{"title":"Songlines Recordings","description":"\u003cp\u003eEstablished in Vancouver 1992, Songlines Recordings produces Modern and Avant Jazz that typically crosses musical borders with Contemporary Classical, Rock, Non-Western Folk and Classical and Ambient Music and Contemporary World Music, usually with an Asian focus (Arabic and Persian music, Javanese gamelan).\r\n\r\nThe albums feature artists based in Canada, the U.S. and Europe.\r\n\r\nThe term “Songlines” refers to Australian aboriginal performances of song and dance in which tales of the ancestral creator beings are enacted in the very places where those events unfold in the now-and-always Dreamtime.\r\n\r\nThis idea of a deep-roots musical storytelling journey crisscrossing one’s home turf seemed to offer a kind of metaphor for music in our globalizing world that forges imaginative new paths through different cultures and traditions without sacrificing the depth of those traditions themselves.\u003c\/p\u003e","products":[{"product_id":"sglsa1539-2-nemesis-pure-dsd","title":"Nemesis [Pure DSD]","description":"\u003cstrong\u003eNow Available in Stereo \u0026amp; 5 Channel Surround Sound Pure DSD!\u003c\/strong\u003e\r\n\r\n\u003cem\u003e\u003cstrong\u003eNemesis\u003c\/strong\u003e\u003c\/em\u003e is a transparent recording mixed to Stereo and 5 Channel Surround Sound Pure DSD (with surround sound options used judiciously to enhance the music’s moods) from composer \u003cstrong\u003eMark Nodwell \u003c\/strong\u003ewith performances by\u003cstrong\u003e Ron Miles (Trumpet), Khabu Doug Young (Electric Guitar), Art Lande (Piano), Drew Gress (Bass) and Tom Rainey (Drums)\u003c\/strong\u003e.\r\n\r\nIt takes listeners on a heroic journey of transformation, portraying a shamanic descent into the underworld to retrieve the spiritual fire. It is a dual world where the familiar becomes arresting, and expectations are suspended, fulfilled, and transformed. The pieces, in turn somber and mischievous, intense and joyful, uncover a broad spectrum of qualities and compositional ideas – the results are both innovative and beautiful.\r\n\r\nLyrical themes, passionate improvisations, and evocative harmonies fill the record, while deeper listening reveals subtle layering, an overarching sense of form, and a play on expectations. Rhythmically, there’s a seamless weaving of metric shifts and harmonic shifts, as well as occasional tempo changes, or multiple tempos.\r\n\r\nMark Nodwell says \u003cem\u003e\"I wanted to explore the song form, to see how much I could stretch and warp the standard song structure, how much I could put in or take out, and still have the essence be a song. The forms curl and twist, continually presenting the material in a different light. The music plays with expectations, establishing familiar signposts while laying out unfamiliar terrain, drawing the listener into an enigmatic dreamlike sound space. It deliberately hovers between the familiar worlds of inside and free jazz, never quite committing to either, creating an unsettling psychological tension. I tried to balance, or at least juxtapose, this tension with the lyricism of heartfelt songs.”\u003c\/em\u003e\r\n\r\nEach song is its own complex sound world; from the quietly ominous bass and piano of the title track to the swinging drums of Fleet and the achingly gorgeous twinned trumpet and guitar of Aura, the instruments loop, weave and mesh to create rich textural soundscapes. The ensemble executes these challenging compositions with subtlety and grace. The varied timbres are faithfully conveyed in a transparent recording.\r\n\r\nThe musicians were handpicked by Nodwell for their particular voices. “This is the ideal band to play this music. Everyone is comfortable playing inside and out, and in terms of blowing over changing metres these are probably the best cats out there. They all access the full palette of timbres and shadings on their instruments, giving this quintet an almost orchestral richness. I love the uncommon combination of trumpet and electric guitar, and wrote these pieces specifically with Ron and Khabu’s sounds in mind.\r\n\r\nI first heard Ron in about 1993, in a basement space with an audience of about five. He had one of the most beautiful trumpet sounds I'd ever heard – simultaneously joyous and poignant. While rooted in bop, his ideas sounded fresh and daring, with incredible phrasing. I played with Khabu for a couple years while in Boulder. He’s one of the most boundlessly creative musicians I’ve ever heard. Art has been a major inspiration to me. I moved to Colorado to study with him in 1994, when I was making my first baby steps in composition, so it was awesome working with Art as a cohort. He’s a musical force, with an uncanny knack for adding little gestures that elevate the music to a new level, and an incredible sense of structure. Drew and Tom lay the solid foundation for some wickedly difficult charts and make it sound totally natural. Drew’s unstoppable bounce and Tom’s swirling intensity lay the perfect groundwork for this music.”\r\n\r\n\u003chr\u003e\r\n\r\nDiscover even more interesting information about this recording in our blog post \u003ca href=\"https:\/\/www.nativedsd.com\/dsd-reviews\/more-about-mark-nodwells-nemesis\/\"\u003e\u003cstrong\u003e\u003cem\u003eMore About Mark Nodwell’s ‘Nemesis’.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/a\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eMark Nodwell - Composer\u003c\/strong\u003e\r\n\u003cstrong\u003eRon Miles - Trumpet\u003c\/strong\u003e\r\n\u003cstrong\u003eKhabu Doug Young - Electric Guitar\u003c\/strong\u003e\r\n\u003cstrong\u003eArt Lande - Piano\u003c\/strong\u003e\r\n\u003cstrong\u003eDrew Gress - Bass\u003c\/strong\u003e\r\n\u003cstrong\u003eTom Rainey - Drums\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch 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canadian saxophonist rob armus and austrian classical pianist music marion von tilzer. its other members were vancouver jazz trumpeter bandleader john korsrud pakistani violinist anne wood scottish percussionist alan purves german bassist sven schuster. synthesized many influences into their own blend of chamber contemporary new including american european tango. there are echoes bach coltrane century romanticism african polyrhythms ragas more. imagine for example astor piazzolla philip glass combining forces to create modal with occasional nod free improv. in fact quite a range moods styles from heartfelt lyrical intimacy driving soul vamps. recorded mixed dsd this vibrant recording first north release cd issued bvhaast no means difficult or avant-garde it appeals broad tastes. band came together amsterdam the late relationship about learning each she showed me things i her now is improviser more educated towards music. felt after years playing improvised that come some type dead-end needing form. on hand had been very structured whole life seeking freedom so we tried combine form structure improvisation. rather than having one long solo everybody may have little sections where they improvise strict chord sequence within rhythmic as if improvisation continuation part. interested ghanaian particularly ceremonial rhythm called abadja. found another make cycle piece made interesting base improvising possibilities composition. later realized steve reich using such techniques listening also. tilzer takes up feel time when through mobility society media exposed cultures important connect different be inspired them. has wonderful adventure reconnect way recognize similarities differences but end all instrumentation like mini-orchestra horn section string piano often function carpet percussion. my harmonic melodic inspiration comes lot beloved composers bela bartok olivier messiaen arvo pieces usually once start writing them unfolding story. instance heart started part which inviting dreamlike melody violin chopinesque unlike does not groove makes float above repetitive accompaniment since accents do coincide ones data-sheets-userformat=\"{\" explains:=\"\" other:=\"\" thread:=\"\"\u003eecorded and mixed in DSD. This vibrant recording was Aros’ first North American release. By no means difficult or avant-garde, it appeals to a broad range of tastes.\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-value=\"{\" aros was an international sextet co-led by canadian saxophonist rob armus and austrian classical pianist music marion von tilzer. its other members were vancouver jazz trumpeter bandleader john korsrud pakistani violinist anne wood scottish percussionist alan purves german bassist sven schuster. synthesized many influences into their own blend of chamber contemporary new including american european tango. there are echoes bach coltrane century romanticism african polyrhythms ragas more. imagine for example astor piazzolla philip glass combining forces to create modal with occasional nod free improv. in fact quite a range moods styles from heartfelt lyrical intimacy driving soul vamps. recorded mixed dsd this vibrant recording first north release cd issued bvhaast no means difficult or avant-garde it appeals broad tastes. band came together amsterdam the late relationship about learning each she showed me things i her now is improviser more educated towards music. felt after years playing improvised that come some type dead-end needing form. on hand had been very structured whole life seeking freedom so we tried combine form structure improvisation. rather than having one long solo everybody may have little sections where they improvise strict chord sequence within rhythmic as if improvisation continuation part. interested ghanaian particularly ceremonial rhythm called abadja. found another make cycle piece made interesting base improvising possibilities composition. later realized steve reich using such techniques listening also. tilzer takes up feel time when through mobility society media exposed cultures important connect different be inspired them. has wonderful adventure reconnect way recognize similarities differences but end all instrumentation like mini-orchestra horn section string piano often function carpet percussion. my harmonic melodic inspiration comes lot beloved composers bela bartok olivier messiaen arvo pieces usually once start writing them unfolding story. instance heart started part which inviting dreamlike melody violin chopinesque unlike does not groove makes float above repetitive accompaniment since accents do coincide ones data-sheets-userformat=\"{\" explains:=\"\" other:=\"\" thread:=\"\"\u003eAmsterdam-based Aros was an international sextet co-led by Canadian saxophonist Rob Armus and Austrian classical pianist music Marion von Tilzer. Its other members were Vancouver jazz\/new music trumpeter and bandleader John Korsrud, Pakistani\/Scottish classical\/jazz\/rock violinist Anne Wood, Scottish jazz\/improv\/rock\/reggae percussionist Alan Purves, and German bassist Sven Schuster. Aros synthesized many influences into their own blend of chamber jazz and contemporary new music, including American jazz, European classical and new music, and tango. There are echoes of Bach, Coltrane, 19th century romanticism, African polyrhythms, ragas, and more. Imagine for example Astor Piazzolla and Philip Glass combining forces to create modal jazz with an occasional nod to free improv. In fact there’s quite a range of moods and styles, from heartfelt lyrical intimacy to driving soul jazz vamps.\u003c\/span\u003e\r\n\r\nThe band came together in Amsterdam in the late 1990s. Armus explains:\r\n\r\n\u003cem\u003e“The relationship with Marion was about learning from each other: she showed me things about contemporary music and I showed her jazz, and now Marion is an improviser and I’m more educated towards contemporary music. I felt after years of playing free improvised music that I'd come to some type of dead-end and was needing more form. Marion on the other hand had been playing very structured classical music her whole life and was seeking more freedom, so we tried to combine form and structure with improvisation. Rather than having one long solo, everybody may have little sections where they improvise on a strict chord sequence within the rhythmic structure, as if the improvisation is a continuation of their part. I’d been interested for many years in Ghanaian music, particularly a ceremonial rhythm called abadja. I found that if I mixed a rhythm in 6 with another rhythm in 5 to make a cycle of 30 (for example in the piece “30”) it made for an interesting base for improvising, and many possibilities for composition. I later realized that Steve Reich was using such techniques from listening to African music also.”\u003c\/em\u003e\r\n\r\nVon Tilzer takes up the thread:\r\n\r\n\u003cem\u003e“I feel that in this time when through the mobility of society and the media we are exposed to so many cultures it is very important to connect with different cultures and be inspired by them. Learning about jazz has been a wonderful adventure and has made me reconnect with music in a whole new way, to recognize the similarities and the differences of the different styles, but in the end it is all music. The instrumentation of Aros is like a mini-orchestra, with a horn section, a string section, and piano (which often has the function of a ‘harmonic carpet’) and percussion. My harmonic and melodic inspiration comes a lot from my beloved composers Bela Bartok, Olivier Messiaen and Arvo Part. My pieces usually have a life of their own once I start writing them, unfolding their story. For instance “Song of the Heart” started with the piano part in 11\/8 which was inviting a dreamlike melody from the violin in 12\/8, a Chopinesque way of using polyrhythms – where unlike in African music it does not create a groove but makes the melody float above the repetitive accompaniment, since the accents of the melody in the violin do not coincide with the ones of the piano part.”\u003c\/em\u003e\r\n\r\n--\r\n\r\n\u003cspan data-sheets-value=\"{\" van der weij frank and chris weeda editing multi-channel mix mikel le roy in dsd data-sheets-userformat=\"{\"\u003eFrank van der Weij (recording), Frank van der Weij and Chris Weeda (DSD editing and multi-channel mix), Mikel Le Roy (stereo mix in DSD)\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740103422276,"sku":"SGLSA15462-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740103455044,"sku":"SGLSA15462-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740103487812,"sku":"SGLSA15462-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740103520580,"sku":"SGLSA15462-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740103553348,"sku":"SGLSA15462-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740103586116,"sku":"SGLSA15462-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740103618884,"sku":"SGLSA15462-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740103651652,"sku":"SGLSA15462-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740103684420,"sku":"SGLSA15462-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740103717188,"sku":"SGLSA15462-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57339473985860,"sku":"SGLSA15462-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339474018628,"sku":"SGLSA15462S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339474051396,"sku":"SGLSA15462S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339474084164,"sku":"SGLSA15462S1617","price":34.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339474116932,"sku":"SGLSA15462S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339474149700,"sku":"SGLSA15462S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA1562.jpg?v=1778492816"},{"product_id":"sglsa15492-waraba-pure-dsd","title":"Waraba [Pure DSD]","description":"This is the recording debut of French bassist \u003cstrong\u003eJean-Jacques Avenel\u003c\/strong\u003e's Paris-based World Jazz group \u003cstrong\u003e\u003cem\u003eWaraba\u003c\/em\u003e\u003c\/strong\u003e (“The Lion” in the Bamana language). They perform traditional Manding tunes as well as their own compositions and re-compositions but approach them in a jazz way, with the focus on improvisation.\r\n\r\nAvenel’s Malian and Gambian bandmates performed with \u003cstrong\u003eYakhouba Sissokho\u003c\/strong\u003e (kora), \u003cstrong\u003eLansiné Kouyaté\u003c\/strong\u003e (balafon, a marimba), \u003cstrong\u003eMoriba Koita\u003c\/strong\u003e (ngoni, a lute), and \u003cstrong\u003eMichel Edelin\u003c\/strong\u003e (flutes). The band has traditional music in their bones and an openness to experiments. French flutist \u003cstrong\u003eMichel Edelin\u003c\/strong\u003e provides a second jazz voice on many tracks. Avenel’s beautiful bass sound and rhythmic vitality spur the band on, the overall vibe is sweet, intense, and joyful, and the delicious blend of timbres is perfectly caught by this \u003cstrong\u003eStereo and 5 Channel Surround Sound Pure DSD recording\u003c\/strong\u003e.\r\n\r\nAvenel explained the group’s origins:\r\n\r\n\u003cem\u003e“My interest in African music, its rhythmic richness, its sonorities, developed with my study of the sanza [thumb piano] and then the kora (and its repertoire). The idea of blending the double bass with these instruments is an old dream which was sketched out on my solo record Eclaircie (1985). Meeting Yakhouba I owe to Phillipe Conrath, who invited us to perform at the Africolor Festival in 1997. This was a fruitful encounter, and we decided to continue. Yakhouba became my kora teacher, my friend and musical partner. Through him I met Moriba and Lansiné. The basic trio: Yakhouba, Lansiné and me. Sometimes Moriba replaces Lansiné; joined by Michel Edelin (2000).\u003c\/em\u003e\r\n\r\n\u003cem\u003e“[This music] is a meeting of individuals, a sharing of knowledge and passions, a desire to open things up and a respect for tradition. (Structured) improvisation is our playing field. The essential thing in this music is play, where the pleasure of playing is collective. The music is created around themes (introduced by one or the other of us) and improvisations on the harmonic structures (very simple) and rhythmic structures. The different ways of playing (traditional or a more modern approach) are expressed in a collective exchange from which soloists emerge.”\u003c\/em\u003e\r\n\r\n\u003cem\u003eAlbum highlights include the rhythmic excitement of Avenel’s solo composition “Pi-Pande” where he overdubs bass and kora, and then lightly adds in a second bass for color and harmony; the shifting interplay and lovely textures of n’gonis, flutes and bass on Koïta’s stately tune “Batou Kagni”; the Caribbean insouciance and subtle orchestration of “Jarabi”; the ensemble groove with its figure\/ground interchange of solos and riffs in “Kaïra”; and the sophisticated syncopations and accents that balance the touching simplicity of the classic “Tubaka.”\r\n\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eWaraba\u003c\/strong\u003e\r\nJean-Jacques Avenel - Double Bass \u0026amp; Kora\r\nYakhouba Sissokho - Kora\r\nLansiné Kouyaté - Balafon\r\nMoriba Koïta - N’goni\r\nMichel Edelin - Flute, Alto Flute, Bass Flute","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740103815492,"sku":"SGLSA15492-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740103848260,"sku":"SGLSA15492-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740103881028,"sku":"SGLSA15492-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740103913796,"sku":"SGLSA15492-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740103946564,"sku":"SGLSA15492-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740103979332,"sku":"SGLSA15492-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740104012100,"sku":"SGLSA15492-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740104044868,"sku":"SGLSA15492-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740104077636,"sku":"SGLSA15492-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740104110404,"sku":"SGLSA15492-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57339475755332,"sku":"SGLSA15492-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339475788100,"sku":"SGLSA15492S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339475820868,"sku":"SGLSA15492S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339475853636,"sku":"SGLSA15492S1617","price":34.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339475886404,"sku":"SGLSA15492S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339475919172,"sku":"SGLSA15492S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15492.jpg?v=1778492835"},{"product_id":"sglsa15572-the-distance","title":"The Distance","description":"\u003cem\u003e\u003cstrong\u003eThe Distance\u003c\/strong\u003e \u003c\/em\u003ewas recorded live at the 2004 Vancouver International Jazz Festival. Although famed New York guitarist \u003cstrong\u003eBen Monder\u003c\/strong\u003e had never met Vancouver musicians \u003cstrong\u003eChris Gestrin\u003c\/strong\u003e and \u003cstrong\u003eDylan van der Schyff\u003c\/strong\u003e, certain affinities seemed to click into place. Both Gestrin and Monder are masters of jazz harmony, which is evident from the title tune; all three musicians are very sensitive to texture and timbre and the subtle give and take of free improv.\r\n\r\nThe album is wholly improvised apart from two pieces each by van der Schyff and Gestrin, yet there’s a cumulative sense of continuity and flow. The composed pieces tend to hover on the brink of freedom, while the improvs are fascinating as process but also strong on form.\r\n\r\nThe particular character of this trio’s music-making involves a balance between speed\/dynamism and a more inward, meditative feeling, between expansiveness and concentration, abstraction and the luminous impressions of the moment, music as sound or ambience and gesture as statement. The shifting continuum between consonance and dissonance or distortion also plays a part: Gestrin’s preparations (e.g. paper laid on strings in “Extrinsic”), Monder’s exquisite grunge (“Dark Engine”), van der Schyff’s multi-hued ringings and tappings. 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Its members present highly distinctive voices on their instruments, showing deep experience of new music, jazz and improvisation.\r\n\r\nThe sound of the group is unique, and the playing is both classically poised and jazzily exuberant and inventive. What really makes the music shine though is Wayne’s gift as a composer, the way his themes and harmonies insinuate themselves into the listener’s consciousness and often touch you in those vulnerable places with their tart nostalgia and bittersweet melancholy.\r\n\r\n\u003cstrong\u003eWayne Horvitz, Pianist\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740105716036,"sku":"PWSGLSA15582-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740105748804,"sku":"PWSGLSA15582-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740105781572,"sku":"PWSGLSA15582-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740105814340,"sku":"PWSGLSA15582-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740105847108,"sku":"PWSGLSA15582-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740105879876,"sku":"PWSGLSA15582-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740105912644,"sku":"PWSGLSA15582-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740105945412,"sku":"PWSGLSA15582-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740105978180,"sku":"PWSGLSA15582-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740106010948,"sku":"PWSGLSA15582-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740106043716,"sku":"PWSGLSA15582-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740106076484,"sku":"PWSGLSA15582-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57339478999364,"sku":"PWSGLSA15582-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339479032132,"sku":"PWSGLSA15582S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339479064900,"sku":"PWSGLSA15582S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339479097668,"sku":"PWSGLSA15582S1617","price":34.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339479130436,"sku":"PWSGLSA15582S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57339479163204,"sku":"PWSGLSA15582S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15582.jpg?v=1778492864"},{"product_id":"pwsgl25512-richter-858-pure-dsd","title":"Richter 858 [Pure DSD]","description":"\u003cblockquote\u003e\u003ci\u003eRestlessly creative guitarist Bill Frisell leads a hybrid string ensemble with noted improvisers Hank Roberts, Jenny Scheinman, and Eyvind Kang, in pieces inspired by the paintings of Gerhard Richter.\r\n- \u003cstrong\u003eMark Werlin\u003c\/strong\u003e\u003c\/i\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThis is a Pure DSD album, recorded on Analog Tape and transferred to DSD 64. It is also available in DSD 512, 256 and 128.