sensibility into the label. Based in Munich, Germany, W&W has an international reach (Allegro handles North American distribution), but retains a European point of view.

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The Prelude in D major Op. 23 No. 4 is a lulling nocturne. Its melody sings out from the middle of the texture, swaddled at first by a sonic glow of bell-like overtones, then topped with a gently undulating descant, and finally crowned with echoing chimes in the highest register.

Reflecting a European love for both jazz and cinema, the camerawork, with its dramatic use of shadow and image, is a perfect visual match for the music. It's almost as if a modern master cinematographer, say, a Sven Nykvist, were filming the close-ups and selecting the moving images capturing the spontaneous, joyful interaction that bonds the four improvising musicians.

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She holds a Master’s degree in Music Composition, Honorable Mention, from the National Autonomous University of Mexico (2021) where she studied with Gabriela Ortiz and Carole Chargueron. She also completed a Bachelor in Composition at the Pontifical Catholic University of Argentina (2021) with Marcelo Delgado and Marcos Franciosi, and a Bachelor in Music, Meritorious Distinction, at the National Pedagogic University (Colombia, 2008). She has attended workshops with Luca Belcastro and 4mil Quartet of Saxophones, with Gerardo Gandini and Compañía Oblicua Ensemble, and with José Luis Castillo and CEPROMUSIC Ensemble. Her music has been performed at Argentina, Colombia, Mexico, USA, Spain, Italy, Bolivia and Brazil.

The Intermezzo in C# minor Op. 117 No. 3 is a musical cabinet of curiosities. Its modal folk-like melody is presented austerely at first in bare-bones octaves that alternate with more fulsome harmonized settings, many of them featuring the tune buried the middle of the harmony. The middle section in the major mode scatters a rainbow of tonal colours in widely spaced sonorities over a full five octaves of the keyboard, each phrase predicated on the resolution of a series of syncopations across the bar line. Particularly captivating in this intermezzo is how teasingly irregular it is, almost entirely laid out in five-bar phrases.

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The Op. 23 set of preludes begins with a whimper. The hauntingly fragile melody of the Prelude in F sharp minor Op. 23 No. 1 calls out tenderly in timid, tentative phrases to an almost indifferent accompaniment of constantly wavering chromatic figures. This is Rachmaninoff at his most intimate, his most confessional, his most vulnerable.

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Dodge became active as a composer of computer music in the mid-1960s, seeking to extend the compositional technique and expressive range of this medium. Earth’s Magnetic Field (1970) is a musical rendition of the effect of solar radiation on the magnetic field surrounding the earth. Speech Songs (1972) was his first work for synthesized voice; using sophisticated computer techniques he created a variety of vocal sounds which lend humour and irony to the text (by Mark Strand). In Cascando (1978), a setting of the radio play by Samuel Beckett, the voice of a live performer, the Opener, ‘controls’ two computer-synthesized audio channels, Voice and Music. Dodge’s works from the early 1980s focus on the confrontation between new, often dehumanizing technology and the musical expression of human thought and feeling: in Any Resemblance is Purely Coincidental(1980), an operatic voice (originally that of Caruso) searches in vain among various computer sounds for a fitting accompaniment.

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Schumann and Chopin knew each other and each other’s work. How intriguing, then, to compare music by both in the revised first half of Evgeny Kissin’s long-awaited return to the Vancouver Recital Society.

He does most of the heavy lifting on this number, but Tyga's contribution is far from minimal. The rapper delivers one of the most memorable lyrical performances of his career, starting with the opening bars, where he spits, "Used to be valentines, together all the time / Thought it was true love, but you know women lie," before delving into the meat of his verse.

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Atmospheric music plays oh so well through vinyl. Especially if you have a decent setup and it’s Sigur Ros you are playing. The Scandinavian stalwarts of ambient glory never let you down and this album is arguably the band’s most animated and energetic. If you want a rollercoaster ride of ups and downs and all kinds of emotive energy, this one’s for you. Also, it’s on the earlier side of Sigur Ros releases so it will probably gain in value over the years, provide you treat it well.

