| | 1 2 3 4 | |
| € 6.95
2008-07-22 17:46:13
| | Schütz Die sieben Worte Jesu Christi am Kreuz
French countertenor Dominique Visse has participated in the early music revival in France since its inception. Although he became a chorister at the Cathedral of Notre Dame in Paris at the age of 13, he pursued studies on organ and flute at the Versailles Conservatory. As an instrumentalist, he developed an interest in medieval and Renaissance repertories, only occasionally singing as a countertenor. It was only after studies with Alfred Deller and René Jacobs between 1976 and 1978 that he decided to specialize in singing. In 1978, he founded the Ensemble Clément Janequin and joined the newly formed period-instrument group Les Arts Florissants under William Christie. In 1982, he made his opera debut at Tourcoing in Monteverdi's L'incoronazione di Poppea.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Geistliche Musik/
Lieferbarkeit: Lieferbar / available
| € 8.04
Versand: 4.16
2008-07-21 17:33:16
| | JOSHUA , know ep
Hersteller: DEVELOPED MUSIC
Shop: mBEAT Recordstore
Shop-Kategorie: FUNKY_HOUSE
Lieferbarkeit: ab Lager
| € 9.95
2008-07-22 17:46:12
| | Boulez Orchesterwerke und Kammermusik - Poesie pour Pouvoir
Pierre Boulez (b. 1925), French composer, conductor, and music theorist, is regarded as a leading composer of the post-Webern serialist movement who also embraced elements of aleatory and electronics. As a child Boulez demonstrated a formidable aptitude in mathematics, but left for Paris in 1942 to enroll in the Paris Conservatoire. His studies there often ran into difficulties, as he was rapidly developing revolutionary -- Praise be to amnesia -- attitudes towards all things traditional. But two decisive influences during those years helped to shape his musical personality. The first was Messiaen's famous analysis course, the other was René Leibowitz, who introduced him to serial music, where Boulez found a harmonic and contrapuntal richness and a capacity for development an extension of a kind I have never found anywhere else.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Neue Musik/
Lieferbarkeit: Lieferbar / available
| € 13.99
2008-07-22 17:46:06
| | Return of / 1969
It all started late in the summet of 1965.The ad in the newspaper said Tal Farlow was in town.The news didn't jolt the populace. Tal Farlow. The name was familiar, but for most it was something vague out of the past. Those who investigated were rewarded. They were hearing the rebirth of a jazz giant.In the 1950s Tal Farlow was the reigning king of the jazz guitarists. Na one Gould match bis technique. No one could touch his ideas. He was the master.As late as 1958 he was drawing rave notices at the defunct Composer club an West 58th street in New York leading a trio that also included bassist Vinnie Borke, and excellent player who is virtually ignored these days, and the late Eddie Costa an piano.That was Farlow's last major club appearance for nearly 10 years. As far as the jazz world was concerned Tal Farlow had disappeared. In reality, the guitarist was living in virtual retirement in a comfortable riverfront home in Sea Bright, N.J., dismayed by the choking jazz scene, nurturing thoughts of teaching, playing an occasional local club date, and waiting for something to happen.''That something has finally happened, and this recording is its permanent evidente.The seeds of Tal Farlow's musical rebirth were planted during Six months of 1965 when he joined pianist Don Friedman, a major jazz talent, and bassist Borke at a Small club in Asbury Park, a ciry near Farlow's home. lt was there that he removed the tust from bis large, supple fingern and developed once again the kind of inventive jazz that made him a giant of his Instrument among critics and jazz connoisseurs.In the fall of 1967 he decided to bring a trio back to New York. The public was satisfied, bot Farlow was not ready to play the Clubs regularly. Then he joined George Wein's Newport Festival All Stars, a group [hat included his old boss Red Norvo and cornetist Ruby Braff. But the All Stars weren't his bag. Soon later he began playing informally with bassist Jack Six, another Jerseyan and Part of the new Dave Brubeck