\u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" bill frisell was commissioned by producer david breskin to create the music for an elaborate art book project on great german painter gerhard richter. richter published in connection with a comprehensive us retrospective of work although it focused entirely recent series eight small abstract paintings numbered there were poems essays superb reproductions works and inserted cd one piece each painting. songlines released sacd. attraction wasn because his compositional style=\"\" so much as relationship electric guitar. what does paint these abstractions he shapes torques inverts reverses time uses all signal-processing devices take original sound transform is very similar sense that knows well effects can get from running squeegee over wet section just like achieve feeding certain notes into delay then letting them come back playing them. yet neither nor have perfect control process things happen which they predict. fact this departure builds musical friendships going years or decades. having discussed possibility strings since settled basic guitar three acoustic players gifted far-ranging improvisers who would relish aesthetic challenge. after viewing private showing finding out more about set composing. few months later band rendezvoused seattle couple days rehearsal recorded live mix analogue day master engineer joe ferla. most my recordings i overdub obsess go tweak but wanted somehow represent gesture across aluminum canvas you deal being thinking role guy if melody could be equivalent photograph recognizable visual image doing kind smearing around always some underlying structure carefully worked out. density layered quality performance strategies clearly relate art. also stands its own evocative suite straddles jazz contemporary new moving between abstraction something melodic extremes dissonance energy noise darkly serene meditations. inspired whole has written including savoy sign quartet. booklet includes interviews excerpts pre-production aesthetics questions thoughts. youtube video presents their details together pieces demonstrating analogies had been working with. data-sheets-userformat=\"{\" sound:=\"\" comments:=\"\" life:=\"\" re:=\"\"\u003eIn 2002 \u003cstrong\u003eBill Frisell\u003c\/strong\u003e was commissioned by producer David Breskin to create the music for an elaborate art book project on the great German painter Gerhard Richter. The book, \u003cstrong\u003e\u003cem\u003eRichter 858\u003c\/em\u003e\u003c\/strong\u003e, was published in connection with a comprehensive US retrospective of Richter’s work, although it focused entirely on a recent series of eight small abstract paintings numbered 858 1–8. There were poems, essays, superb reproductions of the works, and Frisell’s music on an inserted CD – one piece for each painting. In 2005 Songlines Recordings released the music on SACD.\u003c\/span\u003e\r\n\r\nAccording to Breskin, \u003cem\u003e“My attraction to Frisell wasn’t because of his compositional style so much as his relationship with the electric guitar. What Richter does with paint in these abstractions Frisell does with sound: he shapes it, he torques it, he inverts it — he reverses it in time… He uses all these signal-processing devices to take his original sound and transform it… It is very similar to Richter, in the sense that Richter knows well the effects he can get from running the squeegee over a wet section of paint, just like Bill knows the effects he can achieve by feeding a certain series of notes into his delay, and then letting them come back and playing over them. And yet neither Richter nor Frisell have perfect control of the process, and things happen which they can’t predict.”\u003c\/em\u003e\r\n\r\nIn fact this music is a departure for Frisell, although it builds on musical friendships going back years or decades. Having discussed the possibility of a project with strings since the ’80s, Breskin and Frisell settled on the basic sound, electric guitar and three acoustic strings, and on the players – gifted, far-ranging improvisers who would relish the aesthetic challenge. After viewing the paintings in a private showing and finding out more about Richter, Frisell set about composing. A few months later Breskin and the band rendezvoused in Seattle and after a couple of days’ rehearsal the music was recorded in a live mix to 1″ analogue in just one day by master engineer Joe Ferla. Frisell comments: “On most of my recordings I overdub, mix, obsess over it, go back and tweak things, but I wanted this one to somehow represent this gesture of paint going across aluminum or canvas, and you just have to deal with it being there… I was thinking of my role as the guy with the squeegee… If a melody could be the equivalent of a photograph or a recognizable visual image, then what I was doing was kind of smearing the paint around, but there was always some underlying structure that was more carefully worked out.”\r\n\r\nThere’s a density to the music, a layered quality, and performance strategies that all clearly relate to Richter’s art. But Frisell’s Richter 858 also stands on its own as an evocative suite that straddles jazz and contemporary new music, moving between musical abstraction and something more melodic and “representational,” from extremes of dissonance, energy and noise to darkly serene meditations. Inspired by the whole process, Frisell has since written much more for the band, including a CD on Savoy, Sign of Life: Music for 858 Quartet.\r\n\r\nThe 28-page booklet includes reproductions of the paintings, interviews with Frisell and Breskin, and excerpts from Breskin’s pre-production notes for Frisell, “Outline re: Structure, Aesthetics, Questions, Thoughts.” A Youtube video \"slideshow\" presents the paintings and their details together with the pieces they inspired, demonstrating analogies between visual art and music that Breskin and Frisell had been working with.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eBill Frisell\u003c\/strong\u003e - guitar, electronics\r\n\u003cstrong\u003eHank Roberts\u003c\/strong\u003e - cello\r\n\u003cstrong\u003eJenny Scheinman\u003c\/strong\u003e - violin\r\n\u003cstrong\u003eEyvind Kang\u003c\/strong\u003e - viola","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740166009156,"sku":"PWSGL25512-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740166041924,"sku":"PWSGL25512-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740166074692,"sku":"PWSGL25512-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740166107460,"sku":"PWSGL25512-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740166140228,"sku":"PWSGL25512-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57339999551812,"sku":"PWSGL25512-14","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL25512.jpg?v=1790588501"},{"product_id":"pwsglsa15365-sweeter-than-the-day-pure-dsd","title":"Sweeter Than The Day [Pure DSD]","description":"\u003cblockquote\u003e\u003ci\u003eA luminous recording of eclectic and distinctive chamber jazz from a master of the genre.\r\n- \u003cstrong\u003eMark Werlin\u003c\/strong\u003e\u003c\/i\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\nThe Stereo \u0026amp; 5 Channel Surround Sound DSD album from \u003cstrong\u003eWayne Horvitz\u003c\/strong\u003e's sideline acoustic project \u003cem\u003e\u003cstrong\u003eSweeter Than The Day\u003c\/strong\u003e\u003c\/em\u003e, released in 2002, expresses the reflective side of pianist Horvitz's temperament. Bittersweet, melodically distinctive Chamber Jazz, an evocative combination of Swing, Bop and Blues, It is his second album at NativeDSD, following \u003cem\u003e\u003cstrong\u003eWay Out East\u003c\/strong\u003e\u003c\/em\u003e.\r\n\r\nWest Coast cool and the occasional edge of free jazz, with echoes of French impressionism and other classical piano music and popular music of the 1950s and 1960s.\r\n\r\n\u003cstrong\u003eThe album is exclusively available in Pure DSD Stereo \u0026amp; 5 Channel Surround Sound DSD 256 and DSD 128 plus Stereo DSD 512 from NativeDSD.\u003c\/strong\u003e\r\n\r\n\u003cstrong\u003eSweeter Than The Day\u003c\/strong\u003e\r\nWayne Horvitz, Piano\r\nTimothy Young, Electric Guitar\r\nKeith Lowe, Acoustic Bass\r\nAndy Roth, Drums","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740166500676,"sku":"PWSGLSA15365-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch 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d recording dsd with nine different duo and trio groupings musicians from vibrant creative music scene. apart handful compositions including few solo piano pieces all was completely improvised exploring process spontaneous composition concentration finesse expressive power. course long listening selecting mixing we decided that would sequence two discs because just one not adequately represent unique approach each session yet how they connected. first disc is tracks second collaborators chose for project were either longtime friends or people he eager to work this context who like him are skilled at both playing develop ideas without limitations preconceptions. so there here sound some kind ambient contemporary chamber more improv jazz but most them don take well simple categorization. discovery an pathway through piece record artistic statement it has lot do as discipline. liner note writes me form meditation...to put simply i live wish could my life. always possible be present when creating happens really true enlightenment. exactly should any effort part. am happy captured number these moments. example moment gets every time hear it. peggy lee approximately complete shift texture rhythm harmony make simultaneously. deep going accompanied by enjoyment many kinds which perhaps related studying film rather than performance berklee mid- did come synthesize interests approaches into personal style=\"\" been characterized imagistic cinematic feel made conscious choices about influences incorporated style.on spiritual level derive much satisfaction ac shostakovich keith jarrett. guess common trait ingrained majority constant attention harmonic melodic content. even if obscure hearing movement sense. draw musical inspiration nature visual art often motivation itself thus important full justice shifting sonic textures space encompasses music. after city gone quiet amply rewards close open mind. data-sheets-userformat=\"{\" :=\"\"\u003eIn the summer of 2004 Vancouver keyboardist \u003cstrong\u003eChris Gestrin\u003c\/strong\u003e spent three intense days in the studio on a Steinway D, recording in DSD with nine different duo and trio groupings of musicians from Vancouver’s vibrant creative music scene for the album \u003cem\u003e\u003cstrong\u003eAfter The City Has Gone: Quiet\u003c\/strong\u003e\u003c\/em\u003e. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the summer of vancouver keyboardist chris gestrin spent three intense days in studio on a steinway d recording dsd with nine different duo and trio groupings musicians from vibrant creative music scene. apart handful compositions including few solo piano pieces all was completely improvised exploring process spontaneous composition concentration finesse expressive power. course long listening selecting mixing we decided that would sequence two discs because just one not adequately represent unique approach each session yet how they connected. first disc is tracks second collaborators chose for project were either longtime friends or people he eager to work this context who like him are skilled at both playing develop ideas without limitations preconceptions. so there here sound some kind ambient contemporary chamber more improv jazz but most them don take well simple categorization. discovery an pathway through piece record artistic statement it has lot do as discipline. liner note writes me form meditation...to put simply i live wish could my life. always possible be present when creating happens really true enlightenment. exactly should any effort part. am happy captured number these moments. example moment gets every time hear it. peggy lee approximately complete shift texture rhythm harmony make simultaneously. deep going accompanied by enjoyment many kinds which perhaps related studying film rather than performance berklee mid- did come synthesize interests approaches into personal style=\"\" been characterized imagistic cinematic feel made conscious choices about influences incorporated style.on spiritual level derive much satisfaction ac shostakovich keith jarrett. guess common trait ingrained majority constant attention harmonic melodic content. even if obscure hearing movement sense. draw musical inspiration nature visual art often motivation itself thus important full justice shifting sonic textures space encompasses music. after city gone quiet amply rewards close open mind. data-sheets-userformat=\"{\" :=\"\"\u003eApart from a handful of compositions, including a few solo piano pieces, all the music was completely improvised, exploring the process of spontaneous composition with concentration, finesse and expressive power. In the course of a long process of listening, selecting and mixing, we decided that Chris would sequence two discs of music, because just one would not adequately represent the unique approach of each session and yet how they’re all connected. (The first disc is tracks 1-15, the second tracks 16-28.)\u003c\/span\u003e\r\n\r\nThe collaborators Chris chose for the project were either longtime friends or people he was eager to work with in this context – musicians who, like him, are skilled at both “inside” and “outside” playing and who like to develop ideas without limitations or preconceptions. So there are pieces here that sound like some kind of ambient\/world music, contemporary chamber music, more “traditional” improv, or jazz, but most of them don’t take well to simple categorization. The discovery of an expressive pathway through each piece, and from piece to piece, is the record’s artistic statement, and it has a lot to do with Chris’s approach to music as a discipline. In the liner note he writes, “To me, improvised music is a form of meditation...to put it simply, I live music like I wish I could live my life. It’s not always possible to be 100% present when I’m creating music, but when it happens it really is true enlightenment. The music happens exactly as it should without any effort on my part. I am happy that this recording has captured a number of these moments.” An example? “There is one moment that gets me every time I hear it. On the duo with Peggy Lee, “D.S.,” at approximately 1:19, there is a complete shift in texture, rhythm and harmony that we both make simultaneously.”\r\n\r\nThe kind of deep listening going on here is accompanied by an enjoyment of many different kinds of music – which is perhaps related to studying film composition rather than jazz performance at Berklee in the mid-’90s. How did he come to synthesize these different interests and approaches into a personal style that has been characterized as imagistic or cinematic? “I don’t feel that I made any conscious choices about how all my influences were going to be incorporated into my personal style.On a spiritual level, I derive as much satisfaction listening to AC\/DC as I would listening to Shostakovich or Keith Jarrett. I guess one common trait that is ingrained in the majority of my music is a constant attention to harmonic and melodic content. Even if it’s obscure, I’m always hearing some movement in that sense.”\r\n\r\nAs Chris writes in the liner note, “I draw musical inspiration from nature and visual art but most often my motivation is sound itself” – thus it was important to do full justice to the shifting sonic textures and the space that encompasses the music. After the city has gone : quiet is a record that amply rewards close attention and an open mind.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eChris Gestrin\u003c\/strong\u003e, piano, prepared piano, percussion\r\n\u003cstrong\u003eJon Bentley\u003c\/strong\u003e, saxophones\r\n\u003cstrong\u003eBernie Arai\u003c\/strong\u003e, drums\r\n\u003cstrong\u003eJeremy Berkman\u003c\/strong\u003e, trombone\r\n\u003cstrong\u003eJess Zubot\u003c\/strong\u003e, violin\r\n\u003cstrong\u003eMiles Black\u003c\/strong\u003e, piano\r\n\u003cstrong\u003eBill Clark and J.P. Carter\u003c\/strong\u003e, trumpets\r\n\u003cstrong\u003eJoseph Pepe Danza\u003c\/strong\u003e, shakuhachi, ney, hang, percussion\r\n\u003cstrong\u003eGordon Grdina\u003c\/strong\u003e, guitar, dobro\r\n\u003cstrong\u003ePeggy Lee\u003c\/strong\u003e, cello\r\n\u003cstrong\u003eRon Samworth\u003c\/strong\u003e, guitar\r\n\u003cstrong\u003eDylan van der Schyff\u003c\/strong\u003e, drums","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740167254340,"sku":"SGLSA15682-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740167287108,"sku":"SGLSA15682-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740167319876,"sku":"SGLSA15682-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740167352644,"sku":"SGLSA15682-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740167385412,"sku":"SGLSA15682-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740167418180,"sku":"SGLSA15682-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740167450948,"sku":"SGLSA15682-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740167483716,"sku":"SGLSA15682-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740167516484,"sku":"SGLSA15682-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740167549252,"sku":"SGLSA15682-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740167582020,"sku":"SGLSA15682-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740167614788,"sku":"SGLSA15682-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340000403780,"sku":"SGLSA15682-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340000436548,"sku":"SGLSA15682S1417","price":31.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340000469316,"sku":"SGLSA15682S1517","price":33.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340000502084,"sku":"SGLSA15682S1617","price":37.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340000534852,"sku":"SGLSA15682S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340000567620,"sku":"SGLSA15682S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15682.jpg?v=1778493730"},{"product_id":"sglsa15472-ditty-blei-pure-dsd","title":"Ditty Blei [Pure DSD]","description":"\u003cblockquote\u003e\u003ci\u003eNativeDSD’s Songlines reissue program is uncovering overlooked gems from the early SACD treasure chest. This demonstration-quality DSD release revisits a short-lived but innovative ensemble.\r\n- \u003cstrong\u003eMark Werlin\u003c\/strong\u003e\u003c\/i\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-value=\"{\" is the second recording for songlines by icelandic guitarist of drummer jim black alasnoaxis. an acoustic quintet hand-picked players from downtown new york scene gives jensson challenging compositions a rhythmic flair and melodic interest that might recall chris speed yeah no in its balance between offbeat grooves improvisational freedom rock extraversion jazz discipline. intricate counterpoint horns abrasive guitar solos constantly shifting metres time-bending percussive commentary complete picture. with stark but tender emotional underpinning engages listener here laid out his vision even if at time he questioned whether useful descriptor since early i had close relationship music musicians scene. there are many exciting things happening iceland this core my musical self. where style=\"\" was born strongest so it natural me to turn when need realize ideas. fact these friends makes choice more natural. term though doesn mean anything anymore. way too broad define good. think different genres melting into one indefinable plenty room variation be except good interesting. odd meters complexities goes far back. starting write type material lived brooklyn others just started fascinated balkan music. some reason having change all bar which very folk consistent throughout piece. wanted bit. using preparations extended bows alligator clips mini-fans screws e-bow drumsticks snare various other things. have deeply affected frisell scofield metheny abercrombie miles jarrett ornette zorn paul motian. been inspired people worked andrew d skuli sverrisson eyvind kang tim berne name few. avant-rock influence quite recent. followed blooming chicago guitarists o kevin drumm great interest. ears also opened up lot composed improvised electronic mats gustafsson gunter muller bernard morton feldman terry riley luc ferrari. data-sheets-userformat=\"{\" music:=\"\" techniques:=\"\" playing:=\"\" with:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eDitty Blei\u003c\/strong\u003e\u003c\/em\u003e is the second recording for \u003cstrong\u003eSonglines\u003c\/strong\u003e by Icelandic guitarist \u003cstrong\u003eHilmar Jensson \u003c\/strong\u003eof drummer Jim Black’s \u003cstrong\u003eAlasnoaxis\u003c\/strong\u003e band. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-value=\"{\" is the second recording for songlines by icelandic guitarist of drummer jim black alasnoaxis. an acoustic quintet hand-picked players from downtown new york scene gives jensson challenging compositions a rhythmic flair and melodic interest that might recall chris speed yeah no in its balance between offbeat grooves improvisational freedom rock extraversion jazz discipline. intricate counterpoint horns abrasive guitar solos constantly shifting metres time-bending percussive commentary complete picture. with stark but tender emotional underpinning engages listener here laid out his vision even if at time he questioned whether useful descriptor since early i had close relationship music musicians scene. there are many exciting things happening iceland this core my musical self. where style=\"\" was born strongest so it natural me to turn when need realize ideas. fact these friends makes choice more natural. term though doesn mean anything anymore. way too broad define good. think different genres melting into one indefinable plenty room variation be except good interesting. odd meters complexities goes far back. starting write type material lived brooklyn others just started fascinated balkan music. some reason having change all bar which very folk consistent throughout piece. wanted bit. using preparations extended bows alligator clips mini-fans screws e-bow drumsticks snare various other things. have deeply affected frisell scofield metheny abercrombie miles jarrett ornette zorn paul motian. been inspired people worked andrew d skuli sverrisson eyvind kang tim berne name few. avant-rock influence quite recent. followed blooming chicago guitarists o kevin drumm great interest. ears also opened up lot composed improvised electronic mats gustafsson gunter muller bernard morton feldman terry riley luc ferrari. data-sheets-userformat=\"{\" music:=\"\" techniques:=\"\" playing:=\"\" with:=\"\"\u003eAn acoustic quintet of hand-picked players from the downtown New York scene gives Jensson's challenging compositions a rhythmic flair and melodic\/harmonic interest that might recall Chris Speed’s \u003cem\u003eYeah No\u003c\/em\u003e in its balance between off-beat grooves and improvisational freedom, rock extraversion and jazz discipline. Intricate counterpoint from the horns, abrasive guitar solos, constantly shifting metres, and Black’s time-bending percussive commentary complete the picture. With a stark but tender emotional underpinning that engages the listener, Jensson here laid out his vision of jazz, even if at the time he questioned whether jazz is a useful descriptor for his music:\u003c\/span\u003e\r\n\r\n“Ever since the early ’90s I’ve had a close relationship with the music and musicians of the downtown scene. There are many exciting things happening in Iceland but this is the core of my musical self. New York is where this style was born and where the strongest players are so it’s natural for me to turn there when I need to realize my ideas. The fact that many of these musicians are my close friends makes the choice even more natural. The term “jazz” though doesn’t mean anything to me anymore. It’s way too broad to define and that’s good. I think that many different genres of music are melting into one indefinable style with plenty of room for variation and no need to be anything except good and interesting.\r\n\r\n“My interest in odd meters and rhythmic complexities goes far back. I was starting to write this type of material when I lived in Brooklyn and Chris Speed and the others had just started to be fascinated by Balkan music. For some reason I was fascinated by having meters change all the time, bar by bar, which is very different from folk music where the odd meters are consistent throughout the piece. I wanted the music to 'limp' a bit.\r\n\r\n“As a guitarist I’m very into using preparations and extended techniques: bows, alligator clips, mini-fans, screws, e-bow, drumsticks, a snare and various other things. Many musicians have deeply affected my playing: Frisell, Scofield, Metheny, Abercrombie, Miles, Jarrett, Ornette, Zorn, Paul Motian. And I’ve been inspired by the people I’ve worked with: Jim, Chris, Andrew D'Angelo, Skuli Sverrisson, Eyvind Kang and Tim Berne to name a few. The avant-rock influence is quite recent. I’ve followed the blooming Chicago scene (including guitarists Jim O’Rourke and Kevin Drumm) with great interest. My ears have also opened up to a lot of composed, improvised and electronic music: Mats Gustafsson, Gunter Muller, Bernard Gunter, Morton Feldman, Terry Riley, Luc Ferrari.