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There’s a long history in using electronic modulations on instrumental sounds. Warren Burt looks at a few of the possibilities, including Spitfire Audio’s new Kepler Orchestra.

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Legendary harmony trio the Heptones have convoluted beginnings. During the mid-60s, Earl Morgan and Barry Llewelyn had been singing together informally with a number of other people on the Trench Town streets, including Glen Adams. Once Leroy Sibbles joined with Barry and Earl and assumed leadership of the group, the line-up solidified and Sidney Crooks of the Pioneers brought them to the Caltone label, where they recorded their first sides, including the topical ‘Gunman Coming To Town’. A move to Studio One brought not only their island-wide breakthrough, but some of the greatest reggae records of all time, and once Jackie Mittoo directed Sibbles to the bass, he created some of the most memorable lines in reggae history.

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After making his recording debut as a 19-year-old on Miles Davis’ jazz-rock game-changer, Bitches Brew, in 1970, the New York-born White became the drummer with Chick Corea’s band, Return To Forever. With a vigorous, energetic style that drew on the vocabularies of both jazz and rock, White was key architect in the foundation of jazz fusion drumming, and stands as one of the best jazz drummers to emerge in the 70s.

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On the first day, Akerman establishes Jeanne Dielman’s quotidian, an architecture of perfectly calibrated chores, meals, joyless sex, vigorous bathing and thankless evenings spent with her aloof wad of a son (Jan Decorte), all of which she assembles seamlessly seemingly for him, and for no one else. On the second day, a few items go awry, Jeanne overcooks the potatoes and remainders begin to appear in the facade of her daily algorithm. On the third day, chasms open in the midst of her everyday pattern, Jeanne unable to fill that space with anything at all, because she has nothing save for that structure, no passion or personality besides the ways in which she coddles her progeny and basely satisfies her clients. In the midst of literal minutes’ worth of Jeanne sitting, staring, silent, Akerman introduces tension by default: When Jeanne Dielman can no longer be manifest through her methodical fulfilling of the mundane, does she even exist anymore?

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Few Jamaican record producers have achieved Joe Gibbs’ level of international success. His astute marketing of acts like Culture and Prince Far I and the impact of his African Dub album series helped take reggae to a global audience; he also brokered a record deal for singer Dennis Brown with US label A&M and his work with Jacob Miller was issued by RCA Brazil — some of the first reggae to ever surface in that country.

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Harnetty’s music is on Dust-to-Digital, Atavistic, and Scioto Records. As an author, Harnetty has written for New Music Box, Experimental Music Yearbook, Sound Effects, and Cultural Studies. In 2021, he was the recipient of the Creative Capital Performing Arts Award and the Ohio Arts Council Individual Excellence Award. He has received additional support from the Wexner Center for the Arts, Duke Performances, Contemporary Arts Center (Cincinnati), the National Performance Network, the Ohio ArtsCouncil, and the Promusica Chamber Orchestra. His 2021 release, The Star-Faced One: from the Sun Ra/El Saturn Archives was MOJO Magazine’s Underground Album of the Year. A new recording based on the Berea Archives was recently released on Dust-to-Digital, called Rawhead and Bloodybones.

The Dutch trio of players includes the top drummer Han Bennink, and Wes has some informal instruction of pianist Pim Jacobs on one tune. Montgomery is very relaxed and informal, but uses some very advanced musical terminology, demonstrating that he put a great deal of thought into his unique style of playing. On the Belgian TV date he is joined by the rhythm section from NYC which was to stay with him for the European tour. Harold Mabern is the pianist, and the quartet really swings on the four numbers seen.

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It is always wonderful to see footage of John Coltrane, making his Jazz Icons release a special event of sorts. Live in ’60, ’61 & ‘65 presents Trane in three European broadcasts, all shot in black & white but quite clean considering the age in the video end and good sounding audio. The first is from Germany in 1960 with “On Green Dolphin Street” leading off a five song set featuring what was actually the Miles Davis Quintet without Miles. Coltrane is joined be fellow bandmembers Wynton Kelly, Paul Chambers and Jimmy Cobb, with some special guests joining in. Stan Getz sits in on tenor for the last two songs, “Moonlight In Vermont” (the third of a three song medley comprising chapter 4) and “Hackensack,” and Oscar Peterson takes the piano chair for the latter. The last two concerts feature Coltrane with his famous quartet, including McCoy Tyner and Elvin Jones.