group, and pianist John Scully, a relative youngster who Tal had worked with in Club Bates along the Jersey Shore. Add nonpareil drummer Alan Dawson, who had worked with Tal, John, and Jack at Lennie's an the turn pike near Boston, Mass., and you haue Tal Farlow's idea of jazz, the fruition of which is contained herein.Tal firnt came to national prominente shortly alter joining Norvo's trio in late 1949, bot the 1940s were the formative years when the guitarist decided to leave bis native Na rth Carolina and a career in sign painting to become a fulhfledged musician. AS Jong as 1 can remember 1 Gould always play a little guitar, Tal says today. Bot 1 wertright from high school in Greensboro into a sign painting Shop. At that time 1 wanted to make commercial art a career.Talmadge Holt Farlow was introduced to the guitar by his father who played several stringed Instruments. Bot the type of music young Farlow heard was a far cry from jazz. The music we played then was hillbilly style and 1 didn't Ilke it much. Bot then, in the late 1930s, 1 began hearing Charlie Christian over the radio and 1 knew there was much more to guitarthan hillbilly strains.Christian influenced Farlow heavily, bot he also came in touch with some of the country's outstanding Negro bands as they passed through Greensboro. In fact, his firnt playing experience with a genuine jazz player came when tenor saxist Julian Dash, then with Erskine Hawkins, was in town. I went up to the place where he was staying and played rhythm behind him. lt was the first time he played with somebody who really knew what he was doing.During the early years of World War II Farlow played locally in dance bands and met Jimmy Lyons, a pianist who became popular years later in New York. Tal left Greensboro several Limes during the war as a musician, bot always returned to North Carolina and sign painting. After the conflict ended he left the South again and joined a commercial group led by a female pianist-vibist named Dar danelle. The group opened in Baltimore, then played Philadelphia, and finally landed at New York's Copa Lounge, for a six-month stay [hat enabled Farlow to hear some of the new Sounds in jazz.He was most impressed by the music of Charlie Parker. 1 went home and tried all those new things Parker was playing. His 'bop' was the only thing for me then because 1 felt he had made a breakthrough.Farlow left Dardanelle, wert back to North Carolina andsign painting for a while, then travelled north to Philadelphia in 1947. He renewed his friendship with Lyonsshortly aftenvard and, with bassist Lenny DeFranco (Buddy's Brother) moved back to New York to form a trio. Conflicts developed and the trio neuer got to play. Then, alter working with Buddy DeFranco, the big Break came. It was 1949 and Tal was called to join Red Norvo's trio.At firnt the Norvo group played in the popular style of George Shearing. Then, with Charlie Mingus an bass, the group began to develop a unique Brand ot interplayFarlow made about 35 recordings during two tours of duty with Norvo. Many of them are regarded as among the classics of Small band jazz. And Tal's Solos an such Premier items as Zing Went the Strings of My Heart, Move, and 1 Can't Believe You're in Love With Me rate among the most provocative of all jazz guitar Solos. His phrasing wasimpeccable, his lines clean and biting, bis tone extremely rieh, and bis accompaniment stimulating. Most of the records, unfortunately, are out of print.Farlow left Norvo for the First time in 1954 and shortly thereafter joined Artie Shaw's reactivated Gramercy Five for an engagement in New York. The group was short-lived, but the recordings It made were excellent, so good that the discriminating Mr. Shaw recently Said he might reissue them one of these days.Shaw was a tremendoUS musician, Farlow recalls, bot the music we played wann'[ really in my bag.''In the fall of 1955 Tal was urged back to the East Coast by Cy Baron, owner of the Composer who asked the guitarist to join Borke and Costa in a new trio. Tal accepted and became a leader toi the firnt time outside the recording Studios. The band went over well with the public, Tal recalls, and 1 enjoyed it most of all the groups 1 