| “ | Q.E.D. consists of two works composed for electric guitar and a small orchestra. The five movement title work (the initials stand for "Quod erat demonstrandum") utilizes fourteen players in addition to Rypdal and his guitar. | ” |
| “ | This album is the epitome of Corea's ECM era (discounting the 'Return to Forever' LP). After having been involved in creating one of the 70's best fusion supergroups (RTF), it seems he felt it was time to settle down. This album with just Chick Corea on acoustic piano and Steve Kujala on flute does just that. | ” |
| “ | Damaged in Transit, recorded live in France in 2001, is a decided move away from Steve Swallow's obsession with harmony. His earlier bands, particularly over the three recordings or so following Deconstructed, were built with two-horn front lines and usually a guitar as a harmonic anchor to provide a large chromatic palette and harmonic base for soloists. | ” |
| “ | Rarely has a piece of music touched me in the way that La Scala has. The music in the first, lengthy section, enters some extremely dark and disturbing places. | ” |
| “ | Down Beat (4/93, p.51) - 4 Stars - Very Good - "...the music is reflective and intense....The true marvel of this disc is Tony Oxley. With his tailor-made drum kit, it is uncanny how hard Oxley manages to swing sans meter..."Musician (6/93, p.92) - "...British reedman Surman finds himself in heady company...Bley's moody, minor modes and probing voicings set the tone here, and Surman responds with rich lyricism..." | ” |
| “ | Jarrett seems to me to have successfully bridged the jazz world with the classical, proving himself in the process to be quite a formidable Bach player. | ” |
| “ | Jarrett seems to me to have successfully bridged the jazz world with the classical, proving himself in the process to be quite a formidable Bach player. | ” |
| “ | Saxophonist Jan Garbarek, bassist Miroslav Vitous and drummer Peter Erskine have been making records for ECM for a long time, both as leaders and as sidemen. They know each other's styles well, they're familiar with ECM label head Manfred Eicher's echo-drenched production tendencies, and they know how to turn jazz formulas into hip, lyrical romanticism. | ” |
| “ | This solo recording is a fitting coda for Keith Jarrett's more restrained, less prolific output in the 1990s. The fitful vamps and long, ruminative improvisations that made Jarrett a solo piano star in the '70s are here either stillborn or tightly tethered to classic melodies from the likes of Gershwin and Ellington, yet there is not the slightest hint of repression. | ” |
| “ | This abstract quartet recording by bassist Gary Peacock features Jan Garbarek on tenor and soprano saxes, Tomasz Stanko on trumpet, and Jack DeJohnette on drums. The interplay between Peacock and DeJohnette, captured roughly two years before the release of the first Keith Jarrett standards record, is especially interesting. | ” |
| “ | This double concerto for two electric guitars and symphony orchestra features metal guitarist Ronni Le Tekro and the Riga Festival Orchestra. Probably the most guitar-oriented of Rypdal’s orchestral works, the juxtaposition of intense and intensely noisy guitars against the far subtler strings, winds, brass, and percussion yields moments of great passion and beauty. | ” |
| “ | This is a collaboration between Rypdal (on electric guitar & synth), and David Darling (cello). If you think electric guitar & cello is an odd combination for a band, you're right! If you think it couldn't possibly work, you're wrong!! Moody and compelling, and definitely not for everyone. | ” |
| “ | In addition to his longtime bassist Steve Swallow and drummer Martin Richards, vibraphonist Gary Burton features a couple of young players on this date who he would classify as "whiz kids": pianist Makoto Ozone and the Coltrane-inspired tenorman Tommy Smith. | ” |
| Copyright AvaxHome.RU | Privacy Policy | DMCA Information |
|
UPWARDS |