\"\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-value=\"{\" is the second recording for songlines by icelandic guitarist of drummer jim black alasnoaxis. an acoustic quintet hand-picked players from downtown new york scene gives jensson challenging compositions a rhythmic flair and melodic interest that might recall chris speed yeah no in its balance between offbeat grooves improvisational freedom rock extraversion jazz discipline. intricate counterpoint horns abrasive guitar solos constantly shifting metres time-bending percussive commentary complete picture. with stark but tender emotional underpinning engages listener here laid out his vision even if at time he questioned whether useful descriptor since early i had close relationship music musicians scene. there are many exciting things happening iceland this core my musical self. where style=\"\" was born strongest so it natural me to turn when need realize ideas. fact these friends makes choice more natural. term though doesn mean anything anymore. way too broad define good. think different genres melting into one indefinable plenty room variation be except good interesting. odd meters complexities goes far back. starting write type material lived brooklyn others just started fascinated balkan music. some reason having change all bar which very folk consistent throughout piece. wanted bit. using preparations extended bows alligator clips mini-fans screws e-bow drumsticks snare various other things. have deeply affected frisell scofield metheny abercrombie miles jarrett ornette zorn paul motian. been inspired people worked andrew d skuli sverrisson eyvind kang tim berne name few. avant-rock influence quite recent. followed blooming chicago guitarists o kevin drumm great interest. ears also opened up lot composed improvised electronic mats gustafsson gunter muller bernard morton feldman terry riley luc ferrari. data-sheets-userformat=\"{\" music:=\"\" techniques:=\"\" playing:=\"\" with:=\"\"\u003e\u003cstrong\u003eHilmar Jensson, Electric \u0026amp; 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Shepik suggested a young drummer he knew, Matt Kilmer, to complete the trio. The result, recorded in great sounding Analogue, is alternately groove-based and more meditative, timeless, often with a folky feel.\r\n\r\n\u003cstrong\u003eThe album is exclusively available in DSD Stereo \u0026amp; 5 Channel Surround Sound DSD 256 and DSD 128 plus Stereo DSD 512 from NativeDSD.\u003c\/strong\u003e\r\n\r\nPeter Epstein and Brad Shepik had been friends and musical collaborators for a decade when \u003cem\u003eLingua Franca\u003c\/em\u003e was recorded in 2003. Both had become well established on the NY scene — Brad as one of the most intense and committed guitarists, at home playing in, out and on the edge, a lynchpin in several world music influenced jazz ensembles (Dave Douglas’s Tiny Bell Trio, Matt Darriau’s Paradox Trio, Pachora); Peter was an equally versatile saxman, a superb composer-performer with interests ranging from improv to Bach to Balkan, Indian and west African music. Peter was an essential part of Brad’s middle-eastern inspired quintet that recorded The Loan (1997) and The Well (2000) for Songlines. When Peter proposed a new duo collaboration with both of them contributing pieces, Brad suggested bringing in \u003cstrong\u003eMatt Kilmer\u003c\/strong\u003e, a young NY-based percussionist he’d performed with in Paradox Trio and Simon Shaheen’s group.\r\n\r\nThe result is even more diverse than their previous work together, as it alternates between different grooves and a more meditative, timeless, often folky feel. The individual elements that make up the music are sometimes clear (e.g. the reggae tune “Sunrise,” the bluesy \"Miro” the Celtic \"Emerald”), but more often they are effortlessly and elegantly combined (e.g. Monsaraz's eastern modality plus its 12-bar blues-influenced form and chord progression).\r\n\r\nBrad comments: \u003cem\u003e“In terms of musical style I’m not able to dissect the influences in a definitive way, but I was looking for material that we could have some fun with as a group. We also wanted to do some free improvisations.\"\u003c\/em\u003e\r\n\r\nPeter adds: \u003cem\u003e“I wanted to do a project where we could also include sounds more associated with America: jazz, blues. So there’s a bit of leaping around from reference to reference, but that’s almost on purpose; what’s of real interest here for me is the way in which we can play these very disparate sounds in the creation of an album where the commitment and communication within the group tempers those differences, by establishing a group sound \/ concept that remains consistent and personal throughout. For me the title Lingua Franca refers less to the overlapping of various musical cultures and more to overlapping personal musical concepts, with each musician representing a distinct musical culture unto themselves.\"\u003c\/em\u003e\r\n\u003cem\u003e\r\n\u003c\/em\u003e\u003cstrong\u003eSo what makes it a Jazz record?\u003c\/strong\u003e\r\nBrad: \u003cem\u003e“For me the jazz element is in the improvising and in the way the trio shapes the music collectively from moment to moment.”\u003c\/em\u003e\r\n\r\nPeter: \u003cem\u003e\"In a way, I suppose I am my own melting pot. All of these different sounds and concepts have gone in but what comes out is something unlike any of the original sounds. Being a ’jazz musician’ now means that we can call a Balkan tune, free improvisation or an original the way we used to call a waltz, ballad, or bebop tune (even alongside the waltz, ballad, or bebop tune).”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003ePeter Epstein, Saxophone\u003c\/strong\u003e\r\n\u003cstrong\u003eBrad Shepik, Guitar\u003c\/strong\u003e\r\n\u003cstrong\u003eMatt Kilmer, Percussion\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740168761668,"sku":"PWSGLSA15552-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740168794436,"sku":"PWSGLSA15552-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740168827204,"sku":"PWSGLSA15552-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740168859972,"sku":"PWSGLSA15552-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740168892740,"sku":"PWSGLSA15552-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740168925508,"sku":"PWSGLSA15552-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740168958276,"sku":"PWSGLSA15552-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740168991044,"sku":"PWSGLSA15552-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740169023812,"sku":"PWSGLSA15552-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740169056580,"sku":"PWSGLSA15552-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740169089348,"sku":"PWSGLSA15552-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340001124676,"sku":"PWSGLSA15552-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340001157444,"sku":"PWSGLSA15552S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340001190212,"sku":"PWSGLSA15552S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340001222980,"sku":"PWSGLSA15552S1617","price":34.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340001255748,"sku":"PWSGLSA15552S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15552.jpg?v=1778493756"},{"product_id":"pwsglsa15452-apparitions","title":"Apparitions","description":"\u003cblockquote\u003eAn artistic milestone of New York ‘downtown’ creative jazz with an avant-garde edge, recorded in crystal-clear DSD.\r\n\u003ci\u003e- \u003cstrong\u003eMark Werlin\u003c\/strong\u003e\u003c\/i\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\nNew York saxophonist \u003cstrong\u003eTony Malaby\u003c\/strong\u003e’s Mexican-American background and experience playing both inside and outside bring a subtly different flavor to his second record as leader. The members of the band worked with his structural concepts more than with written-out compositions: “I decided to try to create platforms for my favorite ‘zones’ that we’d developed or would hit on. So for example, a multi-layered zone where the four of us are each playing in our own pulse or dimension in time, or a very transparent zone where it’s cymbals\/mallets\/brushes and I’m playing flute-like and Drew Gress is playing arco. And the question is: how am I going to get this into a composition, how am I going to structure it?”\r\n\r\nThroughout \u003cem\u003e\u003cstrong\u003eApparitions\u003c\/strong\u003e\u003c\/em\u003e, freedom and form are dual aspects of the music’s evolution. Cutting-edge jazz typically blurs the distinction between composition and improvisation, but seldom are the results so intuitive yet coherent — sinuous group elaborations of uncanny dexterity, the often dense textures retaining a striking clarity. The whole record feels like one extended suite exploring forms and moods on some knife-edge between passion and abstraction. “A big part of the aesthetic is that the composition is hidden, and the improv is equally hidden… Tom Rainey, Mike Sarin and Drew are masters at creating this effect, because they can absorb the material very quickly and are then able to abstract it and deconstruct it, they create another layer over the written material, even as they perform it… On ‘Talpa’ and ‘Jersey Merge’ there’s a structure that we’re blowing off of, chord changes — ‘Jersey Merge’ is based on the harmonic structure of ‘Bye Bye Blackbird’ — and I knew that I’d get a different type of music from the rest of the record if I incorporated a couple of tunes with form and structure. The way they mask that there is a form there is brilliant, it creates a seamlessness that never constricts me as an improviser.”\r\n\r\nTimbral innovation is another area of investigation, “trying to create the illusion that I’m not playing saxophone, that I’m playing marimba or other percussion-like instruments… trying to make the ensemble sound bigger than it really is.” Evoking cultural and natural space is also an important consideration: “I use a lot of imagery or visualization, and at the time of making Apparitions I was dealing a lot with my heritage, so a lot of imagery of adobe, weavings, chilis, cilantro, spices, the ancient pyramids of Mexico… these were on my mind. And there’s a primitiveness in the music — ‘Tula’ at times sounds like I’m blowing into a conch shell… Something I’ve always carried with me from the southwest is a sense of space. It’s very easy for me to create density and energy but I’m working on spacing that out, pacing myself, and thinking of ‘arcs’ differently, I don’t want things to always start soft, crescendo to a peak, and come down at the end.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eTony Malaby\u003c\/strong\u003e, tenor \u0026amp; soprano saxophone\r\n\u003cstrong\u003eTom Rainey\u003c\/strong\u003e, drums\r\n\u003cstrong\u003eDrew Gress\u003c\/strong\u003e, double bass\r\n\u003cstrong\u003eMichael Sarin\u003c\/strong\u003e, drums \u0026amp; percussion\r\n\r\nRecorded to DSD October 8, 2002 at Systems Two, Brooklyn. Mixed to 5.0 \u0026amp; mastered in Pyramix by Graemme Brown, Zen Mastering, Vancouver.","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740240097604,"sku":"PWSGLSA15452-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740240130372,"sku":"PWSGLSA15452-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740240163140,"sku":"PWSGLSA15452-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740240195908,"sku":"PWSGLSA15452-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740240228676,"sku":"PWSGLSA15452-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740240261444,"sku":"PWSGLSA15452-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740240294212,"sku":"PWSGLSA15452-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740240326980,"sku":"PWSGLSA15452-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740240359748,"sku":"PWSGLSA15452-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740240392516,"sku":"PWSGLSA15452-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740240425284,"sku":"PWSGLSA15452-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740240458052,"sku":"PWSGLSA15452-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340067938628,"sku":"PWSGLSA15452-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340067971396,"sku":"PWSGLSA15452S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340068004164,"sku":"PWSGLSA15452S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340068036932,"sku":"PWSGLSA15452S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15452.jpg?v=1778494535"},{"product_id":"pwsglsa15502-solos","title":"Solos","description":"\u003cblockquote\u003ePartners in life and music perform an intimate concert of solo piano works that explore Holcomb's Americana and Horvitz' impressionist influences, recorded live to DSD.\r\n\u003cstrong\u003e- \u003cem\u003eMark Werlin\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianists and composers with individual styles wayne horvitz robin holcomb have now been partners in life as well musically for almost five decades. they had appeared on record each other company numerous times but this was their first recording actually sharing the billing. together yet alone plays solo piano steiinway d program includes original compositions suite comet comes three free improvisations covers shorter beautiful dsd a small concert hall creates an intimate palpable atmosphere. to essentials differences similarities music stand out. both possess notable techniques it emotional resonances luminosity of playing that really stay listener. put share wide range interests influences. i entered world jazz very late its history exuberant improvising whereas is much more familiar earlier forms. played early american folk indonesian music. we seem be mesmerized by harmonic language hymns no particular reason. are drawn bittersweet melody harmony find pieces quality them lovely will get into deeply moment which then shimmers throughout think my may melancholy overall. question different sounds our training backgrounds although at time met also became involved musical projects were influenced cecil taylor all coming out aacm bag artists group keith jarrett chick corea etc. air. improvisors us sort two-handed approach la cecil. being introduced messiaen john cage many contemporary hearing connections between those musics. unlike however single-note from various life. implies these stylistic impressionism debussy or pared-down elegance satie varying moods flow personal shared artistic statement. data-sheets-userformat=\"{\" it:=\"\" replied:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/em\u003e features two distinguished pianists and composers with individual styles. \u003cstrong\u003eWayne Horvitz\u003c\/strong\u003e and \u003cstrong\u003eRobin Holcomb\u003c\/strong\u003e have now been partners in life as well as musically for almost five decades. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianists and composers with individual styles wayne horvitz robin holcomb have now been partners in life as well musically for almost five decades. they had appeared on record each other company numerous times but this was their first recording actually sharing the billing. together yet alone plays solo piano steiinway d program includes original compositions suite comet comes three free improvisations covers shorter beautiful dsd a small concert hall creates an intimate palpable atmosphere. to essentials differences similarities music stand out. both possess notable techniques it emotional resonances luminosity of playing that really stay listener. put share wide range interests influences. i entered world jazz very late its history exuberant improvising whereas is much more familiar earlier forms. played early american folk indonesian music. we seem be mesmerized by harmonic language hymns no particular reason. are drawn bittersweet melody harmony find pieces quality them lovely will get into deeply moment which then shimmers throughout think my may melancholy overall. question different sounds our training backgrounds although at time met also became involved musical projects were influenced cecil taylor all coming out aacm bag artists group keith jarrett chick corea etc. air. improvisors us sort two-handed approach la cecil. being introduced messiaen john cage many contemporary hearing connections between those musics. unlike however single-note from various life. implies these stylistic impressionism debussy or pared-down elegance satie varying moods flow personal shared artistic statement. data-sheets-userformat=\"{\" it:=\"\" replied:=\"\"\u003eThey had appeared on record in each other’s company numerous times, but this was their first recording actually sharing the billing. Together… and yet alone, as each plays solo piano (a Steinway D). \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianists and composers with individual styles wayne horvitz robin holcomb have now been partners in life as well musically for almost five decades. they had appeared on record each other company numerous times but this was their first recording actually sharing the billing. together yet alone plays solo piano steiinway d program includes original compositions suite comet comes three free improvisations covers shorter beautiful dsd a small concert hall creates an intimate palpable atmosphere. to essentials differences similarities music stand out. both possess notable techniques it emotional resonances luminosity of playing that really stay listener. put share wide range interests influences. i entered world jazz very late its history exuberant improvising whereas is much more familiar earlier forms. played early american folk indonesian music. we seem be mesmerized by harmonic language hymns no particular reason. are drawn bittersweet melody harmony find pieces quality them lovely will get into deeply moment which then shimmers throughout think my may melancholy overall. question different sounds our training backgrounds although at time met also became involved musical projects were influenced cecil taylor all coming out aacm bag artists group keith jarrett chick corea etc. air. improvisors us sort two-handed approach la cecil. being introduced messiaen john cage many contemporary hearing connections between those musics. unlike however single-note from various life. implies these stylistic impressionism debussy or pared-down elegance satie varying moods flow personal shared artistic statement. data-sheets-userformat=\"{\" it:=\"\" replied:=\"\"\u003eThe program includes original compositions (e.g. Holcomb’s 13-minute suite “When the Comet Comes”), three free improvisations, and three covers (including Wayne Shorter’s beautiful “Armageddon.”). DSD recording in a small concert hall creates an intimate, palpable atmosphere.\u003c\/span\u003e\r\n\r\nReduced to essentials, the differences as well as the similarities in their music stand out. They both possess notable techniques, but it’s the emotional resonances and luminosity of the playing that really stay with the listener.\r\n\r\nAs Robin put it: \u003cem\u003e“We share a wide range of interests and influences. I entered the world of jazz very late in its history with the exuberant improvising of ‘free jazz’ whereas Wayne is much more familiar with earlier jazz forms. I have played more early American folk music and Indonesian music. We seem to both be mesmerized by the harmonic language of hymns, for no particular reason. We are both drawn to the bittersweet in both melody and harmony – I find that Wayne’s pieces have more of a ‘yanking’ quality to them – a lovely melody will get ‘yanked’ into a deeply bittersweet moment which then shimmers throughout the music. I think that my pieces may be more melancholy overall.”\u003c\/em\u003e\r\n\r\nWayne replied: \u003cem\u003e“Without question we have very different sounds and techniques, our training and backgrounds are different, although at the time that we first met and also became involved in musical projects together we were both very influenced by Cecil Taylor (pianistically) and all the music coming out of the AACM and the BAG (Black Artists’ Group). Also Keith Jarrett and Chick Corea etc. were very much in the air. As improvisors both of us share a sort of two-handed approach à la Cecil. Also we were being introduced to the music of Messiaen and John Cage and many other contemporary composers and hearing the connections between all those musics. Unlike Robin, however, I also have a more single-note ‘linear’ approach that comes from playing jazz at various times in my life.”\u003c\/em\u003e\r\n\r\nSolos implies all these stylistic connections and more (e.g. the impressionism of Debussy or the pared-down elegance of Satie). But its varying moods flow together into a personal, shared artistic statement.\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" recorded album filled with subtle beauty and moments of darkness john kelman allaboutjazz beautiful new york times horvitz understand what makes music interesting organic listenable. jeff mccord downbeat is a category unto herself pianistic analogue maybe to the guitar approach fellow seattle resident periodic collaborator bill frisell that demands rewards concentration. it could change way you listen. chacona signal noise data-sheets-userformat=\"{\"\u003e\u003cem\u003e“Beautifully recorded…an album filled with subtle beauty and moments of darkness…”\u003c\/em\u003e\r\n– John Kelman, All About Jazz\u003c\/span\u003e\r\n\r\n\u003cem\u003e“…staggeringly beautiful…”\u003c\/em\u003e\r\n— New York Times\r\n\r\n****\u003cem\u003e “[Holcomb and Horvitz] understand what makes music interesting, organic, and listenable.”\u003c\/em\u003e\r\n\u003cem\u003e– Jeff McCord, DownBeat\u003c\/em\u003e\r\n\r\n\u003cem\u003e“[Holcomb] is a category unto herself, a pianistic analogue, maybe, to the guitar approach of fellow Seattle resident (and periodic collaborator) Bill Frisell…a music that demands – and rewards – concentration. It could change the way you listen.”\u003c\/em\u003e\r\n– John Chacona, Signal to Noise\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianists and composers with individual styles wayne horvitz robin holcomb have now been partners in life as well musically for almost five decades. they had appeared on record each other company numerous times but this was their first recording actually sharing the billing. together yet alone plays solo piano steiinway d program includes original compositions suite comet comes three free improvisations covers shorter beautiful dsd a small concert hall creates an intimate palpable atmosphere. to essentials differences similarities music stand out. both possess notable techniques it emotional resonances luminosity of playing that really stay listener. put share wide range interests influences. i entered world jazz very late its history exuberant improvising whereas is much more familiar earlier forms. played early american folk indonesian music. we seem be mesmerized by harmonic language hymns no particular reason. are drawn bittersweet melody harmony find pieces quality them lovely will get into deeply moment which then shimmers throughout think my may melancholy overall. question different sounds our training backgrounds although at time met also became involved musical projects were influenced cecil taylor all coming out aacm bag artists group keith jarrett chick corea etc. air. improvisors us sort two-handed approach la cecil. being introduced messiaen john cage many contemporary hearing connections between those musics. unlike however single-note from various life. implies these stylistic impressionism debussy or pared-down elegance satie varying moods flow personal shared artistic statement. data-sheets-userformat=\"{\" it:=\"\" replied:=\"\"\u003e\u003cstrong\u003eWayne Horvitz, Piano\u003c\/strong\u003e\r\n\u003cstrong\u003eRobin Holcomb, Piano\u003c\/strong\u003e\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740243407172,"sku":"PWSGLSA15502-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740243439940,"sku":"PWSGLSA15502-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740243472708,"sku":"PWSGLSA15502-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740243505476,"sku":"PWSGLSA15502-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740243538244,"sku":"PWSGLSA15502-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740243571012,"sku":"PWSGLSA15502-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740243603780,"sku":"PWSGLSA15502-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740243636548,"sku":"PWSGLSA15502-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740243669316,"sku":"PWSGLSA15502-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740243702084,"sku":"PWSGLSA15502-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740243734852,"sku":"PWSGLSA15502-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740243767620,"sku":"PWSGLSA15502-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340072821060,"sku":"PWSGLSA15502-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340072853828,"sku":"PWSGLSA15502S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340072886596,"sku":"PWSGLSA15502S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340072919364,"sku":"PWSGLSA15502S1617","price":34.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340072952132,"sku":"PWSGLSA15502S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340072984900,"sku":"PWSGLSA15502S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15502.jpg?v=1790591291"},{"product_id":"sglsa15432-nu-turn","title":"Nu-Turn","description":"\u003cblockquote\u003eOn his uniquely prepared grand piano, \u003cem\u003e\u003cstrong\u003eDelbecq\u003c\/strong\u003e\u003c\/em\u003e spins lyrical, modernist jazz improvisations over the polyrhythms of African percussion.\r\n- \u003cem\u003eMark Werlin\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eBenoît Delbecq\u003c\/strong\u003e is a uniquely gifted French pianist and keyboardist who has created a unique body of work using ideas and techniques from contemporary classical (Cage, Ligeti, Nancarrow), jazz, Pygmy polyphony, European improv and other sources.\r\n\r\nHe prepares the piano with various materials such as eraser bits and carved wooden twigs, and improvises on short, overlapping vamps and patterns; the result is a complex, spacious sound that hardly seems to be emanating from a single instrument.\r\n\r\nOn Nu-turn Delbecq stretches out solo on a Steinway D in 8 astonishing structured improvisations; the final, 12-minute composition is a computer-created ambient “remix” that completely transforms the solo material.