had worked with.''Farlow continued recording prolifically and played the Composer off and an until 1958 when the club closed and Tal decided to leave it all for the Jersey Shore. That, too, was the year of his marriage to his lovely wife, Tina.In the years that tollowed Tal seldom ventured far from home. Occasionally Burke would call and Tal would join him for a gig somewhere in the state. But most offen the semi-retired guitarist would spend bis days working around the hause, enjoying his boat, pertecting devices for bis Instrument and praclicing. Then, in October 1967, formet disc Jockey Mort Fega, who is now a radio executive in Phoenix, Arizona, persuaded Tal to form a trio (Johnny Knapp, piano, Lynn Christie, bass) and Lake it into the Frammis, a smart Club an New York's East Side. The engagement was tremendously successful. The crowds were big. The music was superb. Every guitarist in town dropped by. And Tal Farlow seemed happy back an the scene, temporarily at least.Then came the lang Weekend trips to Denver, Atlanta, Pittsburgh with the Newport All-Stars, a successtul flight to the Newport Jazz Festival, gultar workshops, Small festivals, a Starring rote at New Jerseys Golden State Arts Center. Tal Farlow was back, not exactly as a fixture an the jazz scene, bot the Sound of bis gultar was Einding its way to the public ear and that's what is important.This Album is a culmination of all that makes Tal Farlow the most respected guitarist in jazz. It isn't typical of the informal jazz sessions [hat dominate the jazz record market. The music was carefully planned, carefully rehearsed, played for an audience a week before the recording Session at Lennie's an the Turnpike, and carefully recorded. lt is a result of both a musical and personal iriendship among Six, Scully, Dawson, and Farlow. They speak the samemusical langvage. Fach of the six pertormances is the result of four men who attain a rare group empathy while still maintaining individual distinction. Six' bass work is big and hold, yet neuer obtrusive, a result of years of experience that rangen from the Tommy Dorsey band to the present Brubeck group. Scully figures to become one of the jazz Stars of the future. Classically trained at Julliard, he has developed a distinctive jazz style that makes its mark here. Dawson is the drummer's drummer, a Percussionist who fits well into any jazz Session, and Tal's personal choice for this Album. The respect is mutual.The music itself is self-explanatory. The tunen are Standards, ones that Tal enjoys playing, a mixture of ballads and up tempo items [hat allows him to explore the full range of the gultar.Contrasting these pertormances with those in the many Albums Tal recorded for Norman Granz in the 1950s Shows a similar neobop aDProach. Basically 1 play pretty much in the Same mannen Tal says. I guess if anything I've gotten fastet in my old age (he's 48).And fastet he has gotten, with complete control he's the Art Tatum of the gultar. Bot along with the technique is a warmth [hat radiales na matter what the tempo. It's especially apparent an the Rodgers and Hart gern, My Romance, a track that will be listed eventually as among the jazz gultar classics. It opens wlth an out Of-tempo ad-lib solo by Tal. Then, as the guitarist holds a C note with the Index finget of bis right hand and plays chords with his left, Scully entern to play the melody. Tal re-entern with a Single note delineation of the theme that momentarily becomes a chordal Passage. The Sound is unlike anything you've heard from a guitarist-relaxed yet stirring. Then, to add to the variation, Tal resches two octaves higher to further embellish the melody, a difficult trick accomDlished by dividing the gultar string into four Darts, a fest that only a man with octopus-Ilke hands Gould carry out.Tal Farlow is back, en din9 a musical sec lusion that began over a decade ago. His Future is still cloudy. He says he would Ilke to continue playing, bot he says it with typical hesitation. His seclusion has been a product of the jazz environment. Should that environment improve, the jazz world would feel once again the full influence of one of the art's greatest exponents. This recording is testimony of his greatness.Notes: Don Lass (Feb. 1970) Asbury Park (N.J.) Press
