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FORÅRSUDSALG: HAT HUT, OUTHERE, OUTNOTE 50%

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Image Trio
Feldman's canvas contains sparse, isolated tones and commentary in an environment of heightened concern. (Concern negates the idea that Feldman's music embodies an existential void.) Concern creates tension, energized by the composer's sense of responsibility, and desire. The music sounds familiar at times, where a motif occurs and is not forgotten, but returns in another place in another guise. Or multiple motifs (each instrument's persona! statement) are reassembled into something resembling something else, or only itself. Even Feldman's repetition is never exact, as there are slight shifts in weight, shade, density, intensity. And when, eventually, the music ends, it just ends, for no need, or reason, with no explanation, no answers. Art Lange

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Image Town Hall 1972
Anthony Braxton, alto saxophone
Dave Holland, double bass
Philip Wilson, drums
John Stubblefield, tenor saxophone, flute, bass, clarinet, gong & percussion
Jeanne Lee, voice
Dave Holland, double bass
Barry Altschul, percussion & marimba

By 1972 we still only had a vague and partial knowledge of Braxton's more formal nature. So Town Hall was a "coming out" in one sense, albeit an atypical one. In some ways, this concert reminds us of Braxton's roots in the collective experiences of the AACM, and at the same time anticipates the multi-logics and expanded resources of later endeavors.
(Art Lange)


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Image Strange Fruit
Strange Fruit is a project of the Protean composer-saxophonist Fabrizio Cassol, which takes the form of a concept album that could be described as ‘World Opera’. This songbook was elaborated over a period of more than four years, in the company of a group of renowned singers who wrote or co-wrote each piece in their own, very different expressive and stylistic traditions. The title, Strange Fruit, refers to the song of the same name, majestically embodied by Billie Holiday, which remains an essential musical masterpiece as well as a humanistic symbol. On the album we fi nd an inspired version of the original, dating from before ‘Lady Day’ along with another, a sort of colourful fresco inspired by her interpretation as well as by Bach chorales or Malian men’s choruses, and accompanied by the heavenly voices of the forty girls of La Choraline.

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Image Railnotes
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Image All Things Arise
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Image Time Within Time
...Lika delar konstmusik och jazz blir en lyckad helhet...

(HiFi & Musik)



...broderande vackert solospel, mjukt och innerligt i samtliga tolv titlar...

(Ljusnan)



Jazzpianisten Marc Copland spelar här egna låtar, Leonard Bernsteins "Some other Time" och låtar av Wayne Shorter, John Lewis, Miles Davis m fl.

Marc Copland, piano.




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Image Radio Fractal, Beat Music Live at Donaueschingen 2
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Image 3 Suites and a Violin
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Image Some Trees
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Image Into the Barn
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Image Krom
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Image Pika-Don
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Image Fellowship
Recorded in 1998... the three pieces fall comfortably into a long-form, open presentation of thematic improvisation that feels even older – with its roots, say, in the freeing of forms that occurred during the ‘60s – while making allusions to and referencing details to be found throughout the history of jazz. This is neither an act of stylistic appropriation nor conscious postmodern juxtapositioning, but an organic collective response reflecting the individual life experiences of these particular musicians, as artists from different generations, different geographical locations, different musical environments (making even the group name, Fellowship, with its echoes of ‘60s cooperative optimism, all the more apt).

(Art Lange)
Theo Jörgensmann, klarinett m fl.