\r\n\r\nRecorded in a small concert hall directly to 6 Channel Surround Sound DSD (the sixth channel is an optional height channel), the piano sound is remarkably realistic, and the music beguiling in its rhythmic-melodic-timbral meldings. Dexterous, brainy, evanescent and strangely moving, Nu-turn will intrigue audiophiles ready for new experiences and appeal to fans of new music beyond category.\r\n\r\n\u003cem\u003eTechnical Notes\u003c\/em\u003e: the piano was recorded and mixed in six full-bandwidth DSD channels. A single microphone pointing at the ceiling of the hall and located in the middle of the surround microphone array captured ceiling reflections. Realism is enhanced when this height information is played back correctly, using the .1 channel normally assigned the LFE or subwoofer task. Tracks 1-8 were mixed for 4, 5 or 6 channel playback (the centre channel is optional). Track 9 was mixed for 6-channel playback: the original sounds underwent extensive computer processing and electronic manipulation at 24\/44.1 and were panned within a 5-plus-height matrix in the mix, finally converted back to DSD. The multi-channel mix of tracks 1-8 represents what a listener sitting in the hall close to the piano would hear; the stereo mix reverses the left-right stereo image, relocating the listener to the performer's bench.\r\n\u003cblockquote\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" fascinating reflection of the art a musician who is particularly exacting and creative touch concision phrases that often develop within framework repeating rhythmic cells which they open to new worlds whole universe sound delbecq deploys in course these nine pieces. paint portrait an artist essentially preoccupied with form but whose investigations have nothing dry or formalist about them. on contrary gently provoke listener be as rigorous pianist it context demand lasting pleasure emerges one repeated hearings only intensify. thierry quenum piano magazine kind disc you play over again if ear for sonic adventure unfettered imagination. hard singular voice conception instantly recognizable way he blends asian sonorities derived from indonesian gamelan music rock-based rhythms melodic sense draws equally jazz classical avant-gardes. access array percussive timbres ranging bell-like clangorously metallic then left-hand pattern those altered notes all while building elaborate structures unmodified keys his right. ostinato lines give intense obsessive air undermined by freedom effect dreamlike charged qualities amplified extreme nu-turn final track white alexander varty georgia straight something oddly vibrant beno solo performances interwoven tapestry focused improvisation african trance impressionism modern most abstract sort elements make up this come together eleven-minute closer has moments pointed polyrhythmic pointillism outright dark brooding finally gradual evolution toward peaceful still somewhat edgy resolution trip. nils jacobson allaboutjazz.com poetry lunar. manner mathematical mineral reverie achieves vital. seldom happens purely contemplative abstraction joined lyricism more touching not giving off its savor immediately secretly calling us itself made palpable there nocturnal choreography beautiful enigma escapes gravity. alex dutilh jazzman laterite invertible counterpoint making two pianos are playing at once wound-up like ancient player other conventional model producing cadenzas. ne dit pas regarder la lune plucked tones midway between dampened action wooden flippers old tabletop hockey game. beat snakes through piece tinkling right-handed arise creating strange primitivism almost stumbled yoruba ceremony being performed bunch toy instruments. contrast atmospheric title features passing overall impression blizzard falling so many snowflakes always legato low frequency never sharp staccato. ken waxman jazzweekly.com been avatars prepared decade now released album. well worth long wait strikingly well-defined recording featuring immaculate steinway d piano. throughout album affinity folk vividly evident driftwood preparations suggest indigenous percussion string instruments paul bley-derived floating pulse constantly dovetail another. accentuates exotic mysterious past tempered settings. propelled cool attack lingers incense pungent overwhelming. excellent become familiar distinctive pianists international scene. bill shoemaker times played both natural state placing carved twigs different wood species materials under strings range sounds produces composition than instrument work back forth unexpected among fuels improvisations creates surprise moods induce dream-states. use time rhythm space exact unpredictable enhance emotional warmth music. commentators cited immediate musical influences founders contemporary-classical such ligeti. true enough contemporary own antecedents. exist reference cds touch-sensitive piano-rolls concert saint-saens scriabin even debussy musicians era when classicists were expected improvise compositions unique pianism lies direct lineage masters furthermore matches their originality emotionalism improvisational integrity albeit starkly futuristic sound. laurence svirchev coda characterized selective preparation certain chasteness narrow generic idiomatic constraints unhurried development transitions consistent audible sometimes oblique inner logic. odd twists routes preserve exploration discovery. julian cowley wire data-sheets-userformat=\"{\"\u003e…there’s something oddly vibrant about Benoît Delbecq’s solo piano performances, an interwoven tapestry of focused improvisation, African rhythms, trance music, impressionism, and modern classical music of the most abstract sort … All the elements that make up this interwoven whole come together in the eleven-minute closer, ‘Into White’ … It has moments of pointed polyrhythmic pointillism, outright dark brooding, and finally a gradual evolution toward peaceful (yet still somewhat edgy) resolution … quite a trip.”\r\n— \u003cem\u003eNils Jacobson\u003c\/em\u003e, \u003cem\u003eAllAboutJazz.com\u003c\/em\u003e\r\n\u003c\/span\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eBenoît Delbecq, Piano\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740261364036,"sku":"SGLSA15432-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740261396804,"sku":"SGLSA15432-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740261429572,"sku":"SGLSA15432-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740261462340,"sku":"SGLSA15432-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740261495108,"sku":"SGLSA15432-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740261527876,"sku":"SGLSA15432-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5.1ch Surround","offer_id":56740261560644,"sku":"SGLSA15432-36","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5.1ch Surround","offer_id":56740261593412,"sku":"SGLSA15432-39","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5.1ch Surround","offer_id":56740261626180,"sku":"SGLSA15432-43","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5.1ch Surround","offer_id":56740261658948,"sku":"SGLSA15432-44","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340261269828,"sku":"SGLSA15432-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5.1ch Surround","offer_id":57340261302596,"sku":"SGLSA15432S1443","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5.1ch Surround","offer_id":57340261335364,"sku":"SGLSA15432S1543","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5.1ch Surround","offer_id":57340261368132,"sku":"SGLSA15432S1639","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15432.jpg?v=1790592870"},{"product_id":"pwsglsa15355-four-in-one-pure-dsd","title":"Four In One [Pure DSD]","description":"\u003cstrong\u003eAvailable in Pure DSD Stereo DSD 512, DSD 256, DSD 128 and DSD 64 at NativeDSD! \u003c\/strong\u003e\r\n\r\n\u003cem\u003eVeteran Dutch pianist-composer Misha Mengelberg and his longtime colleague, percussionist Han Bennink, recorded Four In One with Dave Douglas and Brad Jones in Avatar Studios, NYC in 2000.\u003c\/em\u003e\r\n- \u003cem\u003eMark Werlin\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the late dutch pianist composer and humorist misha mengelberg one of heroes swing got together with dave douglas for a couple duo gigs they enjoyed it so much decided to expand things quartet new york bassist brad jones longtime colleague han bennink on drums. working book originals monk tunes played week at ny iridium then went into avatar engineer joe ferla producing record live dsd. result preserves wit drive cohesiveness four improvisers top their collective game. run gamut from boppish scorchers ballads raucous sardonic ditties blues south african kwela in this context underline particular affinity his music. godfather improvised music menbelberg was involved absurd-art movement fluxus debuted dolphy last date founded instant pool willem breuker during he began leading icp orchestra which forum interests classic jazz repertore composition improvisation conducted theater artistic director electronic workshop steim. composed various pieces piano wind ensemble electro-acoustic voice taught counterpoint sweelinck conservatory amsterdam. records are soul note avant diw hatology buzz tzadik other labels. almost extinct western art before brought back. work reminds us that improvisational impulse unleashed takes many forms some far obvious. stuff offers yet more evidence african-american changed nearly everyone sound century. think it. even composers play blues. kevin whitehead fresh air data-sheets-userformat=\"{\"\u003eWhen the late Dutch pianist, composer and humorist \u003cstrong\u003eMisha Mengelberg\u003c\/strong\u003e, one of the heroes of the “new Dutch swing,” got together with \u003cstrong\u003eDave Douglas\u003c\/strong\u003e for a couple of duo gigs, they enjoyed it so much they decided to expand things to a quartet with New York bassist \u003cstrong\u003eBrad Jones\u003c\/strong\u003e and Misha’s longtime colleague \u003cstrong\u003eHan Bennink\u003c\/strong\u003e on drums on the album \u003cem\u003e\u003cstrong\u003eFour In One\u003c\/strong\u003e\u003c\/em\u003e. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the late dutch pianist composer and humorist misha mengelberg one of heroes swing got together with dave douglas for a couple duo gigs they enjoyed it so much decided to expand things quartet new york bassist brad jones longtime colleague han bennink on drums. working book originals monk tunes played week at ny iridium then went into avatar engineer joe ferla producing record live dsd. result preserves wit drive cohesiveness four improvisers top their collective game. run gamut from boppish scorchers ballads raucous sardonic ditties blues south african kwela in this context underline particular affinity his music. godfather improvised music menbelberg was involved absurd-art movement fluxus debuted dolphy last date founded instant pool willem breuker during he began leading icp orchestra which forum interests classic jazz repertore composition improvisation conducted theater artistic director electronic workshop steim. composed various pieces piano wind ensemble electro-acoustic voice taught counterpoint sweelinck conservatory amsterdam. records are soul note avant diw hatology buzz tzadik other labels. almost extinct western art before brought back. work reminds us that improvisational impulse unleashed takes many forms some far obvious. stuff offers yet more evidence african-american changed nearly everyone sound century. think it. even composers play blues. kevin whitehead fresh air data-sheets-userformat=\"{\"\u003eWorking with a book of Mengelberg originals and Monk tunes, they played a week at NY’s Iridium and then went into Avatar with engineer Joe Ferla (Dave producing) to record live to 2-track DSD. The result preserves the wit and drive and cohesiveness of four improvisers at the top of their collective game. Misha’s tunes run the gamut from 'boppish' scorchers to ballads, raucous, sardonic ditties to blues to a South African kwela, and in this context the Monk tunes underline Misha’s particular affinity for his music.\u003c\/span\u003e\r\n\r\nThe godfather of Dutch improvised music, Misha Menbelberg was involved in the absurd-art movement Fluxus in the 60s, debuted on record in ’64 on Dolphy’s \u003cem\u003eLast Date\u003c\/em\u003e, and founded the Instant Composer’s Pool with Han Bennink and Willem Breuker in 1967. During the 70s he began leading the ICP Orchestra, which was a forum for his interests in the classic jazz repertore, composition, improvisation, conducted improvisation, and music theater, and was artistic director of the electronic music workshop STEIM. He composed various pieces for piano, wind ensemble, electro-acoustic ensemble, orchestra, and voice, and taught counterpoint at the Sweelinck Conservatory in Amsterdam. His records are on Soul Note, Avant, DIW, hatOLOGY, ICP, Buzz, Tzadik and other labels.\r\n\r\n\u003cem\u003e“Improvisation was almost extinct in western art music before jazz brought it back. Misha Mengelberg’s work reminds us that the improvisational impulse jazz unleashed takes many forms, some far from obvious. His stuff offers yet more evidence that African-American music changed nearly everyone’s sound in the 20th century. Think of it. Even Dutch composers play the blues.”\u003c\/em\u003e\r\n— \u003cem\u003eKevin Whitehead, Fresh Air (NPR)\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eMisha Mengelberg Quartet\r\n\u003c\/strong\u003eMisha Mengelberg, Piano\r\nHan Bennink, Percussion\r\nDave Douglas, Trumpet\r\nBrad Jones, Double Bass","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740264018244,"sku":"PWSGLSA15355-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740264051012,"sku":"PWSGLSA15355-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740264083780,"sku":"PWSGLSA15355-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740264116548,"sku":"PWSGLSA15355-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740264149316,"sku":"PWSGLSA15355-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57340265824580,"sku":"PWSGLSA15355-14","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15355.jpg?v=1778494998"},{"product_id":"sglsa15542-the-definition-of-a-toy-pure-dsd","title":"The Definition of a Toy [Pure DSD]","description":"\u003cstrong\u003eThis is a Pure DSD album available in Pure DSD Stereo and 5 Channel Surround Sound DSD 256, DSD 128 and DSD 64 plus Stereo DSD 512.\u003c\/strong\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cblockquote\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003eDrummer-bandleader Dylan van der Schyff assembled a stellar ensemble of players from Vancouver, New York, the Netherlands and Germany for this captivating set of creative post-bop jazz, recorded in DSD.\r\n- \u003cem\u003e\u003cstrong\u003eMark Werlin \u003c\/strong\u003e\u003c\/em\u003e\u003cem\u003e(NativeDSD, HRAudio.net, All About Jazz)\u003c\/em\u003e\u003c\/p\u003e\r\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cem\u003e\u003cstrong\u003eThe Definition of a Toy\u003c\/strong\u003e\u003c\/em\u003e was the brainchild of Vancouver drummer and percussionist \u003cstrong\u003eDylan van der Schyff\u003c\/strong\u003e, who formed the group, brought it together for Vancouver’s 2003 jazz festival, and thoughtfully sequenced the record.\r\n\r\nAn excellent DSD studio recording and multi-channel mix accentuate the music’s colors and moods. Each of the performers (apart from Dylan) contributed a substantial composition or two to the session, resulting in a very diverse yet complementary range of styles, moving between modern and avant jazz and free playing.\r\n\r\nWith only one day of rehearsal, the collective depth of the musicianship is evident throughout in the soloing and group dynamic. The record comes across as a collective creation, often intense but with a high quotient of lyricism and humor.\r\n\r\nYou can sense that the musicians are having a good time and want to invite the listener in. As Dylan suggests: \u003cem\u003e“Listen to Michael Moore's sound, and Brad Turner's sound — how friendly those horns are. How playful they are. And Mark Helias and Achim Kaufmann too. They draw you in and then they challenge you.\"\u003c\/em\u003e\r\n\r\nThe title of the record and Michael's composition comes from a radio ad for a toy store that he heard while driving in Michigan: \u003cem\u003e\"It was telling us that in the definition of a toy, there were three things you had to look for — it’s open-ended, it’s interactive and it has to encourage creativity. As to distinguish a toy from a waste of time, or a video game or something like that. 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Formed in 1998, its membership remains unchanged since 2007. It was created, Peggy writes, “to explore different strategies for improvisation within composition and to feature the unique and brilliant voices that make up the band. Over the years the individual voices remain vivid and compelling but the overall ensemble sound has also developed into its own rich entity.” Indeed, the ensemble playing is beautifully polished and warm and the members of the band improvise with great creativity, passion and clarity.\u003c\/span\u003e\r\n\r\nThough Peggy cites Carla Bley, Wayne Horvitz, and Charlie Haden’s Liberation Music Orchestra as related and influential, A Giving Way, like all her music, has its own story to tell in its own way. It is dedicated to her late parents and was mostly composed at the family cottage in Ontario: \"These compositions come from a place of gratitude and love for family, place and community as well as a desire to do better collectively towards justice and human dignity. Not all of them were composed at the cabin. ‘Justice \/ Honour’ came directly in response to George Floyd’s murder, and so I feel that human decency is also a theme of this music and one which I connect to my parents.” As for “Whispering Pines”: “I’ve spent a long time listening to The Band, and that song seemed to fit well within the environment of music written in the woods.”\r\n\r\n\u003cem\u003eCellist Peggy Lee’s 8-piece band shapes musical collages that blend free improvisation with stirring brass chorales and inventive jazz solos.\u003c\/em\u003e\r\n\u003cem\u003e\u003cstrong\u003e- Mark Werlin\u003c\/strong\u003e\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThe Peggy Lee Band\r\n\u003c\/strong\u003ePeggy Lee - cello\r\nBrad Turner - trumpet, flugelhorn, cornet\r\nJon Bentley - tenor saxophone\r\nJeremy Berkman - trombone\r\nRon Samworth - 6 \u0026amp; 12 string electric guitar, acoustic guitar\r\nTony Wilson - guitar\r\nAndré Lachance - electric bass\r\nDylan van der Schyff -drums\u003cstrong\u003e\r\n\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740289904964,"sku":"SGL16362-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740289937732,"sku":"SGL16362-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740289970500,"sku":"SGL16362-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740290003268,"sku":"SGL16362-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740290036036,"sku":"SGL16362-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740290068804,"sku":"SGL16362-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":57340310716740,"sku":"SGL16362-22","price":25.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16362.jpg?v=1778495333"},{"product_id":"sgl16232-alleviation","title":"Alleviation","description":"\u003cblockquote\u003eOn \u003cstrong\u003e\u003cem\u003eAlleviation\u003c\/em\u003e\u003c\/strong\u003e, Danish composer\/guitarist \u003ca\u003e\u003cspan class=\"nowrap\"\u003eMikkel Ploug\u003c\/span\u003e\u003c\/a\u003e performs solo acoustic guitar compositions with influences ranging from folk fingerpicking to traditional Danish church hymns; from post-War European classical to American minimalist styles. What makes the album especially distinctive is his choice of instrument: a 70 year-old vintage Gibson.\r\n\u003cem\u003e\u003cstrong\u003e- Mark Werlin\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eExclusively available in Stereo DSD 512, DSD 256, DSD 128 and DSD 64 at NativeDSD thanks to our signature Higher Rates Program. \u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" jazz guitar records are not that common solo acoustic perhaps even less so outside of the classical and folk traditions. apart from ralph towner earl klugh gene bertoncini it hard to think many guitarists in today primarily making music on an unamplified instrument. but ploug main composer avant chamber trio equilibrium with three releases songlines is a guitarist interests world music. inspired him create record this program neither nor some ordinary guitar. while tour he chanced upon well-worn rare mahogany-top gibson banner lg-2 new york. story banners made during wwii by female work force told john thomas book film kalamazoo gals. back home copenhagen spent four months playing every day generating refining ideas for pieces. then was into studio mics warm wooden room ones liked best. mikkel its sound has do mahogany body top most guitars time were spruce tops which have more high end produces subtle beautiful too. i would describe as ringing very balanced bottom. clear me wood settled beautifully lots character. necessarily easy play certain passages tune example next unplayable until just before or actually recording date. part excitement composing process different push around stylistically sometimes ask include notes voicing open strings opened up fields inspiration. beauty simple chord good rich often feel like enough starting point spur composition. explored various concepts whether style=\"\" technique own favourite melodic harmonic concept d composition based messiaen modes limited transposition. wind written steve reich repetitive mind my ben monder tribute piece. fingerpicks about half tunes fingerpicking find fascinating inspiration doesn come any particular how grand piano can resonate when keys pressed down simultaneously try achieve similar effect fast continuous vibration data-sheets-userformat=\"{\" here:=\"\"\u003eSolo jazz guitar records are not that common, solo acoustic guitar records perhaps even less so outside of the classical and folk\/world traditions. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" jazz guitar records are not that common solo acoustic perhaps even less so outside of the classical and folk traditions. apart from ralph towner earl klugh gene bertoncini it hard to think many guitarists in today primarily making music on an unamplified instrument. but ploug main composer avant chamber trio equilibrium with three releases songlines is a guitarist interests world music. inspired him create record this program neither nor some ordinary guitar. while tour he chanced upon well-worn rare mahogany-top gibson banner lg-2 new york. story banners made during wwii by female work force told john thomas book film kalamazoo gals. back home copenhagen spent four months playing every day generating refining ideas for pieces. then was into studio mics warm wooden room ones liked best. mikkel its sound has do mahogany body top most guitars time were spruce tops which have more high end produces subtle beautiful too. i would describe as ringing very balanced bottom. clear me wood settled beautifully lots character. necessarily easy play certain passages tune example next unplayable until just before or actually recording date. part excitement composing process different push around stylistically sometimes ask include notes voicing open strings opened up fields inspiration. beauty simple chord good rich often feel like enough starting point spur composition. explored various concepts whether style=\"\" technique own favourite melodic harmonic concept d composition based messiaen modes limited transposition. wind written steve reich repetitive mind my ben monder tribute piece. fingerpicks about half tunes fingerpicking find fascinating inspiration doesn come any particular how grand piano can resonate when keys pressed down simultaneously try achieve similar effect fast continuous vibration data-sheets-userformat=\"{\" here:=\"\"\u003eApart from Ralph Towner, Earl Klugh and Gene Bertoncini it’s hard to think of many guitarists in Jazz today primarily making music on an unamplified acoustic instrument. But \u003cstrong\u003eMikkel Ploug\u003c\/strong\u003e (co-leader and main composer of the avant chamber jazz trio Equilibrium, with three releases on Songlines) is a Jazz Guitarist with interests in Folk, World and Classical Music. