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Joachim Kuhn - Sunshower 1978

2009-08-08 - extension: rar - size: 63 MB

Joachim Kuhn - Sunshower 1978

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| Source: http://www.downeden.com/Joachim-Kuhn-Sunshower-1978_71365.html

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JoeBold-Piano rar In response to a complaint we received under the US Digital Millennium Copyright Act (DMCA), we have removed this result.

2009-11-09 00:14:29 - 69 MB

Joachim Kuhn

2009-04-20 - extension: rar - size: 56 MB

Joachim Kuhn

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| Source: http://mps-love.blogspot.com/2008/06/musikproduktion-schwarzwald.html?showComment=1218130500000

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Yitzhak Yedid 'Oud Bass Piano Trio' Plestinian bride image
From composer & pianist Yitzhak Yedid's impressive new CD 'Oud Bass Piano Trio' (More) From composer & pianist Yitzhak Yedid's impressive new CD 'Oud Bass Piano Trio' 'Suite in five movements' (2008 -between the lines- records). This is one of the most beautiful parts which appears at the end of the third movement. The image's titles are: Palestinian bride Illusory bliss MIKHAIL MAROUN -- OUD ORA BOASSON HOREV- DOUBLE BASS YITZHAK YEDID PIANO Composer and pianist Yitzhak Yedid's new composition is an impressive attempt to weave current and traditional styles and influences into a cohesive contemporary work. In this five part suite, premiered at the Oud Festival in Jerusalem in November 2005 and recorded nine months later, there are references and retentions from a wide spectrum of sources, including Jewish and Christian prayers and benedictions, Arabic folk music, modern Western music and avant-garde jazz—all fused through Yedid's optimistic belief that these varied cultures can co-exist peacefully. This is also the first time that Yedid has composed for the oud. The role that he finds for the instrument is quite different from the one you tend to find on other collaborations between piano and oud, as on German pianist Joachim Kuhn's work on oud player Rabih Abou-Khalil's Journey To The Center Of An Egg (Enja, 2005). Yedid sees the oud as an orchestral, formally disciplined instrument, detached from its folkloristic role, and one that adds a very specific color with its unique scales and meters. Yedid enlisted Palestinian oud player Mikhail Maroun, who is also an accomplished guitarist, for this project. Double bass player Ora Boasson Horev, Yedid's trusty musical partner, beautifully interprets and executes Yedid's challenging and inticate role for the bass. As always with Yedid's compositions, he offers a map of the almost cinematic images and feelings that inspired him through the composing process, but states clearly that he welcomes other narratives that the listener may imagine for himself. The first movement begins with a short, masterful bass line that quotes from the Jewish morning benedictions, followed by a meditative duet between the oud and piano. When the bass rejoins the oud and the piano, Yedid uses the piano strings to echo the oud and bass strings and achieves a mysterious timbral quality. The conclusion of this movement borrows a theme from Yedid's earlier composition, Myth Of The Cave (Between The Lines, 2003) and ends with a short blessing from the benediction of the priests, that suggests a similar image to the opening one. All these complex textures of colors and sounds are performed beautifully by the trio. The second movement is tempestuous and seemingly chaotic. It is inspired by the Christian myth of the rebellion of the Angel Hillel Ben Shahar against god, and its inevitable casting from heaven to hell. The third movement imagines a walk in the Old City of Jerusalem through different eras, where the sounds of the Sabbath prayers mingle with the sounds of Palestinian celebrations and the bells of the churches. It even offers a heartfelt tribute to the legendary Egyptian singer Om Koulthoum, where Maroun's ornamental playing takes the lead. The fourth movement is a minimalist piece, with a gentle and subtle interplay between the players, and moves between such diverse images as a mystical Kabbalist prayer and ritual belly dances. One of the climaxes is when Yedid and Boasson Horev comment on Maroun's solo improvisation on a scale of a Middle-Eastern song, where both enrich Moaroun's theme with a myriad of nuances, transforming the simple and light theme into dissonant and dark heights. The fifth movement is an intense and fast piece that aims to portray "the fusing of opposites and different streams in the Israeli cultural melting pot," through quotes from the benedictions of the priests, blessing from a traditional Jewish wedding and an Israeli folk song. The concept is clearly ambitious—and sometimes too idyllic in the context of the everyday reality of Israel and Jerusalem—but Yedid succeeds in offering an expressive, coherent vision of his art that calls for repeated listening. Track listing: First Movement; Second Movement; Third Movement; Fourth Movement; Fifth movement Personnel: Mikhail Moroun: oud; Ora Boasson Horev: double bass; Yitzhak Yedid: piano. Visit Yitzhak Yedid on the web. Column Archive: Extended Analysis AAJ Eyal Hareuveni (Less)