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Image Faktura
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Image Enactments (Works for Piano)
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Image Works for Piano
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Image We Concentrate
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Image Something To Live For
The world of Ran Blake beckons once again in these performances and, once again, we cannot resist being drawn into that world. We dodge through its shadows and its bright, glaring expanses, alert to the caverns and crevices from which the pianist’s images emerge – now gentle, now brutal, always unretouched. The cinematic content of Blake’s music, its use of montage and dramatic dissolves, has long been acknowledged. When he works in the short forms he favors here,there is also the clarity and unsparing honesty of a short story collection by an author like the late Raymond Carver. Extramusical allusions are unavoidable when music evokes all five senses, as Blake’s music inevitably does. Bob Blumenthal

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Image Archives of the North
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Image Alive In The House of Saints Part 1
Listening, eight years after it was created, to this primary chapter in the recorded legacy of Myra Melford's first trio evokes a rush of feelings. There are warm memories of in-person encounters with Melford, Lindsey Horner and Reggie Nicholson; and satisfaction regarding how the ideas Melford articulated here as both pianist and composer have metamorphosed into the triumphs of her subsequent music. What is absent is the uncertainty one often feels when contemplating the recent past, that feeling of needing more time to take the full measure of a musical state-ment. Melford has made it easy for us, through the clarity of both these now-historic performances and her subsequent efforts, to hear the present works as both glorious ends in themselves and the zoundations of her ongoing creations. Bob Blumenthal, 2001

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Image Are You Going to Stop... In Bern?
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Image Ephemeral Rivers
Like all portraits this CD can be read in different ways: it represents a moment in time, not just the artist’s time but our collective time; it is intimate, but in its intimacy it shows us something of the society in which this music was made. The moment in time covers the years between 2011 and 2015, the period in which Cat Hope made the five works gathered here. Each of them inhabits what the composer herself describes as a ‘nexus of electronic and acoustic instruments, animated notations, drone and noise’ and although all of them might be described as chamber music, none of them is a chamber work in the classical sense of music for an exclusively acoustic instrumental ensemble. Instead, in each case the sonic resources of acoustic instruments are located within a musical frame that includes other elements: sometimes, as in Cruel and Usual, the live electronics extend the sounds of the instruments; sometimes the sounds created by the musicians are augmented by, or juxtaposed with other sound sources, such as the AM radio static in Miss Fortune X. – Christopher Fox

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Image Freedom of Speech
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Image Clarinet Trio
Ustvolskaya's music is dark, somber, even rem ote wh en a solitary voice holds sway. Her rejection of easily recognizable form suggests that, metaphorically, time is not a factor; as temporal references are acutely literai, the means to escape an oppressive time and place are found in spiritual, not social, values. Similarly, the chilling sparseness of textures becomes an emotionallandscape, scarred, sometimes painfully severe, where inner strength is necessary for survival. But there is, too, especially in the Duet For Violin And Piano, a sanctity of mood (shared with the la ter Shostakovich, when he was obsessed with dea th, and where, in his final works su ch as the Viola Sonata and Sonata For Violin And Piano, the influence of Ustvolskaya may be felt). ln moments like this, rare is the music where the human will is so immediate, so enduring. Art lange

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Image Lacy Pool
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Image Quartier Du Faisan
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Image Strandjutters
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Image Chicago Overtone
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Image Transatlantic Swing
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Image Tensegridad
The SLD Trio (Shocron,Lamonega, Diaz) is an exciting and adventurous group of young musicians from Buenos Aires. The Argentinian capital is not a city that is exactly known for an extensive free-jazz and improvised music scene; however, there is a dedicated core of artists and musicians in the city… This is a lovely and exciting album from a trio that is just as willing to give as to receive, and ready to synthesize the familiar with the unknown. On Tensegridad, these three strong, empathetic musicians are flexing their creative muscles, working hard together to share their excitement in making music, and giving back the community that they have received as much from. – Paul Acquaro, 2017

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Image Seeking
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Image Works For Piano
Philip Thomas, piano

Christopher Fox (born 1955 in York) is an English composer. From 1984 to 1994 he was a member of the composition staff at the Darmstadt New Music Summer School. Since 2006 he is Professor in Music at Brunel University.