Shop: digitalINDIE
Shop-Kategorie: Jazz/Classic/
Lieferbarkeit: Lieferbar / available
| € 15.50
2008-07-22 17:46:16
| | Consort Musicke
Perhaps the leading post-Harnoncourt cellist in the early music movement, Christophe Coin has developed a particular interest in music of late eighteenth century Vienna. He began studying the cello as a child in Caen, then enrolled in the Paris Conservatory, where his principal teacher was André Navarra. After taking first prize in a conservatory competition, Coin moved to Vienna where, at the Academy for Music, he became a disciple of Nikolaus Harnoncourt and performed in the latter's Concentus Musicus. Coin also studied with gamba guru Jordi Savall at the Schola Cantorum in Basle. Through Savall, he was able to perform with the ensemble Hesperion XX.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Kammermusik/
Lieferbarkeit: Lieferbar / available
| € 15.50
2008-07-22 17:46:16
| | Gibbons Fantasies Royales
Perhaps the leading post-Harnoncourt cellist in the early music movement, Christophe Coin has developed a particular interest in music of late eighteenth century Vienna. He began studying the cello as a child in Caen, then enrolled in the Paris Conservatory, where his principal teacher was André Navarra. After taking first prize in a conservatory competition, Coin moved to Vienna where, at the Academy for Music, he became a disciple of Nikolaus Harnoncourt and performed in the latter's Concentus Musicus. Coin also studied with gamba guru Jordi Savall at the Schola Cantorum in Basle. Through Savall, he was able to perform with the ensemble Hesperion XX.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Kammermusik/
Lieferbarkeit: Lieferbar / available
| € 15.50
2008-07-22 17:46:16
| | Forqueray Pieces De Viole Tome I
Perhaps the leading post-Harnoncourt cellist in the early music movement, Christophe Coin has developed a particular interest in music of late eighteenth century Vienna. He began studying the cello as a child in Caen, then enrolled in the Paris Conservatory, where his principal teacher was André Navarra. After taking first prize in a conservatory competition, Coin moved to Vienna where, at the Academy for Music, he became a disciple of Nikolaus Harnoncourt and performed in the latter's Concentus Musicus. Coin also studied with gamba guru Jordi Savall at the Schola Cantorum in Basle. Through Savall, he was able to perform with the ensemble Hesperion XX.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Kammermusik/
Lieferbarkeit: Lieferbar / available
| € 16.68
Versand: 3.02
2008-07-25 15:42:09
| | Arrested Developement - Unplugged
Hersteller: EMI Music Germany
Shop: DVDes.ch
Shop-Kategorie: DVD - Diverse
EAN: 0724347797798
Lieferbarkeit: Auf Bestellung, ca. 10 Tage
| € 16.99
2008-07-22 17:46:06
| | Mingus by five
Ulf AdåkerTrumpeter, composer, arranger, writer and educator Ulf Adåker, born in 1945 in Stockholm, has been active on the Swedish jazz scene for over 30 years. As leader of the fusion group Egba, established in 1971, he has played at most of the Scandinavian jazz clubs and festivals as well as touring many countries. He has composed most of the tunes on the nine albums with EGBA that were issued 1974-89 and he has played with the Swedish Radio Jazz Group lead by, for instance, George Russell, Mike Gibbs, Anthony Braxton, Bob Brookmeyer, Terje Rypdal, Tony Coe, Lars Sjösten, Örjan Fahlström and Per Henrik Wallin. He was also commissioned to write three works for the Swedish Radio Jazz Group of which two, Chordeography (1986) and Café International (1992), have been issued on record. After a commission from The Swedish Broadcasting Corporation in 1999 Ulf performed a new piece at the Berwald Hall in Stockholm titled Odyssey of Karib. Joakim MilderJoakim Milder, born in 1965 in Stockholm, grew up in a home enamoured by music, his father being one of the best swing pianists in Stockholm, his mother being a singer and teacher of music as well, a musically talented older brother, an older sister who is also a music teacher and a twin brother who was at that time studying at the Opera college. From his father the accent and