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" jazz guitar records are not that common solo acoustic perhaps even less so outside of the classical and folk traditions. apart from ralph towner earl klugh gene bertoncini it hard to think many guitarists in today primarily making music on an unamplified instrument. but ploug main composer avant chamber trio equilibrium with three releases songlines is a guitarist interests world music. inspired him create record this program neither nor some ordinary guitar. while tour he chanced upon well-worn rare mahogany-top gibson banner lg-2 new york. story banners made during wwii by female work force told john thomas book film kalamazoo gals. back home copenhagen spent four months playing every day generating refining ideas for pieces. then was into studio mics warm wooden room ones liked best. mikkel its sound has do mahogany body top most guitars time were spruce tops which have more high end produces subtle beautiful too. i would describe as ringing very balanced bottom. clear me wood settled beautifully lots character. necessarily easy play certain passages tune example next unplayable until just before or actually recording date. part excitement composing process different push around stylistically sometimes ask include notes voicing open strings opened up fields inspiration. beauty simple chord good rich often feel like enough starting point spur composition. explored various concepts whether style=\"\" technique own favourite melodic harmonic concept d composition based messiaen modes limited transposition. wind written steve reich repetitive mind my ben monder tribute piece. fingerpicks about half tunes fingerpicking find fascinating inspiration doesn come any particular how grand piano can resonate when keys pressed down simultaneously try achieve similar effect fast continuous vibration data-sheets-userformat=\"{\" here:=\"\"\u003eAnd the guitar that inspired him to create and record this program is neither a classical guitar nor some ordinary folk\/blues\/bluegrass guitar. While on tour he chanced upon a well-worn but rare mahogany-top Gibson Banner LG-2 in New York. (The story of the Banners, made during WWII by a primarily female work force, is told in John Thomas’s book and film Kalamazoo Gals.) \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" jazz guitar records are not that common solo acoustic perhaps even less so outside of the classical and folk traditions. apart from ralph towner earl klugh gene bertoncini it hard to think many guitarists in today primarily making music on an unamplified instrument. but ploug main composer avant chamber trio equilibrium with three releases songlines is a guitarist interests world music. inspired him create record this program neither nor some ordinary guitar. while tour he chanced upon well-worn rare mahogany-top gibson banner lg-2 new york. story banners made during wwii by female work force told john thomas book film kalamazoo gals. back home copenhagen spent four months playing every day generating refining ideas for pieces. then was into studio mics warm wooden room ones liked best. mikkel its sound has do mahogany body top most guitars time were spruce tops which have more high end produces subtle beautiful too. i would describe as ringing very balanced bottom. clear me wood settled beautifully lots character. necessarily easy play certain passages tune example next unplayable until just before or actually recording date. part excitement composing process different push around stylistically sometimes ask include notes voicing open strings opened up fields inspiration. beauty simple chord good rich often feel like enough starting point spur composition. explored various concepts whether style=\"\" technique own favourite melodic harmonic concept d composition based messiaen modes limited transposition. wind written steve reich repetitive mind my ben monder tribute piece. fingerpicks about half tunes fingerpicking find fascinating inspiration doesn come any particular how grand piano can resonate when keys pressed down simultaneously try achieve similar effect fast continuous vibration data-sheets-userformat=\"{\" here:=\"\"\u003eBack home in Copenhagen he spent four months playing it every day, generating and refining ideas for pieces. Then it was into the studio (ribbon mics in a warm wooden room) to record the ones he liked best.\u003c\/span\u003e\r\n\r\nAccording to Mikkel, \u003cem\u003e\"part of its warm sound has to do with the mahogany body and top – most Gibson guitars from that time [around 1945] were with spruce tops which have more high end, but this guitar produces a subtle beautiful high end too. I would describe the sound as warm, ringing and very balanced from top to bottom. It’s clear to me that the wood has settled beautifully, and the guitar has lots of character. It’s not necessarily easy to play, and certain passages on the tune ‘Arabesque’ for example were next to unplayable for me until just before or actually on the recording date. But that was part of the excitement!”\u003c\/em\u003e\r\n\r\nThe composing process was different too. \u003cem\u003e“The guitar would push me around stylistically – sometimes ask me to include less notes in a voicing or more open strings, and just opened up new fields of inspiration. Some of the beauty of it to me was that a very simple chord would just sound so good and so rich that often it would feel like it was enough as a starting point to spur a composition. I explored various concepts, whether it was a certain playing style or technique like on ‘Arabesque’ [his own favourite], ‘Alleviation’ and ‘Florescence’ or a melodic or harmonic concept like on ‘Couleurs d’Olivier’, a composition based on Messiaen’s modes of limited transposition. ‘Circle Wind’ is written with Steve Reich’s repetitive work in mind and ‘Luminous’ is my Ben Monder tribute piece.”\u003c\/em\u003e\r\n\r\nHe fingerpicks about half the tunes here: \u003cem\u003e“The world of fingerpicking I find fascinating but my inspiration doesn’t come from any particular style, I think more of how a grand piano can resonate when lots of keys are pressed down simultaneously and try to achieve a similar effect with a fast, continuous vibration of the strings on the guitar, like on ‘Florescence’.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eMikkel Ploug, Acoustic Guitar\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740307075396,"sku":"SGL16232-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740307108164,"sku":"SGL16232-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740307140932,"sku":"SGL16232-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740307173700,"sku":"SGL16232-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740307206468,"sku":"SGL16232-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740307239236,"sku":"SGL16232-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":57340343255364,"sku":"SGL16232-21","price":35.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16232.jpg?v=1790595887"},{"product_id":"sgl16172-the-westerlies","title":"The Westerlies","description":"\u003cem\u003e\u003cstrong\u003eThe Westerlies\u003c\/strong\u003e\u003c\/em\u003e is a Double Album from Songlines Recordings. T\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" childhood friends from seattle formed the brass quartet westerlies in new york following their critically acclaimed wayne horvitz tribute wish children would come on home this self-titled release features original compositions by all four band members as well pieces ellington and ives a british folk ballad arranged sam amidon nico muhly. bring together jazz improvisational classical feels approaches reflecting individual musical interests sensibilities studies at juilliard manhattan school of music. listener can hear each composer gently tugging ensemble direction his own taste follows expressing friendship through empathy. tombonist andy clausen project we very consciously wanted to take our time composition workshopping rehearsal spent weeks off grid spending eight sometimes ten hours day rehearsing music which seems totally crazy luxurious looking back. go into studio with close perfect technical mastery over these possible so recording process could be more about experimentation shaping performances expressive possible. high-res is collaboration producer jesse lewis teeth brooklyn rider silk road yo-yo ma it pushes palette sonic limits unusual instrumentation. trumpeter zubin hensler acted what first drew us was ability produce recordings that sound perfectly polished while still full life complexity. he certainly did fair amount editing but brilliant pulling out make fluid goal create sort continuum chamber blend one side intimacy other. thus massive number mics essentially capture every angle allow for extremely mixing. there are definitely some techniques used times not typical or albums such hard compression dramatic reverb automation delay distortion overdubs i think they were purposes grew themselves. excites me than anything else work accesses creatively common popular forms harnesses them use abstract art brilliant. conservative exudes warmth beauty bursts humor surprise genuinely quirky attitude. influences cites kronos muhly bill frisell roomful goat rodeo american quintet. have distinct contrasting ensemble. willem only who trombone major college has studied third stream far deeper rest riley performs classic arrangements spend most my non-westerlies experimental indie-pop world. view venn diagram where things intersect unique. data-sheets-userformat=\"{\" explains:=\"\" co-producer:=\"\" music:=\"\" zubin:=\"\"\u003ehis self-titled release features 14 original compositions by all four band members, as well as pieces by \u003cstrong\u003eDuke Ellington\u003c\/strong\u003e and \u003cstrong\u003eIves\u003c\/strong\u003e and a British folk ballad arranged by \u003cstrong\u003eSam Amidon\u003c\/strong\u003e and \u003cstrong\u003eNico Muhly\u003c\/strong\u003e.\u003c\/span\u003e\r\n\r\n\u003cstrong\u003eThis Double Album is Exclusively Available in Stereo DSD 512, DSD 256, DSD 128 and DSD 64 at NativeDSD thanks to our signature Higher Rates Program.\u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" childhood friends from seattle formed the brass quartet westerlies in new york following their critically acclaimed wayne horvitz tribute wish children would come on home this self-titled release features original compositions by all four band members as well pieces ellington and ives a british folk ballad arranged sam amidon nico muhly. bring together jazz improvisational classical feels approaches reflecting individual musical interests sensibilities studies at juilliard manhattan school of music. listener can hear each composer gently tugging ensemble direction his own taste follows expressing friendship through empathy. tombonist andy clausen project we very consciously wanted to take our time composition workshopping rehearsal spent weeks off grid spending eight sometimes ten hours day rehearsing music which seems totally crazy luxurious looking back. go into studio with close perfect technical mastery over these possible so recording process could be more about experimentation shaping performances expressive possible. high-res is collaboration producer jesse lewis teeth brooklyn rider silk road yo-yo ma it pushes palette sonic limits unusual instrumentation. trumpeter zubin hensler acted what first drew us was ability produce recordings that sound perfectly polished while still full life complexity. he certainly did fair amount editing but brilliant pulling out make fluid goal create sort continuum chamber blend one side intimacy other. thus massive number mics essentially capture every angle allow for extremely mixing. there are definitely some techniques used times not typical or albums such hard compression dramatic reverb automation delay distortion overdubs i think they were purposes grew themselves. excites me than anything else work accesses creatively common popular forms harnesses them use abstract art brilliant. conservative exudes warmth beauty bursts humor surprise genuinely quirky attitude. influences cites kronos muhly bill frisell roomful goat rodeo american quintet. have distinct contrasting ensemble. willem only who trombone major college has studied third stream far deeper rest riley performs classic arrangements spend most my non-westerlies experimental indie-pop world. view venn diagram where things intersect unique. data-sheets-userformat=\"{\" explains:=\"\" co-producer:=\"\" music:=\"\" zubin:=\"\"\u003eFour childhood friends from Seattle formed the brass quartet The Westerlies in New York in 2011. The Westerlies bring together jazz, improvisational, classical and folk feels and approaches, reflecting their individual musical interests and sensibilities as well as their studies at Juilliard and the Manhattan School of Music. The listener can hear each composer gently tugging the ensemble in the direction of his own taste, and the band follows, expressing their friendship through musical empathy.\u003c\/span\u003e\r\n\r\nAs trombonist \u003cstrong\u003eAndy Clausen\u003c\/strong\u003e explains: \u003cem\u003e“For this project we very consciously wanted to take our time in the composition, workshopping and rehearsal of the music. We spent four weeks off the grid, spending eight, sometimes ten hours a day workshopping and rehearsing this music – which seems totally crazy and luxurious looking back. We wanted to go into the studio with as close to perfect technical mastery over these pieces as possible so the recording process could be more about experimentation and shaping the performances to be as expressive as possible.”\u003c\/em\u003e\r\n\r\nThe high-res recording is a collaboration with Producer and Engineer \u003cstrong\u003eJesse Lewis\u003c\/strong\u003e (A Far Cry, Roomful of Teeth, Brooklyn Rider, Silk Road Ensemble with Yo-Yo Ma), and it pushes the expressive palette and sonic limits of this unusual instrumentation.\r\n\r\nTrumpeter \u003cstrong\u003eZubin Hensler\u003c\/strong\u003e acted as co-producer: \u003cem\u003e“Part of what first drew us to Jesse was his ability to produce recordings that sound perfectly polished while still full of life and complexity. He certainly did a fair amount of editing, but he was brilliant at pulling performances out of us in the studio that would make the editing fluid and musical… Our goal was to create a sort of sonic continuum with Chamber Music Blend on one side and Folk Music Intimacy on the other. Thus the massive number of mics – we essentially wanted to capture every possible angle so as to allow for extremely expressive mixing. There are definitely some techniques used at times that are not typical for chamber music or jazz albums, such as hard compression, dramatic reverb automation, delay, distortion, overdubs, but I think they were all used for expressive purposes that grew out of the compositions themselves. This is what excites me more than anything else about Jesse’s work – he accesses the creatively expressive studio techniques that are so common in popular music forms and harnesses them for use in more abstract art music. It’s brilliant.”\u003c\/em\u003e\r\n\r\nSo this is not conservative music: it exudes warmth and beauty, with bursts of humor, surprise, and genuinely quirky attitude. As influences the band cites Kronos Quartet, Brooklyn Rider, Nico Muhly and Sam Amidon, Wayne Horvitz, Bill Frisell, Roomful of Teeth, Goat Rodeo, and American Brass Quintet.\r\n\r\nZubin: \u003cem\u003e“Additionally, we each have very distinct and sometimes contrasting influences that we each bring to the ensemble. Willem’s the only one who spent time as a classical trombone major in college, Andy has definitely studied the compositions of Third Stream far deeper than the rest of us, Riley performs classic jazz arrangements more than the rest of us, and I spend most of my non-Westerlies time in the experimental indie-pop\/rock\/electronic world. So I view our influences as a sort of Venn diagram, where some things intersect, but some are very unique.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThe Westerlies\r\n\u003c\/strong\u003eRiley Mulherkar \u0026amp; Zubin Hensler, Trumpets\r\nAndy Clausen \u0026amp; Willem de Koch, Trombones","brand":"Songlines Recordings","offers":[{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740308189508,"sku":"SGL16172-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740308222276,"sku":"SGL16172-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740308255044,"sku":"SGL16172-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740308287812,"sku":"SGL16172-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740308320580,"sku":"SGL16172-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":57340354888004,"sku":"SGL16172-7","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16172.jpg?v=1790596007"},{"product_id":"sglsa15652-dreams-and-false-alarms","title":"Dreams and False Alarms","description":"\u003cblockquote\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003eTaking a break from the tumultuous M-BASE New York jazz scene, Canadian pianist Andy Milne offers solo impressions of ‘new standards’, including gems from fellow Canadians Joni Mitchell and Neil Young.\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\u003c\/p\u003e\r\n\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianist and keyboard player andy milne is best known for his band dapp theory which navigates the lines between jazz heavy metal hip-hop appalachian folk classical music. but in mid-2000s he started playing a lot more solo piano. dreams false alarms contains deeply considered re-workings of long-remembered pop classics three originals reaffirming expanding creative process as improviser. social artistic idealism brings to work influenced both choice music its interpretation. me i have discover how going assume my own temporary ownership song before can determine approach. so case these songs played them bunch different ways while until path revealed itself. deciding what record wasn easy essentially looked material rich with meaningful strong melodic content just enough room some personal harmonic development. draws this think it combined artistry poetry songwriting performance their creators. artists like bruce cockburn bob marley joni mitchell use speak about important things that need be heard world. guess drawn courage ideology. terms style=\"\" cites long list heroes mentors from tatum monk oscar peterson herbie nichols ahmad jamal mccoy tyner hancock muhal richard abrams mulgrew miller geri allen kenny werner brad mehldau not forgetting glenn gould or stevie wonder. there two-handed alchemy on here though has been working since summer at banff workshop under steve coleman leadership. days seems every musician listens multiplicity musical genres least they frequently cite diverging influences interviews. blending those isn quite citing them. goal do don sound contrived insincere. learning who each us exploring universe inspiration then expressing humbling inspiring thing was recorded recital hall ubc school vancouver. such venue explore entire range piano because instrument natural acoustics dictate dynamic performance. also proving very liberating experience give whimsical impulses any given moment. throughout cd an attempt made take listener sonic well voyage. times mix shifts perspectives enabling positions perhaps even points history. high-resolution recording multi-channel mixing gesture subtle aural resonances. data-sheets-userformat=\"{\"\u003eCanadian pianist and keyboard player \u003cstrong\u003eAndy Milne\u003c\/strong\u003e is best known for his 5-piece band Dapp Theory, which navigates the lines between jazz, heavy metal, hip-hop, Appalachian folk and classical music. But in the mid-2000s he started playing a lot more solo piano. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" pianist and keyboard player andy milne is best known for his band dapp theory which navigates the lines between jazz heavy metal hip-hop appalachian folk classical music. but in mid-2000s he started playing a lot more solo piano. dreams false alarms contains deeply considered re-workings of long-remembered pop classics three originals reaffirming expanding creative process as improviser. social artistic idealism brings to work influenced both choice music its interpretation. me i have discover how going assume my own temporary ownership song before can determine approach. so case these songs played them bunch different ways while until path revealed itself. deciding what record wasn easy essentially looked material rich with meaningful strong melodic content just enough room some personal harmonic development. draws this think it combined artistry poetry songwriting performance their creators. artists like bruce cockburn bob marley joni mitchell use speak about important things that need be heard world. guess drawn courage ideology. terms style=\"\" cites long list heroes mentors from tatum monk oscar peterson herbie nichols ahmad jamal mccoy tyner hancock muhal richard abrams mulgrew miller geri allen kenny werner brad mehldau not forgetting glenn gould or stevie wonder. there two-handed alchemy on here though has been working since summer at banff workshop under steve coleman leadership. days seems every musician listens multiplicity musical genres least they frequently cite diverging influences interviews. blending those isn quite citing them. goal do don sound contrived insincere. learning who each us exploring universe inspiration then expressing humbling inspiring thing was recorded recital hall ubc school vancouver. such venue explore entire range piano because instrument natural acoustics dictate dynamic performance. also proving very liberating experience give whimsical impulses any given moment. throughout cd an attempt made take listener sonic well voyage. times mix shifts perspectives enabling positions perhaps even points history. high-resolution recording multi-channel mixing gesture subtle aural resonances. data-sheets-userformat=\"{\"\u003e\u003cem\u003e\u003cstrong\u003eDreams and False Alarms\u003c\/strong\u003e\u003c\/em\u003e contains deeply considered re-workings of long-remembered pop, rock, folk, reggae classics (and three originals), reaffirming and expanding Milne's creative process as a jazz improviser. \u003cstrong\u003eExclusively Available at NativeDSD in Stereo and 5 Channel Surround Sound DSD 256, DSD 128 and DXD plus Stereo DSD 512, DSD 256, DSD 128 and DXD. \u003c\/strong\u003e\u003c\/span\u003e\r\n\r\nThe social and artistic idealism which Milne brings to his work influenced both his choice of music and its interpretation. “For me, I have to discover how I’m going to assume my own temporary ownership of a song before I can determine my approach. So in the case of these songs, I played them a bunch of different ways for a while, until a path revealed itself. Deciding what songs to record wasn’t easy, but essentially I looked for material rich with meaningful, strong melodic content and just enough room for some personal harmonic development. What draws me to this music? I think it’s the combined artistry of the poetry, songwriting and performance of their creators. Artists like Bruce Cockburn, Bob Marley, and Joni Mitchell use their songs to speak about important things that need to be heard in this world. I guess I’m drawn to them for their courage and ideology.”\r\n\r\nIn terms of style, Andy cites a long list of keyboard heroes and mentors, from Tatum, Monk, Oscar Peterson, Herbie Nichols, Ahmad Jamal, McCoy Tyner and Herbie Hancock to Muhal Richard Abrams, Mulgrew Miller, Geri Allen, Kenny Werner and Brad Mehldau, not forgetting Glenn Gould or Stevie Wonder. There’s a two-handed creative alchemy going on here though that Andy has been working on since his summer at the Banff jazz workshop in 1990 under Steve Coleman’s leadership. “These days it seems like every musician listens to a multiplicity of musical genres, or at least they frequently cite diverging influences in interviews. Blending those influences isn’t quite as easy as citing them. My goal is to do it in ways that don’t sound contrived or insincere. Learning to work with who each of us is, while exploring the universe for inspiration and then expressing those things in creative and personal ways, is to me [a] humbling and inspiring thing….”\r\n\r\nDreams and False Alarms was recorded in the recital hall of UBC’s School of Music in Vancouver. In such a venue “there’s room to explore the entire range of the piano, because the instrument and the natural acoustics of the room dictate the dynamic range of the performance. Also, playing solo is proving to be a very liberating experience because I can give in to whimsical impulses at any given moment. Throughout this album, an attempt was made to take the listener on a sonic as well as musical voyage. At times the mix shifts perspectives, enabling the listener to be in different positions in the room and perhaps even different points in history.” And with high-resolution recording and multi-channel mixing, each musical gesture contains subtle aural\/emotional resonances.\r\n\r\n ","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740328276292,"sku":"SGLSA15652-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740328309060,"sku":"SGLSA15652-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740328341828,"sku":"SGLSA15652-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740328374596,"sku":"SGLSA15652-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch 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Surround","offer_id":56740328636740,"sku":"SGLSA15652-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57340575875396,"sku":"SGLSA15652-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340575908164,"sku":"SGLSA15652S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340575940932,"sku":"SGLSA15652S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57340575973700,"sku":"SGLSA15652S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGSLA15652.jpg?v=1790597950"},{"product_id":"sgl16122-some-places-are-forever-afternoon-11-places-for-richard-hugo","title":"Some Places Are Forever Afternoon (11 Places for Richard Hugo)","description":"\u003cblockquote\u003e\n\u003cspan lang=\"EN-US\"\u003eComposer-pianist Wayne Horvitz leads his Gravitas Quartet (“Way Out East”) and Sweeter Than The Day ensembles on a musical journey through the poetic soul of America mid-20\u003csup\u003eth \u003c\/sup\u003ecentury\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e.