This is an electroacoustic piece composed completely with sounds of a Flute in C. It is an excursion across past memories that seem to be intact in spite of time, as if they had been tattooed on the skin. The structure responds to the perceptual experience of three semantic dimensions of timbre: brilliance, mass, and texture. In terms of brilliance, the beginning of the piece explores the higher part of the register and also presents sounds with strong spectral centroid fluctuations that disappear according as more brilliant sounds fill the space. Meanwhile, mass is approached like an additive process of thickening that is completely reached in the transition from the middle to the final part. Finally, texture is developed as a gradual process from roughness to smoothness. This multidimensional experience of timbre is related in the piece to the overwhelming act of remembering.

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The most amazing thing about this record is its ability to beautifully capture what it means to be alive in the world in 2021. Equal parts claustrophobic, anxious, tender, triumphant, and intrepid, it’s the album of the year and one that will always provide the soundtrack to these rather absurd times. Fiona Apple is like a magician here, weaving together elements of folk, gospel, jazz, rock, found sounds, and more. It reveals Apple as on the verge of being too brilliant for her own good and you can feel that tension. We’ve all had time to wrestle with our own mounting thoughts in 2021 but the way Apple does it here is genuinely remarkable and a joy to listen to.

The Andantino ‘slow movement’ opens with a grave evocation of stunned grief in a succession of short phrases low in the register that sigh with the fatalist resignation of the Volga Boat Song. More sanguine sentiments pervade the animated middle section, but standing apart from these contrasting moods of despair and renewed hope is a mysterious dulcimer-like trilling, commenting from afar like a bird singing in the woods. By contrast, the Commodo last movement is a leisurely salon-style piece of the utmost clarity of intention, chatty with coy intimations of the dance.

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Teen sensation Errol Dunkley began recording in the ska years before his voice broke, cutting a handful of tunes for Prince Buster, both in a duo with Junior English and on his own. Well-connected dance champion Bunny Lee, who’d been assisting various producers with record promotion, introduced him to Gibbs just after helping Gibbs’ debut ‘Hold Them’ to hit, having met Dunkley by chance outside WIRL studio, where Dunkley was hoping to audition. Dunkley had some original material to propose, but Gibbs chose to school him with foreign songs he’d picked up in Guantanamo first, leading to a successful rocksteady adaptation of Barbara Lynn’s ‘You’re Gonna Need Me’, expertly arranged by Lyn Taitt. According to Dunkley (who rehearsed the tune with Slim Smith, though voiced it solo), Gibbs acted as ‘executive producer’ on the tune, putting up the money, but largely leaving the musicians to work out their own arrangement.

The 1770s was also the period in which the harpsichord was gradually giving way to the new fortepiano, precursor of the modern grand, and there is much in this sonata to suggest that it still lingered eagerly on the harpsichord side of things, at least texturally. The kind of writing you fond in the first movement especially is the sort that speaks well on the harpsichord. Moreover, there are no dynamic markings in the score, as you would expect in a piece that aimed to take advantage of the new instrument’s chief virtue: playing piano e forte.

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VSL is still my main choice for most projects as it blends so well and cuts (https://yamamotonight-m.ru/hack/?patch=3169) through, but HZ usually does as well. I've only soloed the Sonuscore stuff as I've been super-busy since NI Komplete 12 arrived. My BFD Orchestral is up for sale, partly because of the comment "no rolls" that I qualify that ranking with. Great recording quality though, as is Xsample.

The photos accompanying Caine's recent Live at the Village Vanguard are a literal relation. Taken on the nights of the recording, the photos work with the music to create a complete documentation of a working band.

