Misha Elman was one the most sublime exponents the violin ever had. His accurate intonation, balance and deep lyricism never falls in common places. His signature keeps a narrow relationship with expression. Superb. Many brilliant stars of the instrument should listen him. For many he is outdated but it's an easy way for eschewing about the real essence and purpose of the music.
A Zurich, Switzerland, native, composer, flutist, and saxophonist Daniel Schnyder is as comfortable and gifted with classical chamber music as with avant-garde jazz, easily crossing between both significant genres of music. He originally studied flute in his homeland at the Conservatory of Winterthur. After moving to the United States, he switched to the Berklee College of Music in Boston and began to study jazz arranging, composition, and the saxophone. He has worked with Lew Soloff, Lee Konitz, Abdullah Ibrahim, Milwaukee Symphony Orchestra, and many others over the years.
I’ve long overlooked Pepper’s later work, there is so much good stuff in his prime, but when I stumbled on this lovely three box set recorded in 1977, and with one of my recent favourite bassists, George Mraz, and Mr Elvin Jones on drums, a second opinion was long overdue. Recorded over three nights before a relaxed appreciative audience (no jackass stomping hooting or whistling, – apologies to those who welcome the more demonstrative audience ) this live set automatically has you turning the lights down low and joining the audience, a decanter positioned strategically within arms reach.
This collection compiles music and films by Art of Noise from the period 1995 to 2000, and is mostly comprised of previously unreleased material, including the album 'balance - music for the eye' and the Producer's Cut of 'The Seduction of Claude Debussy' on CD, and two unreleased complete concerts on the DVD, filmed in London at Coexistence studio and Shepherds Bush Empire in 2000.
This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo.
The folks who comprise the “Copenhagen Art Ensemble” are among the top modern jazz players in Denmark these days. And while many of the members veer off into splinter groups, such as “The Crossover Ensemble”, “When Granny Sleeps” and others, these musicians consistently turn in above par efforts regardless of the format or genre. With their latest release titled, Angels’ Share the band utilizes a phrase derived from the maturation process of Scotch whiskey, as the music and overall concept is befitting of an unfolding saga that persists within the often enterprising Danish jazz scene.
SHAPE OF TWELVE consists of 8 compositions by saxophonist Lotte Anker (who, along with trombonist Ture Larsen, is one of the artistic directors of the Copenhagen Art Ensemble). The works were composed during 1988-1997 and are mostly of medium length (five tracks clock in between 6 and 7 minutes). The Copenhagen Art Ensemble is described in the liner notes as a “’jazz sinfonietta’ – that is, a group of about a dozen musicians combining the complexity of the traditional big band with the mobility of the small combo.” (Jakob Levinsen) This is a very accurate assessment of the music on this disc and is a capsule review in itself. The instrumentation of the Copenhagen Art Ensemble is essentially 3 trumpets, 4 saxophones, 3 trombones, piano (acoustic and electric), acoustic bass, and drums (with the winds players doubling on flugelhorn, clarinet, flute, and tuba).