\r\n\u003cem\u003e\u003cstrong\u003e- Mark Werlin\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" this major project supported by san francisco shifting foundation wayne horvitz brought together the members of two his most successful groups sweeter than day and gravitas quartet to pay tribute pacific northwest poet richard hugo has often set texts music but in case he wanted create instrumental that reflected poems. performance each poem is read aloud following piece named after it. daughter nica took a two-week road trip into montana see towns other places written about. lois welch close friend for us stay cabin where spent lot time last decade life which was incredible. very spare with no running water heated wood. it did have electricity amusing note all beds cots really sleeping bags old blankets were crammed tiny rooms not exactly comfortable they had reading lamps. gang liked eat drink hike lay sun also clearly loved read. photographs booklet provide visual analogue words music. been thinking about putting these bands while. provides such variety texture color personal improvisational language. just become great band we learned play as single organism. are some my favorite musicians on planet fairly structured ways typical me. i think result songs more vehicles improvisation ensemble playing although those elements certainly occur poems inherently musical because way sound structured. composers poets novelists work methodically start complete structure then an outline draft so on. believe like know including myself inclined begin somewhere led him. am sure drafted revised re-considered carefully crafted. years crisscrossed searching out new experiences would trigger poetic response listened radio drove. from bill haley mozart benny goodman brahms ellington visceral pleasure him find compelling obvious reverence kind gold standard when comes discerning importance conscious intuitive how much interact other. who himself backpacked driven around part world whole notes appetite celebrates its grandeur without sentimentality. yet seems be baffled least transience. having grown up culture always fascinated generation didn buy greatest mystique one miracle drugs progressive capitalism assumed endless upward mobility writers painters precursors giant sea change happened obviously artists kerouac ginsberg pollock cunningham course cecil taylor mingus coltrane. sort psychological man land. easier now identify artist maintain ideas gender class race worship individual. me era analogous america late modernization industrialization standing side what remained plains indians frontier. opera house built middle nowhere waiting city arrive. data-sheets-userformat=\"{\" relates:=\"\" life:=\"\"\u003eFor \u003cem\u003e\u003cstrong\u003eSome Places Are Forever Afternoon (11 Places for Richard Hugo)\u003c\/strong\u003e\u003c\/em\u003e, supported by San Francisco’s Shifting Foundation, \u003cstrong\u003eWayne Horvitz\u003c\/strong\u003e brought together the members of two of his most successful groups, Sweeter Than the Day and the Gravitas Quartet, to pay tribute to Pacific Northwest poet Richard Hugo (1923-1982). Horvitz has often set texts to music, but in this case he wanted to create instrumental music that reflected Hugo’s poems. (In performance, each poem is read aloud following the piece of music named after it.)\u003c\/span\u003e\r\n\r\nResearching Hugo, Wayne and his daughter Nica Horvitz took a two-week road trip into Montana to see towns and other places he’d written about. Lois Welch, a close friend of Hugo’s, “arranged for us to stay in the cabin where Hugo spent a lot of time in the last decade of his life, which was incredible. Very spare, with no running water and heated by wood. It did have electricity, and it was amusing to note that all the beds, cots really, with sleeping bags and old blankets, were crammed into two tiny rooms, and were not exactly comfortable, but they all had reading lamps. This was a gang that liked to eat and drink and hike and lay in the sun and also clearly loved to read.” Nica’s photographs in the booklet provide a visual analogue to the words and music.\r\n\r\nAs for the music, Wayne relates: “I had been thinking about putting these two bands together for a while. Gravitas provides such a variety of texture and color and personal improvisational language. Sweeter Than the Day has just become such a great band; we have learned to play as a single organism. These are just some of my favorite musicians on the planet…The music is fairly structured, and in ways that are not typical of me. I think that was a result of the poems. These are really instrumental songs, more than vehicles for improvisation and ensemble playing, although those elements certainly occur…Hugo’s poems are inherently musical because of the way they sound, the way they read, and the way they are structured. Some composers, and poets, and novelists, work very methodically, in that they start with a complete structure, then an outline, then a complete draft, and so on. I believe Hugo, like some novelists I know, and certainly some composers, including myself, was inclined to begin somewhere and see where it led him. But I also am sure that his poems were drafted, revised, re-considered, and carefully crafted.”\r\n\r\nOver the years Hugo crisscrossed the Northwest, searching out new places and experiences that would trigger a poetic response, and he listened to the radio as he drove. From Bill Haley to Mozart, Benny Goodman, Brahms and Ellington, “music was, clearly, a visceral pleasure for him…I find compelling his obvious reverence for music as a kind of gold standard when it comes to discerning the importance of the conscious and the intuitive; how much of each, how they interact with each other.” Horvitz, who has himself “hitchhiked and backpacked and driven around this part of the world my whole life”, also notes Hugo’s appetite for life: “He celebrates its grandeur without sentimentality. Yet he seems to not be baffled in the least by its transience. Having grown up in the culture of the 60s, I am always fascinated by the part of that generation that didn’t buy into ‘The Greatest Generation’ mystique, the one of miracle drugs and progressive capitalism and assumed endless upward mobility – the writers and poets and painters and musicians that were the precursors to the giant sea change that happened in the 60s. Obviously artists like Kerouac and Ginsberg and Pollock and Cunningham, and of course Cecil Taylor, Mingus, Coltrane. It is a sort of psychological no man’s land. It’s so much easier now to identify as an artist, to maintain progressive ideas about gender and class and race, to worship the individual. To me this era is analogous to America in the late 1800s – modernization and industrialization standing side by side with what remained of the plains Indians and the last of the frontier. The opera house that was built in the middle of nowhere, waiting for the city to arrive.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" this major project supported by san francisco shifting foundation wayne horvitz brought together the members of two his most successful groups sweeter than day and gravitas quartet to pay tribute pacific northwest poet richard hugo has often set texts music but in case he wanted create instrumental that reflected poems. performance each poem is read aloud following piece named after it. daughter nica took a two-week road trip into montana see towns other places written about. lois welch close friend for us stay cabin where spent lot time last decade life which was incredible. very spare with no running water heated wood. it did have electricity amusing note all beds cots really sleeping bags old blankets were crammed tiny rooms not exactly comfortable they had reading lamps. gang liked eat drink hike lay sun also clearly loved read. photographs booklet provide visual analogue words music. been thinking about putting these bands while. provides such variety texture color personal improvisational language. just become great band we learned play as single organism. are some my favorite musicians on planet fairly structured ways typical me. i think result songs more vehicles improvisation ensemble playing although those elements certainly occur poems inherently musical because way sound structured. composers poets novelists work methodically start complete structure then an outline draft so on. believe like know including myself inclined begin somewhere led him. am sure drafted revised re-considered carefully crafted. years crisscrossed searching out new experiences would trigger poetic response listened radio drove. from bill haley mozart benny goodman brahms ellington visceral pleasure him find compelling obvious reverence kind gold standard when comes discerning importance conscious intuitive how much interact other. who himself backpacked driven around part world whole notes appetite celebrates its grandeur without sentimentality. yet seems be baffled least transience. having grown up culture always fascinated generation didn buy greatest mystique one miracle drugs progressive capitalism assumed endless upward mobility writers painters precursors giant sea change happened obviously artists kerouac ginsberg pollock cunningham course cecil taylor mingus coltrane. sort psychological man land. easier now identify artist maintain ideas gender class race worship individual. me era analogous america late modernization industrialization standing side what remained plains indians frontier. opera house built middle nowhere waiting city arrive. data-sheets-userformat=\"{\" relates:=\"\" life:=\"\"\u003e\u003cstrong\u003eWayne Horvitz\u003c\/strong\u003e, piano, Hammond B-3, electronics\r\n\u003cstrong\u003eRon Miles\u003c\/strong\u003e, cornet\r\n\u003cstrong\u003eSara Schoenbeck\u003c\/strong\u003e, bassoon\r\n\u003cstrong\u003ePeggy Lee\u003c\/strong\u003e, cello\r\n\u003cstrong\u003eTim Young\u003c\/strong\u003e, guitar\r\n\u003cstrong\u003eKeith Lowe\u003c\/strong\u003e, bass\r\n\u003cstrong\u003eEric Eagle\u003c\/strong\u003e, drums\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740332339524,"sku":"SGL16122-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740332372292,"sku":"SGL16122-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740332405060,"sku":"SGL16122-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740332437828,"sku":"SGL16122-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch 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data-sheets-root=\"1\" data-sheets-value=\"{\" continues to explore a particular third stream direction in jazz that patrick zimmerli made his own right from the start of career as composer-performer. this set rhythmically and melodically advanced compositions largely inspired by love serial composers such babbitt carter stockhausen boulez is nevertheless firmly grounded ethos. says main concern early years was forging new path had foundation tradition but completely original. now less priority than simply taking listeners on varied satisfying emotional journey. then he considers ultimate musical message be optimistic might biggest thing sets my music off avant-garde jazz. discusses liner note uses time its basic material it an attempt give kind shape so often lacks. another point view though can seen elaborate justification stylistic evolution. there overall progression abstract melodic takes place over course piece just has been career. evolution involves series permutations theme which heard most explicit form last track. exact same notes are used first movement not very melodic-sounding even seem freely-composed. i melody itself basis variation more pieces cd. gradually settles matures singable self. chamber america works commission written specifically for ethan iverson bad plus john hollenbeck who were already performing with about collaborators whole project testament what amazingly good sport is. understands accepts me all offbeat artistic sense humor. proof found album where extravagant forms concocted him plays them style=\"\" fits hand glove. improvisations effectively internal themselves full wit charm purpose. favourite example absolutely loving treatment gives gorgeous opening chorus before playing portion. like composer friend-drummer makes your compositional ideas sound better they effortlessly does things only fit enhance themselves. really chris tordini way supports band improvising subtle you hardly notice how organic compositions. produced grammy award-winner seth abramson.. data-sheets-userformat=\"{\" positive:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eClockworks\u003c\/strong\u003e\u003c\/em\u003e continues to explore a particular third stream direction in jazz that \u003cstrong\u003ePatrick Zimmerli\u003c\/strong\u003e made his own right from the start of his career as a composer-performer. This set of rhythmically and melodically advanced compositions, largely inspired by Zimmerli’s love of serial composers such as Babbitt, Carter, Stockhausen and Boulez, is nevertheless firmly grounded in a jazz ethos. Zimmerli says that his main concern in the early years was in forging a new path that had a foundation in the jazz tradition but that was completely original. But now, \"Newness is less of a priority than simply taking listeners on a varied and satisfying emotional journey.” Then and now he considers his ultimate musical message to be optimistic and positive: “That might be the biggest thing that sets my music off from ‘mainstream’ avant-garde jazz.”\u003c\/span\u003e\r\n\r\nAs Zimmerli discusses in his liner note, “Clockworks uses time as its basic material, it is an attempt to give time the kind of satisfying shape it so often lacks.\" From another point of view, though, “Clockworks can be seen as a kind of elaborate justification of my stylistic evolution. There’s an overall progression from the abstract to the melodic that takes place over the course of the piece, just as there has been over the course of my career. The evolution involves a series of permutations of the main theme, which is heard in its most explicit form on the last track. The exact same notes are used in the first movement, which is not very melodic-sounding and might even seem freely-composed. I used the melody itself as a series and made it the basis of “Linear Variation”, which is another of the more “out” pieces on the CD. Gradually the theme settles—it matures—into its singable self.”\r\n\r\nClockworks (a Chamber Music America New Jazz Works commission) was written specifically for \u003cstrong\u003eEthan Iverson\u003c\/strong\u003e (The Bad Plus) and \u003cstrong\u003eJohn Hollenbeck\u003c\/strong\u003e, who were already performing with Zimmerli in the early 1990s. About his musical collaborators Zimmerli says, “This whole project can be seen as a testament to what an amazingly good sport Ethan Iverson is. He understands and accepts me with all my offbeat artistic sense of humor. Proof can be found all over the album, where he takes the extravagant forms I’ve concocted for him and plays over them in a style that fits them hand in glove. His improvisations are effectively internal compositions in themselves, full of wit and charm and purpose. My favourite example of this is the absolutely loving treatment he gives to “Harmonic Variation”, where he plays that gorgeous opening chorus before playing the written portion. As for John, he is like the composer’s-best friend-drummer, he makes your compositional ideas sound better than they are, and he effortlessly does things that not only fit but enhance the compositions themselves. And I really love \u003cstrong\u003eChris Tordini'\u003c\/strong\u003es sound and the way he supports a band, and his improvising is so subtle you hardly notice how organic his ideas are to the compositions.”\r\n\r\nClockworks was produced by Grammy award-winner Seth Abramson.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003ePatrick Zimmerli Quartet\u003c\/strong\u003e\u003c\/span\u003e\r\nPatrick Zimmerli, tenor saxophone\r\nEthan Iverson, piano\r\nChristopher Tordini, bass\r\nJohn Hollenbeck, drums","brand":"Songlines Recordings","offers":[{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740362977604,"sku":"SGL16252-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740363010372,"sku":"SGL16252-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz \/ 2ch Stereo","offer_id":56740363043140,"sku":"SGL16252-5","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740363075908,"sku":"SGL16252-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740363108676,"sku":"SGL16252-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740363141444,"sku":"SGL16252-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":57342597824836,"sku":"SGL16252-16","price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16252.jpg?v=1790621651"},{"product_id":"sgl15862-across-the-way","title":"Across the Way","description":"\u003cblockquote\u003eThe subtle textures of Brad Shepik’s electric guitar and Tom Beckham’s liquid-toned vibes evoke a ‘70s mood in this set of creative original compositions.\r\n- Mark Werlin\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\nAcross the Way with the Brad Shepik Quartet is a new Jazz addition to the Native DSD Music catalog from Songlines Recordings. It is \u003cstrong\u003eExclusively Available in Stereo DSD 512, DSD 256, DSD 128 and DSD 64 at NativeDSD.\u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the first half of at time his programmatic world-jazz human activity suite was gaining raves new york guitarist brad shepik putting together an entirely group to play pieces he recently composed. having led and co-led several trios during previous years finally settled on a quartet with vibes player tom beckham whom been performing for in george schuller circle wide got unique touch amazing sense harmony really gets inside whatever playing pulls things out that i don expect. from almost beginning process working young drummer who getting noticed lot mark has drums cymbals as well incredible groove totally way placing things. jelled addition bassist jorge is lima peru just rhythmic feel enhances this music. indeed finesse back-and-forth moment example flexes around grooves or spacious quiet joyful spur each others solos makes music sing. embodies fresh approach jazz mainstream one can incorporate west african rock terni folk feels if may sometimes remind listeners developments late gary burton groundbreaking fusion larry coryell doesn draw hard distinctions between freer along stylistic experience listening recording django tal farlow lonnie johnson joe pass cal collins hit me great artists are today. also think hear history earlier greats all good players format offers stretch soloist like freedom another chordal instrument bass writing lately less specialized than composed groups babkas pachora. we improvising freely but different materials maybe more subtle way....the interpret spontaneously keeps composer. data-sheets-userformat=\"{\" quintet:=\"\" guiliana:=\"\" roeder:=\"\" lines:=\"\"\u003eIn the first half of 2009, at the time his programmatic world-jazz Human Activity Suite was gaining raves, New York guitarist Brad Shepik was putting together an entirely new group to play pieces he’d recently composed. Having led and co-led several trios during the previous 18 years, he finally settled on a quartet with vibes player Tom Beckham, whom he’d been performing with for 5 years in George Schuller’s Circle Wide quintet: “Tom’s got a unique touch on the vibes and an amazing sense of harmony, he really gets inside of whatever he’s playing and pulls things out of the harmony that I don’t expect.” From almost the beginning of the process Brad was working with a young drummer who was getting noticed a lot, Mark Guiliana: “He has an amazing touch on the drums and cymbals as well as an incredible groove and totally unique way of placing things.” The quartet jelled with the addition of bassist Jorge Roeder: “Jorge is from Lima, Peru and just has an amazing rhythmic feel and sense of harmony that really enhances this music.” Indeed, the finesse and élan of the playing in the back-and-forth of the moment, for example in the way the group flexes around the grooves, or the spacious, quiet, joyful way Brad and Tom spur on each others’ solos, makes the music really sing.\u003c\/span\u003e\r\n\r\nThis quartet embodies a fresh approach to the jazz mainstream – one that can incorporate for example west African (“Transfer”), rock\/funk (“Mambo Terni”) and folk\/minimalist feels (“Across the Way” and “Marburg”). And if the music may sometimes remind listeners of new developments from the late 60s or 70s (e.g. Gary Burton’s groundbreaking fusion quartet with Larry Coryell), Brad doesn’t draw hard distinctions between mainstream and freer jazz along stylistic lines: “The experience of listening to a recording of Django or Tal Farlow or Lonnie Johnson or Joe Pass or Cal Collins can hit me just as hard as listening to the great artists that are playing today. Also I think I hear a lot of the history of the earlier greats in the all of the really good players of today.\"\r\n\r\nWhat the quartet format offers is “room to stretch out as a soloist….I like the freedom of playing with another chordal instrument [as well as bass]. The music I’ve been writing lately is less specialized than things I composed for groups like BABKAS and Pachora. We’re improvising just as freely in this group but with different materials and maybe in a more subtle way....The freedom to interpret the music spontaneously keeps things fresh for me as a player and composer.\"\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the first half of at time his programmatic world-jazz human activity suite was gaining raves new york guitarist brad shepik putting together an entirely group to play pieces he recently composed. having led and co-led several trios during previous years finally settled on a quartet with vibes player tom beckham whom been performing for in george schuller circle wide got unique touch amazing sense harmony really gets inside whatever playing pulls things out that i don expect. from almost beginning process working young drummer who getting noticed lot mark has drums cymbals as well incredible groove totally way placing things. jelled addition bassist jorge is lima peru just rhythmic feel enhances this music. indeed finesse back-and-forth moment example flexes around grooves or spacious quiet joyful spur each others solos makes music sing. embodies fresh approach jazz mainstream one can incorporate west african rock terni folk feels if may sometimes remind listeners developments late gary burton groundbreaking fusion larry coryell doesn draw hard distinctions between freer along stylistic experience listening recording django tal farlow lonnie johnson joe pass cal collins hit me great artists are today. also think hear history earlier greats all good players format offers stretch soloist like freedom another chordal instrument bass writing lately less specialized than composed groups babkas pachora. we improvising freely but different materials maybe more subtle way....the interpret spontaneously keeps composer. data-sheets-userformat=\"{\" quintet:=\"\" guiliana:=\"\" roeder:=\"\" lines:=\"\"\u003e\u003cstrong\u003eBrad Shepik Quartet\u003c\/strong\u003e\r\nBrad Shepik, Guitar\r\nTom Beckham, Vibraphone\r\nMark Guiliana, Drums\r\nJorge Roeder, Bass\u003c\/span\u003e\r\n\r\n ","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740366025028,"sku":"SGL15862-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740366057796,"sku":"SGL15862-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740366090564,"sku":"SGL15862-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740366123332,"sku":"SGL15862-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740366156100,"sku":"SGL15862-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740366188868,"sku":"SGL15862-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740366221636,"sku":"SGL15862-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342599332164,"sku":"SGL15862-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL15862.jpg?v=1790621939"},{"product_id":"sglsa15672-amor-de-cosmos","title":"Amor de Cosmos","description":"\u003cblockquote\u003eCritically acclaimed New York-based saxophonist Michael Blake imaginatively evokes his ancestral Canadian roots in collaboration with Vancouver’s premier creative jazz players.\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" blake has been a resident of new york for some years but he grew up in vancouver and on visit to his hometown organized two gigs then recording session with somewhat younger players from the jazz creative music scene most whom had not played before. all-canadian sextet features classical percussionist sal ferreras several canada forward-looking musicians improvising michael wide-ranging compositions are also highly expressionistic improv duets between chris gestrin by reading about life century british columbia newspaperman politician william alexander smith who renamed himself amor de cosmos was inspired re-explore roots forge musical connections drawing broadly history resources jazz. as member lounge lizards co-leader slow poke developed an approach that valorized funk blues pop well paying tribute saxophone greats swing bop free combining old school elegance lyricism downtown eclecticism innovation. subsequent records leader worked ideas africa caribbean brazil vietnam. wash away joyful african groove twist section is creating these change-ups allows things personally find imagined. artists might play great solos after few tunes you hear same rhythms systems play. changing formulas my i get come soloist arranger. like rhythm melody so while any too static love improvise without written again it would become boring while. miss playing good standard or through-composed piece. feel very satisfied wrote this which different previous work. indeed more composed pieces pie face constellation seem moves towards realm contemporary always leaves plenty room improvisers stretch out duos. unusual instrumentation offers novel possibilities voicings example witty brilliantly executed time duet marimba prepared piano long seymour. band really jells partly because shared together. andre lachance dylan van der schyff still members trio brad part international quintet definition toy . combine their fluent interaction challenges sets them result record revels interplay speaks its own unique accent. both heart intellect grooves than touch insouciance lighten proceedings. data-sheets-userformat=\"{\" happen:=\"\"\u003e\u003cstrong\u003eMichael Blake\u003c\/strong\u003e has been a resident of New York for some 35 years, but he grew up in Vancouver, and on a visit to his hometown in 2005 he organized two gigs and then a recording session with somewhat younger players from the jazz and creative music scene, most of whom he had not played with before. His all-Canadian sextet features classical\/new music\/Latin percussionist \u003cstrong\u003eSal Ferreras\u003c\/strong\u003e and several of Canada’s most forward-looking jazz musicians improvising on Michael’s wide-ranging compositions (there are also two highly expressionistic improv duets between Michael and \u003cstrong\u003eChris Gestrin\u003c\/strong\u003e).