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Chopin’s career played out in two decades that were a charmed moment for the piano and piano composers. He released small-scale works regularly; the more accessible of his pieces fueled demand for his more adventurous works. When he withdrew from active concertizing, his compositional desire to explore, innovate, and experiment had free rein. Robert Schumann might have followed a similar path had he not abandoned piano performance even before his intended career trajectory was launched (due, so the legend goes, to a hand injury).

Yup, a 2021 album can certainly be on the list, especially when you’re Kamasi Washington. The saxophonist and brilliant orchestrator is behind some of the best, most thought-provoking instrumental music out there today and it fares extremely well in vinyl form. This album in particular is grand and orchestral, just the thing for a spin on the old turntable. It’s an odyssey each and every time, like a nowadays jazz take on Dark Side of the Moon (which you should obviously also listen to on vinyl).

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Simple enough to call them “night pieces”, but this misses two important bits of their musical DNA. Chopin transferred the singing lines of opera into keyboard guise – pianistic bel canto, if you will. The many and varied nocturnes can be considered prime examples of cavatinas for piano: plenty of emphasis on a singing right hand, with lots of flourishes and subtle bits of decorative embellishment.

Chromatix is Hideaway Studio’s latest collection of marvelous sounds of antique electronica. If such is your cup of tea, you will be most interested in checking this one out.

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But to make sure you can't possibly solve it before Sherlock does—because he's supposed to be the most amazing, special boy in the world—they can't risk giving you too much information. So they craft a story in which you're shown basically nothing, and then told, "Bing!

The Nicky Thomas story is of made up of brilliance and tragedy in equal measure. Born Cecil Thomas in eastern Jamaica, he worked as a builder after moving to town, labouring on the same site that gave rise to the Gladiators (whose early work was given financial backing by the mason Leebert Robinson). Thomas’ highly-charged debut for Derrick Harriott, ‘Run Nigel Run’, was credited to the Chuckles on its UK release, and although locally popular, Thomas still had to sweep the floor at Joe Gibbs’ premises to get his foot in the door.

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Bowie’s discography is marvelous from start to finish but there’s something both glorious and haunting about his final work. Black Star is the ultimate mic drop, a gorgeous parting statement from one of rock ‘n’ roll’s most towering and fluid figures. It eulogizes his passing with immortal sounds that will fill up “best of” lists fifty and a hundred years from now. We don’t need to get into Bowie’s prior work because we all know how special it was. But do go out this way is utterly graceful. He earned every right to phone in his last album but instead he did the opposite.

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This Missouri drummer has played on pop sessions for Madonna, Paul Simon and Robert Palmer, but is best known by jazz fans for his work as part of Chick Corea’s Elektric Band during the years 1985-1991. Technically brilliant as well as able to conjure up a commanding visceral power, Weckl is an accomplished bandleader in his own right who has written books and produced videos that give insight into what it takes to be one of the world’s best jazz drummers.

While today some critics view this "leaving one foot on familiar ground" a lack of technical prowess or insufficient complexity, the ability to say neither more nor less than necessary to make a complete artistic statement is the hallmark of a fine player. Complexity for its own sake can dazzle, but falls short of reaching the heart. The principle of "neither too little nor too much under the circumstance" is a hallmark of effective art in any medium. In music, it's the great player-listener that senses the difference.

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If you use solo strings in your music (or want to) then read this to find out if the Embertone Friedlander Violin for Kontakt could be the one for you. Our reviewer thinks it's pretty special.

He believes that The Room is a close impression of how Wiseau saw an actual breakup. This means it (unintentionally) works very well as a statement about how bad relationships warp your perceptions, with the nonsense characterization, rampant misogyny, and Random Events Plot being a symptom of the fact that Wiseau's viewpoint wasn't healthy or accurate.

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It begins in the low register of the keyboard with a mysterious march of uncertain import. What begins in imitation of the clop-clop of horses’ hooves in a military parade soon drifts almost imperceptibly into the gentle lilt of dance music in an elegant aristocratic salon. Wide-spanning arpeggiated passagework links the various sections of the work that move through moods of restless anxiety to forthright defiance, and, finally to the exultation of military triumph, evoked in a strutting cavalry march.

