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Ricardo Villalobos / Max Loderbauer: Re: ECM
by John Kelman
The concept of remix-- using studio technology to deconstruct, reshape and reconstruct extant recordings--is far from new, but the past decade has seen a considerable expansion of purview. Once more closely aligned with the club scene, remixes are no longer solely about relentless beats for dancing; instead, as Norway's Punkt Festival has been demonstrating for seven ...
Nils Okland / Sigbjorn Apeland: Lysoen: Hommage a Ole Bull
by John Kelman
The problem with being tagged as traditional is an inherent and immediate perception as being somehow retro or backwards-looking when, in truth, traditions ought to be living, breathing things whose definable frames of reference aren't necessarily confined by them. Norwegian violinist Nils Økland and pianist/harmonium player Sigbjørn Apeland know this better than most; in their 1982 ...
Paolo Fresu - A Filetta Corsican Voices - Daniele Di Bonaventura: Mistico Mediterraneo
by AAJ Italy Staff
A Filetta è il gruppo vocale che più di ogni altro, da trent'anni, porta avanti la prosecuzione e lo sviluppo del canto a cappella tradizionale della Corsica. Prosecuzione, perché è nella lunga tradizione isolana che si radica la tecnica vocale e la proposta poetica di A Filetta, nato infatti nel 1978 come gruppo di musica tradizionale; ...
Konitz / Mehldau / Haden / Motian: Live at Birdland
by Kevin Davis
It begins with a conversation between Lee Konitz's airy alto sax and Paul Motian's even more ethereal drums, and instantly the groove of this 1954 Sonny Rollins workhorse, “Oleo," feels comfortable, welcoming, and lived-in. Like much of what transpired on the December, 2009 dates from which ECM culled Live at Birdland, which plays home to this ...
Francois Couturier: Tarkovsky Quartet
by John Kelman
He may have passed away a quarter century ago, but the spirit of Russian film director Andrey Tarkovsky continues to loom large, and not just in the world of cinema. The connection between film and music has long been an intimate one, dating back to the early silent days, when pianists provided a live (and often ...
Wolfert Brederode Quartet: Post Scriptum
by John Kelman
At a time when the world is becoming an increasingly busy and, in some cases, hostile place, it's easy to forget the power of music, to create a space away from the demands and stresses of day-to-day life, where it's possible to just sit back, absorb, and become absorbed in something transcendent. Music doesn't always have ...
Iro Haarla Quintet: Vespers
by AAJ Italy Staff
Giunta al suo secondo lavoro da leader, dopo avere militato per anni nelle formazioni guidate dal marito, il batterista Edward Vesala prematuramente scomparso nel 1999, la pianista/arpista e compositrice finlandese Iro Haarla conferma la buona impressione suscitata cinque anni fa con l'album d'esordio, Northbound. Non cambiano gli accompagnatori, un quintetto completato da vecchi e giovani leoni ...
Amina Alaoui: Arco Iris
by John Kelman
Following her outstanding performance with the cross-cultural, century-spanning ensemble of Norwegian keyboardist/composer Jon Balke's Siwan (ECM, 2009), it's no surprise that the German label has tapped into the Moroccan singer for an album of her own. But as sprawling and ambitious as Siwan was, Arco Iris is, while being no less dramatic, on a much smaller ...
Lee Konitz - Brad Mehldau - Charlie Haden - Paul Motian: Live at Birdland
by AAJ Italy Staff
Si possono ancora suonare standard consunti da decenni di riproposizioni più o meno memorabili e rimanere freschi, non scadendo nel cliché e nella routine? Si può, se ci si chiama Konitz Mehldau Haden & Motian, musicisti per motivi diversi (quasi) sempre capaci di dire qualcosa di stimolante anche nelle situazioni in apparenza più riciclative. Certo, fra ...
Gidon Kremer / Giedre Dirvanauskaite / Khatia Buniatishvili: Tchaikovsky/Kissine Piano Trios
by C. Michael Bailey
The underlying element uniting these two chamber pieces, composed more than a century Apart, are their Russian origins and the piano trio format as compositional vehicle. Jurg Stenzl, in his notes, describes these two piano trios, the first composed in 1882 by Tchaikovsky and the second by Victor Kissine in 2009, as “the beginning and (for ...
