Ian Boddy & Erik Wøllo first worked together on the Frontiers album released in 2012 as a limited edition CD. This musical travelogue through imaginary northern landscapes garnered high praise for it’s shifting moods and panoramic soundscapes. The duo were invited to play their inaugural concert at the Electronic Circus Festival V held in Guetersloh, Germany in the autumn of 2012. The organisers requested that Boddy & Wøllo performed as much of the Frontiers album as possible and indeed tracks 4 to 12 are taken from that release albeit interpreted for a live concert setting. A further 30 minutes of all new material was also composed and this comprises the opening 3 tracks of the concert…
During the 70s, the Japanese jazz scene was in an incredibly intense phase - one that had players breaking out of older modes that were often strict copies of American jazz, and working in newer styles that often blended soul, modal, and spiritual jazz with freer-thinking ideas and more Eastern-inspired modes. The result was an incredible batch of music that was probably more strongly recorded by the Three Blind Mice label than any other Japanese imprint - because unlike some of their contemporaries, TBM didn't fill their catalog with work by American players, and often focused exclusively on Japanese artists.
The liminal states between waking & dreaming are often where we access our greatest insights & creative gifts. Dreaming into Being is a tribute to this magical domain. Inspired in part by Bluetech's recent work with Stanford-based lucid dreaming expert Dr. Stephen LaBerge, these all-new compositions invite us on a perception-expanding journey to "the worlds behind the world." Evocative, hypnotic soundscapes with embedded pulses & ambient drones make this record a great choice for lucid dreaming practice, yoga, meditation, bodywork, or simply relaxed listening.
This excellent set gives one a definitive look at altoist Lee Konitz at a period of time when he was breaking away from being a sideman and a student of Lennie Tristano and asserting himself as a leader. With pianist Ronnie Ball, bassist Percy Heath, and drummer Alan Levitt, Konitz explores a variety of his favorite chord changes, some of which were disguised by newer melodies such as "Hi Beck," "Subconscious Lee," and "Sound Lee." Among the other high points of this well-recorded set are "Foolin' Myself" and a lengthy exploration of "If I Had You."
It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.
Vladi Strecker, Cinematic, Frank Borell, Chillwalker, In Credo and many more.
Includes continuous mix by DJ Maretimo.