What's interesting about my wife's comment regarding the joy Montgomery's music brought to our house is that she made it without seeing the DVD. Few people could watch these sessions without smiling with Wes Montgomery as he experiences the joy of making music. It is watching Montgomery perform and seeing as well as hearing his reactions to the other musicians that will convince you of what a great listener he was.

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Etude 5 Pour les octaves finds Debussy in the most extroverted mood, summoning up the spirit of the waltz in voluptuous eruptions of sound echoing up from the bass, reminiscent of Ravel’s La Valse or Scriabin at his most manic. The undulating mix of octave leaps both large and small requires a jack-hammer hand in a velvet glove.

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Gritty like The Godfather or the work of Martin Scorsese, Gomorrah depicts five microcosmic stories of the brutal underground mafia scene in Naples. The cast of largely untrained actors only enhances the film’s grim authenticity, and that authenticity is bolstered by the fact that the film’s source material, the bestselling book of same name, required author Roberto Saviano to get a permanent police escort.

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Gainsbourg’s score for Slogan featured some of his first collaborations with a young composer and arranger by the name of Jean-Claude Vannier, who showed a risk-taking enthusiasm and experimental methodology that deeply resonated with Serge. The title theme to the film is one of their most beautifully somber and mesmerizing collabs, and it’s one hell of an intro to their partnership, featuring Vannier’s trademark fusion of Middle Eastern harmonics and sweeping classical melancholy, anchored by a deep funk groove and exotic double-reed woodwinds.

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Handy's raunchy classic, yet they still manage to maintain a tremendous amount of intensity while applying subtle hints of Latin themes. The band is clearly having a good time as they bounce through the playful "Three To Get Ready," and they remain effortlessly cool as Desmond guides them through "Koto Song" with some buttery lines. Of course, the signature "Take Five" is featured, and unlike the studio recording, Brubeck is freed from the endless vamp, so he takes his melodies off into some fascinating Asian territories. This entire performance is filmed with an amazingly impressive array of camera angles that capture the action from above, below, up close, far away, and nearly every direction imaginable.

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It’s a great bit of added flair to a smooth and underrated album by one of Norway’s greatest electro-pop music duo acts. With the addition of Banksy well before he gained international acclaim, this version of the record is quite valuable.

The Favourite largely utilizes classical compositions, from Vivaldi and Bach and Handel, and it uses them in unique ways and to unsettling ends. Yorgos Lathimos’ twisted tale of palace intrigue is ornately disgusting — it’s 18th century England at its most grotesque and ruthless. The music used throughout does a lot of work to exacerbate the splendor, the paranoia, and the insular nature of the Queen’s inner circle. Lathimos also used classical music in The Lobster to similar effect — the way sound works in his films requires a lot of drop outs and sharp cuts, which makes the older pieces feel refreshed, like variations on a theme. One of the most striking sequences in the film is a dance scene that uses contemporary moves with a string-heavy exuberance. Lathimos really brings out the piercing quality in these classical pieces, keeping the high-octane drama while leaving out the calmer notes. It’s a perfect accompaniment to the twists and turns and personal machinations of the plot, and it lends the whole film with an air of sumptuous decadence.

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Having said that, I thought it’d be a good time to revisit the Final Fantasy VII: Advent Children soundtrack in its entirety, as there is truly a lot of great music to be heard across the two disc score. Advent Children was all about fan service, and the soundtrack was no different.

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The Blue Orb trilogy of Kontakt instruments, comprised of Triode, Saffron and Neutron excel at leads, bass and pads respectively. We take a close up look at these marvels in this review.

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My favorite Bergman film, Persona, not only acknowledges this medium but rips it wide open. Liv Ullmann and Bibi Andersson—two actresses who worked with Bergman many times—play a stage actress and a nurse, respectively. The actress has had a breakdown and been rendered mute in the middle of a performance, and she’s recuperating at a seaside cottage. This simple plot is the skeleton for a very complex examination of identity and psychology.