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Image New Jazz Meeting Baden-Baden 2002
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Image …don't buy him a parrot…
Given the breadth of their experiences, Erb, Baker, and Rosaly make a fine assembly of magpies. When they first played together at the 2013 Umbrella Festival, they sought out a balanced collective voice. This session took place a few months later, and despite being only the trio’s second encounter — or maybe because of it — the players sound fully present in the moment, assertive in exchange, and attentive to the flux of density and flow. They are corvids in congress, their formations ever changing as they shift positions on the fly. And they do it, for the span of this session anyway, without reliance on electricity, let alone electronics. Stallman might reserve the right to pull out his laptop at dinner, dimming the luster of candlelight with the glow of his screen, but this trio stands ready to regale you if the lightsgo out. – Bill Meyer, 2017

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Image Shift
There is much to admire in Katharina Rosenberger’s music. She brings, always, a fresh or newly refreshed palette of instrumental sound. She creates structures that attract admiration for their improbable tensile strength – how does a piece like modules here – hold together? But this is not what makes the music special. Rosenberger does not invite us to sit and admire, and then, like the old composer (who is a real person, even though he remains anonymous) leave the room unmoved. Instead, she invites us in. She involves the listener. Brian Morton

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Image Block Beuys
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Image Morning Joy...Paris Live
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Image Invisible Touch. At Taktlos Zürich
Shipp’s stated aim is that rarefied realm where ver- bal and written descriptors fail, subsumed by the primacy of organized sound, spontaneous and of the moment. Whether he reaches that space is always arguable both on the part of artist and audience, but this compact and intensely contem- plative set suggests an exemplar of success in that regard. In Shipp’s typically succinct and germane summation: “I did feel very good about the flow that I felt I got.”

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Image At the New Jazz Meeting Baden-Baden 2002
This synthesis of jazz, composition and electronic music was made possible above all by Steve Lacy’s extraordinary openness, which – as he himself said – has often brought him together with musicians whose roots are not in jazz. Steve Lacy was a searcher to the very end. We are going to miss Steve Lacy’s overwhelming passion for sonic exploration.
Steve Lacy, soprano saxophone

Peter Herbert, double bass

Wolfgang Reisinger, drums

Philip Jeck, turntables

Christof Kurzmann & Bernhard Lang, electronics


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Image Pagine Gialle
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Image For John Cage
Morton Feldman stated, ”The degrees of stasis, found in a Rothko or Guston, were perhaps the most significant elements I brought to my music from painting. For me, stasis, scale, and patter n have put the whole question of symmetry and asymmetry in abeyance.” … Typically, as is the case in For John Cage, Feldman presents a pattern (or sequence) of notes and/or chords, and may repeat them an unpredictable and asymmetrical number of times, until they are succeeded by the next pattern, but the pattern is never developed, reorganized, or mani pulated in any conventional fashion. Thus successive patterns are linked (or woven) together in an on going fabric of music, and an individual pattern may appear to be static, unchanging, unmoving. This is an illusion, however, since movement may be alternately measured by speed, emphasis (or attack), and (instrumental) color. Art Lange

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Image How It All Started
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Image Le souffle du temps, X (rétro-) perspectives
Make time to listen to this music, as the musician made time to prepare for it. Don’t wedge it into a pile of other CDs clamouring to be heard. Don’t immediately applaud it and move on to the next thing. Play it again. You’ll be playing it for years – Brian Morton

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Image In Hellen
From the beginnings of free improvisation in the 1960s, proponents subjected their instruments to unprecedented interrogation, in pursuit of the instrumental impulse. This is shown in the work of Swiss-German trio Kimmig–Studer–Zimmerlin: Harald Kimmig (violin), Daniel Studer (bass) and Alfred Zimmerlin (cello). On this recording, the instrumental impulse is exuberantly expressed, in what Studer prefers to call “improvisation without any prefixed compositional tool". The trio pull, grab and smack their strings, scratching and striking the body of the instrument, using it as a resonator. These are not mere "extended techniques". – Andy Hamilton