\u003c\/span\u003e\r\n\r\n“I personally find most jazz ‘under imagined.’ The artists might play great solos but after a few tunes you hear the same rhythms and systems in play. By changing the formulas in my compositions I get inspired to come up with new ideas as a soloist and arranger. But I like rhythm and melody, so after a while I find any ‘method’ too static….I love to improvise without any written music, but again it would become boring after a while. I’d miss playing a good standard, blues, or through-composed piece.\"\r\n\u003cem\u003e\u003cstrong\u003e- Michael Blake\u003c\/strong\u003e\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eMichael Blake Sextet\r\n\u003c\/strong\u003eMichael Blake - saxophones\r\nBrad Turner - trumpet\r\nSal Ferarras - marimba, percussion\r\nChris Gestrin - piano, electronics\r\nAndré Lachance - acoustic bass\r\nDylan van der Schyff - drums","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740379951428,"sku":"SGLSA15672-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740379984196,"sku":"SGLSA15672-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740380016964,"sku":"SGLSA15672-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740380049732,"sku":"SGLSA15672-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740380082500,"sku":"SGLSA15672-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740380115268,"sku":"SGLSA15672-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740380148036,"sku":"SGLSA15672-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740380180804,"sku":"SGLSA15672-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740380213572,"sku":"SGLSA15672-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740380246340,"sku":"SGLSA15672-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740380279108,"sku":"SGLSA15672-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740380311876,"sku":"SGLSA15672-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342620500292,"sku":"SGLSA15672-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342620533060,"sku":"SGLSA15672S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342620565828,"sku":"SGLSA15672S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342620598596,"sku":"SGLSA15672S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15672.jpg?v=1778496874"},{"product_id":"sglsa15442-the-v16-project","title":"The V16 Project","description":"\u003cstrong\u003eExclusively Available at Native DSD in Stereo and 5 Channel Surround Sound DSD 256, DSD 128 \u0026amp; DXD plus Stereo DSD 512\u003c\/strong\u003e\r\n\r\n\u003cem\u003ePercussionist Jerry Granelli, a veteran of the 1960s San Francisco music scene, and a cohort of younger musicians perform a set of mind-bending, guitar-focused, neo-psychedelic instrumentals.\u003c\/em\u003e\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" v16 project was jerry granelli core group of the it featured a two-guitar frontline and diverse approach jazz improvisation blues-rock-funk fusion freeform jamming sampled soundscapes more making equally at home in avant-rock contexts. highlighting superb interplay slide virtuoso david tronzo lyrical german guitar ace christian k previous band ufb versatile bassist anthony cox hones its style=\"\" on surprising range material. there are drummerless acoustic improvs kogel trancey bossa nova waltz-to-freetime-to-latin mr. wong suite psych-tinged freegrass flavoured extended cover old standard several varieties soul by cox. expect as commented his note heart is risk not knowing curiosity nowness. inspired admiration for effortless swing inventiveness constant search new means expression. he grew up san francisco where studied with joe morello drummed pianists denny zeitlin vince guaraldi charlie brown christmas tv soundtracks pioneered world electro-acoustic percussion during hippie era established music department naropa institute boulder early performed recorded trio ralph towner gary peacock ecm. also longtime musical associates mose allison jay clayton jane ira bloom glen moore dave friedman jamie saft well projects bill frisell robben ford julian priester haden kenny garrett among many others. other granellli high-res releases songlines. visit legacy website full picture. data-sheets-userformat=\"{\" unexpected:=\"\"\u003e\u003cstrong\u003eThe V16 Project\u003c\/strong\u003e was \u003cstrong\u003eJerry Granelli\u003c\/strong\u003e’s core group of the 2000s. It featured a two-guitar frontline and diverse approach – jazz improvisation, blues-rock-funk fusion, freeform jamming, sampled soundscapes and more – making it equally at home in jazz and avant-rock contexts. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" v16 project was jerry granelli core group of the it featured a two-guitar frontline and diverse approach jazz improvisation blues-rock-funk fusion freeform jamming sampled soundscapes more making equally at home in avant-rock contexts. highlighting superb interplay slide virtuoso david tronzo lyrical german guitar ace christian k previous band ufb versatile bassist anthony cox hones its style=\"\" on surprising range material. there are drummerless acoustic improvs kogel trancey bossa nova waltz-to-freetime-to-latin mr. wong suite psych-tinged freegrass flavoured extended cover old standard several varieties soul by cox. expect as commented his note heart is risk not knowing curiosity nowness. inspired admiration for effortless swing inventiveness constant search new means expression. he grew up san francisco where studied with joe morello drummed pianists denny zeitlin vince guaraldi charlie brown christmas tv soundtracks pioneered world electro-acoustic percussion during hippie era established music department naropa institute boulder early performed recorded trio ralph towner gary peacock ecm. also longtime musical associates mose allison jay clayton jane ira bloom glen moore dave friedman jamie saft well projects bill frisell robben ford julian priester haden kenny garrett among many others. other granellli high-res releases songlines. visit legacy website full picture. data-sheets-userformat=\"{\" unexpected:=\"\"\u003eHighlighting the superb interplay of slide virtuoso \u003cstrong\u003eDavid Tronzo\u003c\/strong\u003e, lyrical German guitar ace \u003cstrong\u003eChristian Kögel\u003c\/strong\u003e (from Jerry’s previous two-guitar band UFB), and versatile bassist \u003cstrong\u003eAnthony Cox\u003c\/strong\u003e, the group hones its style on a surprising range of material. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" v16 project was jerry granelli core group of the it featured a two-guitar frontline and diverse approach jazz improvisation blues-rock-funk fusion freeform jamming sampled soundscapes more making equally at home in avant-rock contexts. highlighting superb interplay slide virtuoso david tronzo lyrical german guitar ace christian k previous band ufb versatile bassist anthony cox hones its style=\"\" on surprising range material. there are drummerless acoustic improvs kogel trancey bossa nova waltz-to-freetime-to-latin mr. wong suite psych-tinged freegrass flavoured extended cover old standard several varieties soul by cox. expect as commented his note heart is risk not knowing curiosity nowness. inspired admiration for effortless swing inventiveness constant search new means expression. he grew up san francisco where studied with joe morello drummed pianists denny zeitlin vince guaraldi charlie brown christmas tv soundtracks pioneered world electro-acoustic percussion during hippie era established music department naropa institute boulder early performed recorded trio ralph towner gary peacock ecm. also longtime musical associates mose allison jay clayton jane ira bloom glen moore dave friedman jamie saft well projects bill frisell robben ford julian priester haden kenny garrett among many others. other granellli high-res releases songlines. visit legacy website full picture. data-sheets-userformat=\"{\" unexpected:=\"\"\u003eThere are drummerless acoustic improvs, Kogel’s trancey bossa nova, Jerry’s waltz-to-freetime-to-Latin Mr. Wong suite, a psych-tinged, freegrass flavoured extended cover of the old standard “Temptation,” and several varieties of soul jazz by Cox. Expect the unexpected: as Granelli commented in his note, “The heart of the band is risk, not knowing, curiosity and nowness.”\u003c\/span\u003e\r\n\r\nGranelli inspired admiration for his effortless swing and inventiveness and his constant search for new means of expression. He grew up in San Francisco, where he studied with Joe Morello and drummed for pianists Denny Zeitlin and Vince Guaraldi (he’s on A Charlie Brown Christmas and the Charlie Brown TV soundtracks). He pioneered world jazz fusion and electro-acoustic percussion during the 60’s hippie era and established the music department at the Naropa Institute in Boulder in 1976. In the early ’80s he performed and recorded in a trio with Ralph Towner and Gary Peacock for ECM. He also performed and recorded with longtime musical associates Mose Allison, Jay Clayton, Jane Ira Bloom, Glen Moore, Dave Friedman, and Jamie Saft, as well as in projects with Bill Frisell, Robben Ford, Julian Priester, Charlie Haden and Kenny Garrett, among many others. And there are several other Granellli high-res releases on Songlines. Visit his legacy website for the full picture.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" v16 project was jerry granelli core group of the it featured a two-guitar frontline and diverse approach jazz improvisation blues-rock-funk fusion freeform jamming sampled soundscapes more making equally at home in avant-rock contexts. highlighting superb interplay slide virtuoso david tronzo lyrical german guitar ace christian k previous band ufb versatile bassist anthony cox hones its style=\"\" on surprising range material. there are drummerless acoustic improvs kogel trancey bossa nova waltz-to-freetime-to-latin mr. wong suite psych-tinged freegrass flavoured extended cover old standard several varieties soul by cox. expect as commented his note heart is risk not knowing curiosity nowness. inspired admiration for effortless swing inventiveness constant search new means expression. he grew up san francisco where studied with joe morello drummed pianists denny zeitlin vince guaraldi charlie brown christmas tv soundtracks pioneered world electro-acoustic percussion during hippie era established music department naropa institute boulder early performed recorded trio ralph towner gary peacock ecm. also longtime musical associates mose allison jay clayton jane ira bloom glen moore dave friedman jamie saft well projects bill frisell robben ford julian priester haden kenny garrett among many others. other granellli high-res releases songlines. visit legacy website full picture. data-sheets-userformat=\"{\" unexpected:=\"\"\u003e\u003cstrong\u003eThe V16 Project\u003c\/strong\u003e\r\nJerry Granelli - electro-acoustic percussion\r\nDavid Tronzo - acoustic \u0026amp; electric guitars\r\nChristian Kögel - acoustic \u0026amp; electric guitars\r\nAnthony Cox - bass\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740384145732,"sku":"SGLSA15442-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740384178500,"sku":"SGLSA15442-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740384211268,"sku":"SGLSA15442-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740384244036,"sku":"SGLSA15442-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740384276804,"sku":"SGLSA15442-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740384309572,"sku":"SGLSA15442-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740384342340,"sku":"SGLSA15442-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740384375108,"sku":"SGLSA15442-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342643896644,"sku":"SGLSA15442-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342643929412,"sku":"SGLSA15442S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342643962180,"sku":"SGLSA15442S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342643994948,"sku":"SGLSA15442S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15442.jpg?v=1778496917"},{"product_id":"sgl15852-the-sixth-jump","title":"The Sixth Jump","description":"\u003cstrong\u003eExclusively Available at NativeDSD in Stereo DSD 512, DSD 256, DSD 128, DSD 64 and DXD\u003c\/strong\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003e\u003cem\u003ePiano innovator Benoit Delbecq and bassist Jean-Jacques Avenel stretch the boundaries of the jazz trio format in a set of original compositions powered by the unpredictable grooves of drummer Emile Biayenda.\u003c\/em\u003e\r\n- Mark Werlin\u003c\/p\u003e\r\n\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" in france and named of the avatars prepared piano by jazz times beno delbecq continued to advance refine his approach with this first trio record. its pleasures are a fantastic array sounds turning hammers strings into percussion orchestra while not neglecting conventional resources beautiful-sounding bosendorfer intense yet supple polyrhythmic improvisations built up interlocking layers cycles woven together bass drums distinctive melodic sense that balances consonance dissonance timbral shifts preparations many intriguing ways. work shows deep connection both modern lineage waldron ibrahim etc. elements classical avant-garde cage messiaen ligeti combines these influences others such as pygmy polyphony truly unique style. is music readily communicates on physical often an emotional level but reveals ever-more-subtle aspects you get know it. word about collaborators bassist jean-jacques avenel known for steve lacy was also kora player passionate advocate traditional manding years led own west african group paris songlines paris-based congolese drummer emile biayenda set wonderfully unpredictable grooves. meshes just rhythmically timbrally have magnificent sound they masters source inspiration. what i love alchemy created their relation hierarchy it very free intuitive. timbres create other subterranean effect obtained mysterious. uses two snare gourds ankle shaker attached drum. notable feature arg remixes page using material from multi-tracks examine three instruments individually kind improvisational spirit calls them cinema-like sorts elliptical narrations. data-sheets-userformat=\"{\" many:=\"\" here:=\"\" describes:=\"\"\u003eCelebrated in France, and named “one of the avatars of the prepared piano” by Jazz Times, \u003cstrong\u003eBenoît Delbecq\u003c\/strong\u003e continued to advance and refine his approach with \u003cem\u003e\u003cstrong\u003eThe Sixth Jump\u003c\/strong\u003e\u003c\/em\u003e, his first trio album. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" in france and named of the avatars prepared piano by jazz times beno delbecq continued to advance refine his approach with this first trio record. its pleasures are a fantastic array sounds turning hammers strings into percussion orchestra while not neglecting conventional resources beautiful-sounding bosendorfer intense yet supple polyrhythmic improvisations built up interlocking layers cycles woven together bass drums distinctive melodic sense that balances consonance dissonance timbral shifts preparations many intriguing ways. work shows deep connection both modern lineage waldron ibrahim etc. elements classical avant-garde cage messiaen ligeti combines these influences others such as pygmy polyphony truly unique style. is music readily communicates on physical often an emotional level but reveals ever-more-subtle aspects you get know it. word about collaborators bassist jean-jacques avenel known for steve lacy was also kora player passionate advocate traditional manding years led own west african group paris songlines paris-based congolese drummer emile biayenda set wonderfully unpredictable grooves. meshes just rhythmically timbrally have magnificent sound they masters source inspiration. what i love alchemy created their relation hierarchy it very free intuitive. timbres create other subterranean effect obtained mysterious. uses two snare gourds ankle shaker attached drum. notable feature arg remixes page using material from multi-tracks examine three instruments individually kind improvisational spirit calls them cinema-like sorts elliptical narrations. data-sheets-userformat=\"{\" many:=\"\" here:=\"\" describes:=\"\"\u003eIts pleasures are many: a fantastic array of prepared sounds, turning hammers and strings into a percussion orchestra while not neglecting the conventional resources of a beautiful-sounding 92-key Bosendorfer; intense yet supple polyrhythmic improvisations built up in interlocking layers and cycles and woven together with the bass and drums; and a distinctive melodic\/tonal sense that balances consonance and dissonance with the timbral shifts of the preparations in many intriguing ways. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" in france and named of the avatars prepared piano by jazz times beno delbecq continued to advance refine his approach with this first trio record. its pleasures are a fantastic array sounds turning hammers strings into percussion orchestra while not neglecting conventional resources beautiful-sounding bosendorfer intense yet supple polyrhythmic improvisations built up interlocking layers cycles woven together bass drums distinctive melodic sense that balances consonance dissonance timbral shifts preparations many intriguing ways. work shows deep connection both modern lineage waldron ibrahim etc. elements classical avant-garde cage messiaen ligeti combines these influences others such as pygmy polyphony truly unique style. is music readily communicates on physical often an emotional level but reveals ever-more-subtle aspects you get know it. word about collaborators bassist jean-jacques avenel known for steve lacy was also kora player passionate advocate traditional manding years led own west african group paris songlines paris-based congolese drummer emile biayenda set wonderfully unpredictable grooves. meshes just rhythmically timbrally have magnificent sound they masters source inspiration. what i love alchemy created their relation hierarchy it very free intuitive. timbres create other subterranean effect obtained mysterious. uses two snare gourds ankle shaker attached drum. notable feature arg remixes page using material from multi-tracks examine three instruments individually kind improvisational spirit calls them cinema-like sorts elliptical narrations. data-sheets-userformat=\"{\" many:=\"\" here:=\"\" describes:=\"\"\u003eHis work shows a deep connection with both the modern jazz piano lineage (Monk, Waldron, Ibrahim etc.) and elements of the classical avant-garde (particularly Cage, Messiaen and Ligeti), and combines these influences and others such as pygmy polyphony into a truly unique style. This is music that readily communicates on a physical and often an emotional level but reveals ever-more-subtle aspects as you get to know it.\u003c\/span\u003e\r\n\r\nA word about Benoît's collaborators here: bassist \u003cstrong\u003eJean-Jacques Avenel\u003c\/strong\u003e, known for his work with Steve Lacy, was also a kora player, a passionate advocate of traditional Manding music, and for many years led his own West African group in Paris (Waraba, Songlines). Avenel and Paris-based Congolese drummer \u003cstrong\u003eEmile Biayenda\u003c\/strong\u003e set up wonderfully unpredictable grooves. The trio meshes not just rhythmically but timbrally, as Benoît describes: “Emile and Jean-Jacques both have a magnificent sound, they are masters, a source of inspiration. What I love in the alchemy created by Emile and Jean-Jacques is their relation in the hierarchy of cycles, it is very free, very intuitive. The timbres create other cycles, subterranean cycles, the effect obtained is mysterious.” In this trio Biayenda uses two snare drums and two gourds, and an ankle shaker is attached to the bass drum.\r\n\r\nAnother notable feature are Steve Argüelles' remixes (\"Drum Page\", \"Piano Page\", \"Bass Page\"). Using material from the trio multi-tracks, they examine the three instruments individually with a kind of improvisational spirit; Benoît calls them “rather cinema-like, these sorts of elliptical narrations.”\r\n\r\n \r\n\r\n\u003cstrong\u003eBenoît Delbecq Trio\u003c\/strong\u003e\r\nBenoît Delbecq, Piano\r\nJean-Jacques Avenel, Bass\r\nEmile Biayenda, Drums \u0026amp; Percussion","brand":"Songlines Recordings","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740396794180,"sku":"SGL15852-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740396826948,"sku":"SGL15852-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740396859716,"sku":"SGL15852-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740396892484,"sku":"SGL15852-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740396925252,"sku":"SGL15852-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740396958020,"sku":"SGL15852-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":57342665687364,"sku":"SGL15852-22","price":25.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL15852.jpg?v=1778497050"},{"product_id":"pwsglsa15592-think-like-the-waves","title":"Think Like the Waves","description":"\u003ch4\u003eSave 20% with the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca style=\"color: #ff9900;\" href=\"https:\/\/www.nativedsd.com\/product\/gordon-grdina-jazz-bundle-vol-1-dsd-bundle\/\"\u003eGordon Grdina DSD Bundle\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/h4\u003e\r\n\u003cblockquote\u003e“Think Like The Waves” introduces a group of guitar-oriented albums from Songlines that feature the instrument in a variety of musical settings. In this trio collaboration with Gary Peacock and Paul Motian, who had played alongside legendary pianists Keith Jarrett and Bill Evans, guitarist Gordon Grdina connected to the lineage of innovative musical modernists.\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" guitarist and oud player gordon grdina asked his mentor gary peacock if he would do a trio record. agreed helped bring paul motian of musical heroes recorded in brooklyn think like the waves is remarkable international jazz debut with compelling compositions deep three-way interaction. record combines primary mainstream free-form improvisation arabic classical music. but diversity for its own sake was not wanted to together guitar because i could hear working so well these two there something way they improvise which reminds me taqasim free-time improvised introduction melodic material piece. tried make part my complete experience that can take it on any exploration without preconceived idea about role. many tunes tap into range emotions melancholy tender side while suggesting tensile inner strength then developed different ways improvisations. almost straight-ahead quite abstract quartet group explores purest form. are solos duos improvisations each case emphasis spontaneity letting music go wherever will. comes from your head straight what you hearing all rhythmic implications having connection where getting as much out through instrument at time an intellectual understanding it. kind thinking involved doing whole body thinking. pieces balance groove pulse strict tonality freer harmonic treatment. seems draw particular inspiration developments mid-60s jarrett bley ornette just gravitate towards simplicity complexity same time. keith always sounds fluid fluidity writing playing well. trying be clever or complex. complex need express melody more richly. their being stretched furthest point still tonal. by composers berg webern bartok been particularly interested in. data-sheets-userformat=\"{\" interests:=\"\" aim:=\"\" mid-70s:=\"\"\u003eVancouver guitarist and oud player \u003cstrong\u003eGordon Grdina\u003c\/strong\u003e asked his mentor \u003cstrong\u003eGary Peacock\u003c\/strong\u003e if he would do a trio record. Gary agreed, and helped bring \u003cstrong\u003ePaul Motian\u003c\/strong\u003e (another of Gordon’s musical heroes). Recorded in Brooklyn in 2006, Think Like the Waves is Grdina's remarkable international jazz debut, with compelling compositions and deep three-way interaction.\u003c\/span\u003e\r\n\r\nThe record combines Grdina’s primary musical interests: mainstream jazz, free-form improvisation, and Arabic classical music. But diversity for its own sake was not his aim: “I wanted to bring together the oud and the guitar because I could hear the oud working so well with these two, and there’s something in the way they improvise which reminds me of the Arabic taqasim, the free-time improvised introduction to the melodic material of a piece. But I’ve tried to make the oud part of my complete musical experience, so that I can take it with me on any musical exploration without any preconceived idea about its musical role.” Many of the guitar tunes tap into a range of emotions on the melancholy and tender side while suggesting a tensile inner strength, which is then developed in different ways in the improvisations.