A liquid crystal may flow like a liquid, but its molecules may be oriented in a crystal-like way. Different liquid crystal phases appear to have distinct textures. The contrasting areas in the textures correspond to domains where the liquid-crystal molecules are oriented in different directions. Behind this scientific explanation, lies a very intimate personal story.

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The first three pieces are from an April 2, 1965 session in Holland with pianist Pim Jacobs, bassist Ruud Jacobs and drummer Han Bennink. They groove comfortably and provide a genuine look at how happy working musicians can be when they're doing what they love.

If N°4 was a work of transition fusing two disparate halves of Gainsbourg’s creative mind in the early 60s, his next two albums took those tangled streams and yanked them apart. Confidentiel, released at the tail end of 1963, was the most stripped down take on jazz Gainsbourg attempted during his life. It’s also his most minimal production on record, an album recorded in just three days after a series of live concerts and comprised musically of just Gainsbourg’s voice, the deep upright bass work of Michel Gaudry, and the darting, dancing electric guitar of Elec Bacsik, both noted talents in the jazz world themselves.

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In 2021, SampleLogic’s Cinematic Guitars introduced a new tone palette that challenged the definition of a “guitar track”. Meet the newest member of the CG family, CG Motion.

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Precisionsound’s Angleic Vocal Pads 5 is a library of vocal silkiness in the Enya/10cc tradition. If you’re looking for “that sound”, maybe you’re just found it.

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This series brings the music into the light. Seeing how Brubeck's fingers dance on the keys or Coltrane's on the horn adds another layer of pleasure to the music. I often wondered how those incredible sounds were made, and being able to see Wes Montgomery play "Twisted Blues" in England in 1965 answers (at least partially) that question. There's always going to be a bit of mystery left in the creation and production of jazz; and these DVDs don't take away that mystery, but allow the viewer a better idea of the complexity involved in the making of the music.

Wes Montgomery: Live in '65: I should probably come right out and admit I've never really given Wes Montgomery his due. Even though he was a major influence on many other guitarists I admire, I've often found his sound a little too clean and safe; his material a bit on the lounge-y side. Actually seeing him in action on this DVD hasn't really changed my opinion much, though I do give the guy props for having some very serious chops. His fluid style-fingers that glide smoothly over the fret board of his hollow-body Gibson, deft picking with his right thumb-can be quite remarkable, and his sound is always warm and full. On these studio dates he and his small (pick-up) groups are relaxed and happy; there's a nice camaraderie among the players that adds to the charm of the music. A few numbers really take off, like "Impressions" and "Four on Six," but a lot of this is still a little too smooth for my taste. Obviously, if you're already a Wes fan, your opinion will probably differ, and you'll also enjoy casual rehearsal vibe of some of it-we get to hear him discussing with the musicians how he wants a certain things played and there's a bit of banter here and there; a nice touch indeed.

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In 1967, Gainsbourg began a romantic relationship with actress, model and vocalist Bardot, who had been singing his songs since 1963. His contributions to Bardot’s rock and roll period remain iconic classics still played and covered to this day – ‘Harley Davidson’ and ‘Contact’ in particular still resonate with as much sugar and power as they did then – but it’s their duet ‘Bonnie And Clyde’ which remains truly timeless.

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Intervals is an audio-only work created as a translation of the installation Interval/Habitat, imagining how that installation’s approach to using sound and light to define movement and perception of audience could apply to a sound-only piece. The work focuses on perception of physical presence; exploring a dynamic between sounds intended to highlight the actual playback space versus sounds that represent or fabricate external, imaginary spaces.

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Sandwiched between electrifying performances, it's a fascinating piece of footage, showing the bandleader aggrieved at losing his close friend and star sideman. Dolphy, of course, would never make it home from Europe. A little more than two months later the diabetic reedist would die in Berlin from insulin shock.

Lyricism of the simplest kind also prevails in the short 27-bar Largo third movement, but of a kind more vocal in its inspiration. Its widely spaced, nocturne- like piano accompaniment of eighth notes evokes a sense of calm that makes it the emotional pivot around which the whole sonata revolves.