repertoire of jazz music was there since his childhood. However, Joakim had shown very little interest until he 'was struck' to quote his own words. Before that he had played the recorder for many years, devoting himself to baroque music. He wanted to develop and improvise but choosing the saxophone was merely by chance in some ways it resembled a recorder. And as always when something had 'struck' him it was on the border of mania. In about 1980 - just before he started studying at an upper musical high school - he decided to become a jazz musician. He never hesitated to consider the consequences being a musician implied that he sometimes had to do things that are not so very committing as for example to travel a lot, work hours when others are free, periodically seek unemployment benefits. Bobo Stenson:Bobo Stenson has effectively defined the meaning of modern piano in Sweden since the late 60's. Early in his playing career he has accompanied a long line of visiting American players including Sonny Rollins, Stan Getz and Gary Burton, worked closely with Don Cherry from the beginning of the trumpeter's residency in Scandinavia, and George Russell, as well as playing with local giants such as the still-too-little-known tenor saxophone player Bernt Rosengren. In May 1971 his trio album Underwear was recorded and that album was certainly one of the first European trio albums that could be considered as a response to American developments in post-Bill Evans piano. Bobo Stenson had obviously monitored the mixture of lyricism and abstraction that fuelled the early trios of Chick Corea and Keith Jarrett but was able to assimilate this influence in a style which even then was clearly his own, and his interaction with Norwegian drummer Jon Christensen was already remarkable.Palle DanielssonDouble-bass player Palle Danielsson was born in 1946 and grew up in Stockholm. In a 1951 jazz magazine you could read: The name of the youngest dance musician in Sweden is Paul Danielsson, five years old, who plays the mouth-organ and the swanee whistle. He knows 'Mocking Bird Hill' almost by heart. - Palle had performed together with his eleven-year-old sister Monica who had in turn played a boogie-woogie tune. Today Monica (Dominique) is a well-established pianist and composer. Jonas HolgerssonJonas Holgersson, born in 1973, started playing the drums at the age of ten. He was a pupil at the local municipal music school in Kävlinge, studied music at the Senior High School in Malmö and when doing his military service he joined the Army Music Platoon. In 1993 Jonas was elected best musician of the Music Platoon. So it is not so surprising that he went on to the Academy of Music in Örebro and completed his education by studying at The Royal College of Music in Stockholm.
Shop: digitalINDIE
Shop-Kategorie: Jazz/Classic/
Lieferbarkeit: Lieferbar / available
| € 18.50
2008-07-22 17:46:17
| | Schumann Symphonie Nr. 1, op. 38, Symphonie g-moll
Danish conductor Thomas Dausgaard, while developing a broad repertory that has taken in music from most periods, is associated with the works of composers from his native Denmark, as well as those from elsewhere in Scandinavia, in particular Sweden. Indeed, he has devoted most of his recording activity to works by composers from Denmark and Sweden — mostly contemporary ones — and has held important conducting posts in both countries. Dausgaard's concert programs and discography are replete with names like Bent Sørensen, Johan Svendsen, Dag Wirén, August Enna, but particularly Rued Langgaard, Per Nørgård, and Asger Hamerik. In fact, Dausgaard has recorded highly praised extensive multi-disc sets devoted to the orchestral works of the latter three composers.
Hersteller: K2
Shop: digitalINDIE
Shop-Kategorie: Klassik/Sinfonie/
Lieferbarkeit: Lieferbar / available
| | | | |
|
Ähnliche Suchbegriffe:
delta music warner music group germany delta music gmbh soulfood music distribution gmbh zyx music zyx music gmbh co kg sony bmg music entertainment gmbh musical film emi music germany filme musical sony bmg music entertainment sony music musik filmmusik und musical sony bmg music emi music germany gmbh co kg art development warner music music sales
|