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David LIebman - My Favorite Things
http://www.davidliebman.com presents David Liebman - Soprano Saxophone, Joey Calderazzo - Piano, (More) http://www.davidliebman.com presents David Liebman - Soprano Saxophone, Joey Calderazzo - Piano, Dave Holland - Bass, Jack DeJohnette - Drums David Liebman was born in Brooklyn, New York on September 4, 1946. He began classical piano lessons at the age of nine and saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane perform live in New York City clubs such as Birdland, the Village Vanguard and the Half Note. Throughout high school and college, Liebman pursued his jazz interest by studying with Joe Allard, Lennie Tristano and Charles Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously devote himself to the full time pursuit of being a jazz artist. In the early 1970s, Liebman took the leading role (as President) in organizing several dozen musicians into a cooperative, Free Life Communication which became an integral part of the fertile New York "loft" jazz scene in the early 1970s and was funded by The New York State Council of the Arts and the Space for Innovative Development. After one year spent with Ten Wheel Drive, one of the early jazz fusion groups, Liebman secured the saxophone/flute position with the group of John Coltrane's drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when Miles Davis hired him. These years, 1970-74, were filled with tours, recordings and the incredible experience gained by being on the band stand with two masters of jazz. At the same time, Liebman began exploring his own music-first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout Farm. This group recorded for the German based ECM label as well as A&M Records while touring the U.S., Canada, India, Japan and Europe. Lookout Farm was awarded the number one position in the category "Group Deserving of Wider Recognition"in the 1976 Downbeat Magazine's International Critics' Poll. In 1977, Liebman did a world tour with pianist Chick Corea followed up the next year by the formation of the David Liebman Quintet with John Scofield, Kenny Kirkland and Terumasa Hino as featured sidemen. After several world tours and recordings by the quintet over three years, he reunited with Richard Beirach. They began performing and recording as a duo, as well as creating the group Quest in 1981. Beginning with bassist George Mraz and drummer Al Foster, the group solidified when Ron McClure and Billy Hart joined in 1984. Through 1991, Quest recorded seven CDs, toured extensively and did many workshops with students worldwide. Liebman's present group formed in 1991 includes guitarist Vic Juris, bassist Tony Marino and drummer Marko Marcinko. With these musicians he has pursued an eclectic direction in recording projects that has ranged from jazz standards to Puccini arias, original adaptations from the John Coltrane and Miles Davis repertoires, original compositions in styles ranging from world music to fusion, always maintaining a repertoire that balances the past, present and future. Over the past several decades, Liebman has often been featured with top European musicians such as Joachim Kuhn, Daniel Humair, Paolo Fresu, Jon Christensen, Bobo Stenson and in the World View Trio with Austrian drummer Wolfgang Reisenger and French bassist Jean-Paul Celea. His reputation in Europe has led to big band and radio orchestra performances, such as with the WDR in Koln, Germany, the Metropole Orchestra of the Netherlands and the new music Klang Forum in Vienna, Austria playing music specially commissioned to feature Liebman's unique soprano saxophone style. He has consistently placed among the top finalists in the Downbeat Critics' Poll since 1973 in the Soprano Saxophone category. As of the present, David Liebman has been featured on nearly 300 recordings, of which he has been the leader and/or co-leader on nearly 100. Well over 200 original compositions have been recorded. His artistic output has ranged from straight ahead classic jazz to chamber music; from fusion to avant garde. (Less)

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