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The music of Serge Gainsbourg N°2 saw a shift into more exotic rhythmic templates, though, flirting with Afro-Cuban big band arrangements – the late 50s were rife with mambo and cha-cha pastiches, though Goraguer really flexes his muscle here, infusing these tunes with a strong drive and sharp, knife-point swing. While the record features a number of solid tunes (and a few examples of Gainsbourg’s obvious discomfort with his own singing voice), ‘L’Anthracite’ stands out as one of Serge’s best Latin numbers.

The first set of DVDs, all of which range between one and two hours, feature performances by Thelonious Monk, Ella Fitzgerald, Louis Armstrong, Dizzy Gillespie, Quincy Jones, Count Basie, Art Blakey and the Jazz Messengers, Buddy Rich and Chet Baker. Those came out last September and were greeted by tremendously positive reviews.

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Close-ups of Montgomery reveal many of the secrets to his beautiful sound. The thumb, the harmonic adventure, the natural sense of swing, and the ease with which he gets along with the other players, several of whom he had not worked with before, show why he was such an influential guitarist and a memorable musical voice and jazz soloist.

Construction 1 is a piece developed as a progressive elaboration of a cue from “Sonata for Two Voices” by J. Cage, a piece composed in 1933 for two undefined monodic instruments. The original work is divided into three movements, with a central fugato in moderate tempo. The thematic cue has been taken form the first bar of the first movement (a fragment of scale consisting of three descending notes) with the add of the major 7th interval taken from the third bar. This basic material was elaborated with some of the classic methods of the Renaissance imitative counterpoint (inversion, retrogradation, retrograde inversion and so on). Then I built some clusters with all the three notes playing simultaneously with a transposition on the same three notes transposed, using the lower note of the first set as starting point for the transposed set. Afterwards these clusters have been injected into an arpeggiator with some different patterns. In the middle section these patterns have been progressively altered, firstly suppressing some notes with a scheme partially derived from a Fibonacci sequence, and then overlapping more of these “punched” sequences, in order to create a dense texture, in spite of the recurring holes in each of the single sequences. The aesthetic inspiration of the work is derived from some constructivist works by László Moholy-Nagy, who invited J. Cage to be a teacher at the Chicago School of Design in 1941.

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Thelonious Monk was ahead of his time, which was why for many years his music was often misunderstood and even ridiculed. By the time that the North Carolina pianist/composer recorded Brilliant Corners for Riverside in 1956, however, he was beginning to get the recognition and accolades he deserved. In terms of its defining characteristics, the album – with its angular melodies, dissonant harmonies and jaunty swing rhythms – is quintessentially Monkish. The five-track album features a 26-year-old Sonny Rollins on tenor saxophone, slaloming through Monk’s challenging chord sequences with aplomb.

An adept musical shape-shifter who can convincingly morph from playing rock (Joni Mitchell) and country (Emmylou Harris) to pop (Norah Jones) and folk (Beth Orton), Blade has shown that there are no musical barriers that he can’t cross. Despite his myriad sideman appearances, it’s with his own jazz-oriented Fellowship Band that he’s impressed the most.

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I've looked it up and you know, isn't it all nice? Go to the evidence and maybe together we can all live in a beautiful world, soy or not. Any maybe we will be gentler and nicer that way. And if you don't, well I'll own you on the internet.

As the ‘70s gave way to the ‘80s, Jamaican popular music began shifting into a new phase. Although there were continuities that could be traced back to the ska years (and beyond), the emerging dancehall style shifted focus away from the gritty social protest of roots reggae and the dread harmony trios, making way for upstart vocalists that sang of everyday life.

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In later years, Gordon's playing would become breathy and languid, but here he attacks a series of extended solos with plenty of verve and bite. He's never been one of my favorites, so an hour-plus of his performance became something of a chore, but Gordon fans can't go wrong with this set.