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Image Dulcet Crush
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Image Triadic Memories
Morton Feldman's preoccupation with what he cal led 'acoustical reality' was the primary subject of ali his work but the intimate acoustic reality of the piano, the instrument at which he worked, became a particular focus during the last decade of his life. Piano (1977) and Triadic Memories ( 1981) sound like Feldman of course - both share that extraordinary sense of ti me suspended, of in­ strumental colour refracted through pitch and back again- but each also offers a radically different conception of the piano. Christopher Fox

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Image Sonic Fiction
This trio's music is easier characterized than described, since the wealth of colors, moods, textures, and melodies is fluid enough to shift not only from piece to piece, but moment to moment. There is, for me, a European aesthetic at work here, a blend of modern and historic sources with the added bittersweet spice of folk elements from the soil. It's a delicate, demanding juggling act, drawing on past experiences while remaining alert and honest to the immediacy of this particular moment. Their intuitive tactics are frequently mesmerizing, as they simultaneously shadow each other's moves, suggest spontaneous new directions, and sustain individual perspectives; Reijseger etching deft melodic contours out of the merest effects, Hemingway exhorting and embellishing, Graewe – with a crisp clarity of articulation, an ear for piano sonorities, and a resolute insistence on building block foundations – instilling structural support and lyrical alterations. (Art Lange)

Georg Graewe, piano
Ernst Reijseger, cello
Gerry Hemingway, percussion



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Image Songs
VALD TILL EN AV ÅRETS SKIVOR 2006 AV MAGNUS ERIKSSON PÅ ROOTSY.NU





...Doubtless, Steve Lacy is one of contemporary music’s most prolific practitioners – and certainly one of the most recorded. But even within a catalogue as bulging and varied as his, this sequence of Songs is a singular experience...

...Throughout these remarkable Songs the music is inseparable from the words. Extramusical echoes may occur – for example, the melismatic winding of themes in “Gay Paree Bop” and “Somebody Special” may suggest Gysin’s Moroccan excursions. Or they may not. It doesn’t matter. What matters is their emotional resonance and unity of feeling, as urgent and accessible as those of Schubert transported to an age of anxiety...

(Art Lange)

Steve Lacy, sopransaxofon m fl


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Image Distant Runner (The)
VALD TILL EN AV ÅRETS SKIVOR 2006 AV MAGNUS ERIKSSON PÅ ROOTSY.NU





5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET



...Anthony Braxton, Steve Lacy och David Liebman har alla gjort mästerliga skivor utan komp. Deras saxofoner har legat nakna i fritt böljande, kontrastrika improvisationer. The distance runner rymmer Liebmans första solokonsert. Han öppnar med en melodiöst spänstig hyllning till Lacy på sopransaxen. Sedan skiftar han mellan sopran, tenor och flöjt i en nyansrik utforskning av olika existentiella lägen. I sviten The tree uppnår Liebman en visuell åskådlighet både i serena passager och när han bökar långt ner i registret. I Sidney Bechets Petite fleur visar Liebman sin förmåga att ge en välkänd melodi nya vinklingar. Det är oavbrutet vitalt, och i sina inre spänningar skapar Liebmans musik ett djupt meningsfullt flöde...

(Svenska Dagbladet)

David Liebman, sopran- & tenorsaxofon.


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Image As Serious As Your Life
The Hat Hut label was originally conceived in the mid seventies with the exact purpose of releasing music by the Miami reedsman Joe McPhee. Recent years have seen many of McPhee's Hat albums fall out of print, so it is encouraging that this 1996 offering has been re-issued. Now well into his seventies, McPhee continues to tour and record and his stature as an artist has never been higher, acknowledgement of an underrated but important voice. As Serious As Your Life, named after the Val Wilmer book as a tribute to the author and the music she championed, is a remarkable solo excursion utilising a variety of instruments, an album described in the Penguin Jazz Guide as 'a body of work which is as evocative and expressive as anything he has ever made.'


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