Many of the original broadcasts transcend the generic, and so do these discs, which feature meticulous video and audio transfers, and excellent, if occasionally idiosyncratic, booklet notes. Several are revelatory, not least the November 1958 Duke Ellington concert at Amsterdam's Concertgebouw, Live In '58 (2/119001; 81:00) *****. Highlights include Ray Nance's trumpet on "Harlem Air Shaft," violin on "Mr. Gentle And Mr. Cool" and showmanship on "It Don't Mean A Thing"; Jimmy Hamilton, Russell Procope and Harry Carney playing clarinet subtones on "Mood Indigo"; and Ellington's own understated direction from the piano chair.

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These are not quick clips, but full hour to hour-and-a-half performances. The 'Trane DVD has 11 songs from three dates, the Ellington 14 from a date in Holland, the Brubeck 11 tunes from two dates.

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STEPHEN RUPPENTHAL and BRIAN BELET are composers and performers living in the greater San Francisco Bay area. In 2009 they founded the ensemble SoundProof with Patricia Strange.

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There’s hardly a more universal figure in the world of music than Bob Marley. This collection of hits is just about perfect, reminding the listener just how far above the reggae crowd the Jamaican icon was. There’s an almost medicinal quality to the record, never rushed, just patiently uncoiled on its own jam-centric schedule. You’ll feel better the moment the needle hits the groove, whether it’s the first or five hundredth listen.

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At the end of the day, it’s all about demand. Much like a Michael Jordan rookie card, the first release of now larger-than-life bands can be worth thousands, if not tens of thousands. Think Nirvana’s Love Buzz b/w Big Cheese EP from 1988 or The Beatles’ debut single Love Me Do from 1962.

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Brahms’ late piano works are often described as ‘autumnal’. They are seen as the products of a musical career approaching its close, combining the serene, often wistful outlook of old age with outbursts of a passion more remembered than spontaneous, more relived than urgent. And yet these late works are anything but the lesser offerings of a composer (https://yamamotonight-m.ru/hack/?patch=2794) in decline. They represent the distilled essence of his musical style, applied with the calm assurance of a master craftsman, a composer (visit the website) with nothing left to prove.

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The break-up of this understanding was presided over at the beginning of the 20th century by Arnold Schoenberg, aided and abetted by his pupils Alban Berg and Anton Webern. Of the three of them, it was Alban Berg who most felt the tug of Late Romanticism’s emotional rhetoric.

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These are live clips from European gigs, and these players are in top form. All this new technology allows for pristine remastering of long-dead (mostly) players, and the material - both aurally and visually - is sharp.

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Duke Ellington: Live in '58 - Anything captured onstage with an Ellington orchestra is a keeper. This concert at Amsterdam's Concertgebouw features the late 1950s edition that boosted Duke back into the limelight. Stalwart saxophonists Johnny Hodges and Harry Carney are at customary proficiency (Hodges, it seems, more than usual here).

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It's almost too good to be true. The new series of Jazz Icons DVDs showcases John Coltrane, Charles Mingus, and Wes Montgomery in their prime years in superb films with excellent sound. Recorded for European television, the DVDs also include invaluable rehearsal footage. The Coltrane video is astounding, tracing his evolution from melodic cascades of notes in 1960 to his ferocious excursions in1965. Along the way are performances with Eric Dolphy, Stan Getz and Oscar Peterson, not to mention his own quartet's McCoy Tyner and Elvin Jones. Mingus' all-star band - Dolphy, Jackie Byard, Johnny Coles, Clifford Jordan, and Dannie Richmond - is perched on the edge of the avant-garde. And Montgomery, who was rarely caught on film, is absolutely riveting on every innovative solo. Camera angles and close-ups allow viewers insight into his incredible thumb/octave technique. If you want to make any jazz fan deliriously happy, these DVDs can't be beat.

Apprenticed first to Charles Lloyd, then Bill Evans and Miles Davis, Boston-born DeJohnette is an eclectic drummer who can adapt to, and seems comfortable with, any stylistic setting in jazz. His style, which seamlessly combines elements from free jazz, bop, world music, R&B and rock, is singular and supremely eloquent.