\"\r\n\r\nFrom the almost straight-ahead (“Combustion”) to the quite abstract (“String Quartet #6”), the group explores improvisation in its purest form. There are solos, duos, and trio improvisations, but in each case the emphasis is on spontaneity and letting the music go wherever it will. “Music comes not from your head, but straight from what you’re hearing, with all its rhythmic\/harmonic\/melodic implications, and from having a connection where you’re getting as much of it out through your instrument as you can, without at the time having an intellectual understanding of it. It’s a different kind of thinking where you’re so involved in what you’re doing that your whole body is doing the thinking.”\r\n\r\nMany of the pieces balance groove and pulse, strict tonality and a freer harmonic treatment. Grdina seems to draw particular inspiration from the jazz developments of the mid-60s to mid-70s: Jarrett, Paul Bley, Ornette… “There’s just something in that music that I gravitate towards, something about its simplicity and complexity all at the same time. Keith always sounds so fluid, and fluidity is what I hear in Ornette’s writing and playing as well. It’s not trying to be clever or complex. If it is complex that comes out of the need to express the melody more richly. In their music and improvisation, tonality is being stretched to its furthest point while still being tonal. Music like that, and by composers like Berg, Webern and Bartok, is what I’ve been particularly interested in.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" guitarist and oud player gordon grdina asked his mentor gary peacock if he would do a trio record. agreed helped bring paul motian of musical heroes recorded in brooklyn think like the waves is remarkable international jazz debut with compelling compositions deep three-way interaction. record combines primary mainstream free-form improvisation arabic classical music. but diversity for its own sake was not wanted to together guitar because i could hear working so well these two there something way they improvise which reminds me taqasim free-time improvised introduction melodic material piece. tried make part my complete experience that can take it on any exploration without preconceived idea about role. many tunes tap into range emotions melancholy tender side while suggesting tensile inner strength then developed different ways improvisations. almost straight-ahead quite abstract quartet group explores purest form. are solos duos improvisations each case emphasis spontaneity letting music go wherever will. comes from your head straight what you hearing all rhythmic implications having connection where getting as much out through instrument at time an intellectual understanding it. kind thinking involved doing whole body thinking. pieces balance groove pulse strict tonality freer harmonic treatment. seems draw particular inspiration developments mid-60s jarrett bley ornette just gravitate towards simplicity complexity same time. keith always sounds fluid fluidity writing playing well. trying be clever or complex. complex need express melody more richly. their being stretched furthest point still tonal. by composers berg webern bartok been particularly interested in. data-sheets-userformat=\"{\" interests:=\"\" aim:=\"\" mid-70s:=\"\"\u003e\u003cstrong\u003eGordon Grdina\u003c\/strong\u003e - guitar, oud\r\n\u003cstrong\u003eGary Peacock\u003c\/strong\u003e - bass\r\n\u003cstrong\u003ePaul Motian\u003c\/strong\u003e - drums\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740407181636,"sku":"PWSGLSA15592-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740407214404,"sku":"PWSGLSA15592-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740407247172,"sku":"PWSGLSA15592-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740407279940,"sku":"PWSGLSA15592-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740407312708,"sku":"PWSGLSA15592-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740407345476,"sku":"PWSGLSA15592-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740407378244,"sku":"PWSGLSA15592-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740407411012,"sku":"PWSGLSA15592-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342679220548,"sku":"PWSGLSA15592-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342679253316,"sku":"PWSGLSA15592S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342679286084,"sku":"PWSGLSA15592S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342679318852,"sku":"PWSGLSA15592S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15592.jpg?v=1778497169"},{"product_id":"sglsa15762-human-activity-suite","title":"Human Activity Suite","description":"\u003cblockquote\u003eVersatile guitarist-composer Brad Shepik conveys his response to global climate change in pieces that encompass influences from Turkish music to post-bop, in the company of top-flight New York players Ralph Alessi, Gary Versace, Drew Gress and Tom Rainey.\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" up outside seattle in the and brad shepik spent a lot of time outdoors hiking camping skiing fly fishing sailing. later as new york based guitarist fascinated by traditional world music he traveled bali morocco middle east south america europe experiencing natural beauty cultures those places. human activity sounding response to climate change is personal statement about his concern for our wanted connect my musical expression how i felt earth environment we are creating ourselves result live. idea do that had been brewing me long time. commissioned chamber suite was premiered recorded june among most versatile distinctive guitarists generation having extensively leader performed with joey baron dave douglas carla bley paul motian. equally acclaimed work various styles world-jazz groups such pachora tridruga paradox trio yuri yunakov bulgarian wedding band own commuters well oud violin virtuoso simon shaheen. conceived then-current working you go songlines plus trumpet bass. instrumentation offered an expanded palette develop would listener on journey around globe focus these issues affect us people living rather than nation. basic concept write piece each seven continents other pieces factors effects carbon desertification changing ocean currents. but moves beyond its programmatic framework embrace vision without can one term cover range sound when use it referring folk indigenous certain area transmitted through mostly oral tradition. meet musicians lovers from different parts who listen informed everything under sun ultimately all gets filtered sensibility. think assume expressing something sub- or verbal no matter what program attach it. jazz improvise tell story. tried set situations within context individual movements. great improvisers they brought project life their creative powers. recording whose open-hearted variety humor broad stylistic reach artist appeal engage global thinking living. data-sheets-userformat=\"{\" suite:=\"\" future:=\"\" borders:=\"\"\u003eGrowing up outside Seattle in the 1970s and ’80s, \u003cstrong\u003eBrad Shepik\u003c\/strong\u003e spent a lot of time outdoors, hiking, camping, skiing, fly fishing and sailing. Later, as a New York based guitarist fascinated by traditional world music, he traveled in Bali, Morocco, the middle East, South America, and Europe, experiencing the natural beauty and cultures of those places. \u003cem\u003e\u003cstrong\u003eHuman Activity Suite: Sounding a Response to Climate Change\u003c\/strong\u003e\u003c\/em\u003e is a personal statement about his concern for our future: “I wanted to connect my musical expression to how I felt about the earth and the environment we are creating for ourselves as a result of how we live. The idea to do that had been brewing in me for a long time.” Commissioned by Chamber Music America, the suite was premiered and recorded in New York in June 2008.\u003c\/span\u003e\r\n\r\nShepik is among the most versatile and distinctive guitarists of his generation, having recorded extensively as a leader and performed and recorded with Joey Baron, Dave Douglas, Carla Bley and Paul Motian. He is equally acclaimed for his work in various styles of world-jazz with groups such as Pachora, Tridruga, the Paradox Trio, Yuri Yunakov’s Bulgarian Wedding Band, and his own band the Commuters, as well as with oud and violin virtuoso Simon Shaheen. Shepik conceived Human Activity Suite for his then-current working trio (Places You Go, Songlines) plus trumpet and bass. The instrumentation offered an expanded palette to develop music that would “take the listener on a journey around the globe, and focus on how these issues affect us as people living on the earth rather than people living in a nation.\"\r\n\r\nThe basic concept was to write a piece for each of the seven continents, and other pieces about factors and effects of climate change such as carbon, desertification, and changing ocean currents. But the suite moves beyond its programmatic framework to embrace Brad’s vision of a musical world without borders: “How can one term, ‘world music,’ cover such a range of human expression in sound? When I use it I’m referring to folk music that is indigenous to a certain area and transmitted through mostly an oral tradition. But I meet musicians and music lovers from different parts of the world who listen to and are informed by everything under the sun…. Ultimately it all gets filtered through my own sensibility. I think we can assume that music is expressing something sub- or beyond verbal, no matter what program we attach to it. And in jazz we improvise, we tell our own story. I tried to set up situations for that, within the context of the individual movements. My musicians are all great improvisers, and they brought the project to life through their creative powers.” The result is a recording whose open-hearted beauty, variety, humor and broad stylistic reach is one artist’s appeal to engage in global thinking and living.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" up outside seattle in the and brad shepik spent a lot of time outdoors hiking camping skiing fly fishing sailing. later as new york based guitarist fascinated by traditional world music he traveled bali morocco middle east south america europe experiencing natural beauty cultures those places. human activity sounding response to climate change is personal statement about his concern for our wanted connect my musical expression how i felt earth environment we are creating ourselves result live. idea do that had been brewing me long time. commissioned chamber suite was premiered recorded june among most versatile distinctive guitarists generation having extensively leader performed with joey baron dave douglas carla bley paul motian. equally acclaimed work various styles world-jazz groups such pachora tridruga paradox trio yuri yunakov bulgarian wedding band own commuters well oud violin virtuoso simon shaheen. conceived then-current working you go songlines plus trumpet bass. instrumentation offered an expanded palette develop would listener on journey around globe focus these issues affect us people living rather than nation. basic concept write piece each seven continents other pieces factors effects carbon desertification changing ocean currents. but moves beyond its programmatic framework embrace vision without can one term cover range sound when use it referring folk indigenous certain area transmitted through mostly oral tradition. meet musicians lovers from different parts who listen informed everything under sun ultimately all gets filtered sensibility. think assume expressing something sub- or verbal no matter what program attach it. jazz improvise tell story. tried set situations within context individual movements. great improvisers they brought project life their creative powers. recording whose open-hearted variety humor broad stylistic reach artist appeal engage global thinking living. data-sheets-userformat=\"{\" suite:=\"\" future:=\"\" borders:=\"\"\u003e\u003cstrong\u003eBrad Shepik\u003c\/strong\u003e, electric \u0026amp; acoustic guitars, tambura, electric sax\r\n\u003cstrong\u003eRalph Alessi\u003c\/strong\u003e, trumpet\r\n\u003cstrong\u003eGary Versace\u003c\/strong\u003e, piano, organ, accordion\r\n\u003cstrong\u003eDrew Gress\u003c\/strong\u003e, bass\r\n\u003cstrong\u003eTom Rainey\u003c\/strong\u003e, drums\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740415865156,"sku":"SGLSA15762-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740415897924,"sku":"SGLSA15762-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740415930692,"sku":"SGLSA15762-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740415963460,"sku":"SGLSA15762-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740415996228,"sku":"SGLSA15762-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740416028996,"sku":"SGLSA15762-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740416061764,"sku":"SGLSA15762-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740416094532,"sku":"SGLSA15762-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342752981316,"sku":"SGLSA15762-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342753014084,"sku":"SGLSA15762S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342753046852,"sku":"SGLSA15762S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342753079620,"sku":"SGLSA15762S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15762.jpg?v=1778497271"},{"product_id":"pwsglsa15612-at-night","title":"At Night","description":"\u003cblockquote\u003eTexts drawn from a range of eras and cultures, from Sufi poet Rumi to songwriter Joni Mitchell, are given compelling new interpretations in this atmospheric collaboration by guitarist Ben Monder, vocalist Theo Bleckmann, and percussionist Satoshi Takeishi. Monder, one of the most versatile guitarists in jazz, is currently a member of The Bad Plus.\r\n- \u003cem\u003eMark Werlin\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" singer whose voice is provocatively outr yet emotionally inside the song a guitarist long fingers stretch across strings and frets to create chords you never heard before when they found time from their busy careers pursue collaboration expect results be beautiful strange compelling listen. poetry shadows but maybe not wilder moments bleckmann vocals on plunger or electronically altered toy megaphone peers hold him in considerable awe for his single-minded commitment art sound completely own range of stylistic reach standards avant jazz improv classical guitar compositions. beyond cachet as sheila jordan re-interpretations renaissance man contemporary vocal performance resum collaborations who meredith monk laurie anderson philip glass estonian radio choir mark morris dance. passion embody music every possible way. previous songlines no boat theo quintet origami at night study contrasts that flows together into unified statement. recurring element settings texts by sufi poet rumi. evoke interior depths along with sensuous warmth meditations god earthly beauty surprise this mystic drunkard would appeal sense adventure delight play awakened improvisational moment. another strand covers pop songs joni mitchell tender empathy beatles psychedelic splendor. then there are wordless textural improvs several featuring satoshi takeishi darting glancing approach percussion electronics. so what through-line monder refers balanced flow energy. talking about use live electronics offers some other me it important have physical connection processing. i push button again loop repeats decays elongates etc. building up multiple lines can sometimes make stand still something going myself. each melody has distinct purpose. most often sing do lyrics always trying think meaning individual sentence word give its like convey larger mood state mind. using layering lyric an extension words overall atmosphere underlying soundscape....each player trio very autonomous musically speaking. three sonic worlds exist simultaneously fourth. free improvisation delicate many levels good balance here making bold statements being sensitive one playing irreverently all once. data-sheets-userformat=\"{\" clues:=\"\" nutshell:=\"\"\u003eA singer whose voice is provocatively outré yet emotionally inside the song; a guitarist whose long fingers stretch across strings and frets to create chords you’ve never heard before – when they found time from their busy careers to pursue a 12-year collaboration, you’d expect the results to be beautiful and strange, a compelling listen. You’d expect the poetry and shadows, but maybe not the wilder moments (like Bleckmann’s vocals on plunger or electronically altered toy megaphone).\u003c\/span\u003e\r\n\r\n\u003cstrong\u003eBen Monder\u003c\/strong\u003e's peers hold him in considerable awe for his single-minded commitment to his art – the sound completely his own; the range of his stylistic reach from standards to avant jazz and improv to his classical guitar compositions. \u003cstrong\u003eTheo Bleckmann\u003c\/strong\u003e, beyond his cachet as a jazz singer (protegé of Sheila Jordan; re-interpretations of standards) is the renaissance man of contemporary vocal performance, his resumé of collaborations a who’s who, from Meredith Monk, Laurie Anderson and Philip Glass to the Estonian Radio Choir and Mark Morris Dance. His passion is to embody music in every possible way.\r\n\r\nLike their previous Songlines collaboration No Boat and Theo's quintet Origami, \u003cem\u003e\u003cstrong\u003eAt Night\u003c\/strong\u003e\u003c\/em\u003e is a study in contrasts that flows together into a unified statement. A recurring element is the settings of texts by the Sufi poet Rumi. Bleckmann'Monder evoke the interior depths, along with the sensuous warmth of his meditations on God and earthly beauty; no surprise that this mystic drunkard would appeal to their sense of adventure, their delight in play in the awakened, improvisational moment. Another strand is covers of pop songs – Joni Mitchell in tender empathy, the Beatles in psychedelic splendor. Then there are the wordless songs and textural improvs, several featuring \u003cstrong\u003eSatoshi Takeishi\u003c\/strong\u003e’s darting, glancing approach to percussion and electronics. So what’s the through-line? Monder refers to “a balanced flow of energy.” Theo, talking about his use of live electronics, offers some other clues:\r\n\u003cblockquote\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" singer whose voice is provocatively outr yet emotionally inside the song a guitarist long fingers stretch across strings and frets to create chords you never heard before when they found time from their busy careers pursue collaboration expect results be beautiful strange compelling listen. poetry shadows but maybe not wilder moments bleckmann vocals on plunger or electronically altered toy megaphone peers hold him in considerable awe for his single-minded commitment art sound completely own range of stylistic reach standards avant jazz improv classical guitar compositions. beyond cachet as sheila jordan re-interpretations renaissance man contemporary vocal performance resum collaborations who meredith monk laurie anderson philip glass estonian radio choir mark morris dance. passion embody music every possible way. previous songlines no boat theo quintet origami at night study contrasts that flows together into unified statement. recurring element settings texts by sufi poet rumi. evoke interior depths along with sensuous warmth meditations god earthly beauty surprise this mystic drunkard would appeal sense adventure delight play awakened improvisational moment. another strand covers pop songs joni mitchell tender empathy beatles psychedelic splendor. then there are wordless textural improvs several featuring satoshi takeishi darting glancing approach percussion electronics. so what through-line monder refers balanced flow energy. talking about use live electronics offers some other clues: me it important have physical connection processing. nutshell: i push button again loop repeats decays elongates etc. building up multiple lines can sometimes make stand still something going myself. each melody has distinct purpose. most often sing do lyrics always trying think meaning individual sentence word give its like convey larger mood state mind. using layering lyric an extension words overall atmosphere underlying soundscape....each player trio very autonomous musically speaking. three sonic worlds exist simultaneously fourth. free improvisation delicate many levels good balance here making bold statements being sensitive one playing irreverently all once. data-sheets-userformat=\"{\"\u003e“For me it’s important to have a physical connection to the processing. In a nutshell: I push a button and when I push it again the loop repeats, decays, elongates etc. Building up multiple vocal lines can sometimes make time and music stand still, something I’m going for in ‘Late, by Myself.’ Each song or melody has to have a distinct sense of purpose. I most often sing wordless music, so that when I do sing lyrics I’m always trying to think of their meaning beyond the individual sentence or word to give the song its purpose. I like to convey a larger sense of mood or state of mind. Using layering in a song that has a lyric is always an extension of the words and the overall atmosphere or underlying soundscape....Each player in this trio is very autonomous, musically speaking. Three sonic worlds can exist simultaneously and create a fourth. Free improvisation is so delicate on so many levels and there’s a good balance here of making bold statements, being sensitive to one another and playing irreverently all at once.” -\u003cem\u003e Theo Bleckmann, vocals \/ electronics\u003c\/em\u003e\r\n\u003c\/span\u003e\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" singer whose voice is provocatively outr yet emotionally inside the song a guitarist long fingers stretch across strings and frets to create chords you never heard before when they found time from their busy careers pursue collaboration expect results be beautiful strange compelling listen. poetry shadows but maybe not wilder moments bleckmann vocals on plunger or electronically altered toy megaphone peers hold him in considerable awe for his single-minded commitment art sound completely own range of stylistic reach standards avant jazz improv classical guitar compositions. beyond cachet as sheila jordan re-interpretations renaissance man contemporary vocal performance resum collaborations who meredith monk laurie anderson philip glass estonian radio choir mark morris dance. passion embody music every possible way. previous songlines no boat theo quintet origami at night study contrasts that flows together into unified statement. recurring element settings texts by sufi poet rumi. evoke interior depths along with sensuous warmth meditations god earthly beauty surprise this mystic drunkard would appeal sense adventure delight play awakened improvisational moment. another strand covers pop songs joni mitchell tender empathy beatles psychedelic splendor. then there are wordless textural improvs several featuring satoshi takeishi darting glancing approach percussion electronics. so what through-line monder refers balanced flow energy. talking about use live electronics offers some other me it important have physical connection processing. i push button again loop repeats decays elongates etc. building up multiple lines can sometimes make stand still something going myself. each melody has distinct purpose. most often sing do lyrics always trying think meaning individual sentence word give its like convey larger mood state mind. using layering lyric an extension words overall atmosphere underlying soundscape....each player trio very autonomous musically speaking. three sonic worlds exist simultaneously fourth. free improvisation delicate many levels good balance here making bold statements being sensitive one playing irreverently all once. data-sheets-userformat=\"{\" clues:=\"\" nutshell:=\"\"\u003e\u003cstrong\u003eTheo Bleckmann - vocals, electronics\r\nBen Monder - guitar\r\nSatoshi Takeishi - drums, percussion\u003c\/strong\u003e\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740427694404,"sku":"PWSGLSA15612-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740427727172,"sku":"PWSGLSA15612-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740427759940,"sku":"PWSGLSA15612-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740427792708,"sku":"PWSGLSA15612-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740427825476,"sku":"PWSGLSA15612-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740427858244,"sku":"PWSGLSA15612-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740427891012,"sku":"PWSGLSA15612-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740427923780,"sku":"PWSGLSA15612-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342768742724,"sku":"PWSGLSA15612-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342768775492,"sku":"PWSGLSA15612S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342768808260,"sku":"PWSGLSA15612S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342768841028,"sku":"PWSGLSA15612S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGLSA15612.jpg?v=1790629525"},{"product_id":"sgl16332-flicker-down","title":"Flicker Down","description":"\u003cblockquote\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003eWaxwing, a longtime collaboration of cellist Peggy Lee, saxophonist Jon Bentley and guitarist Tony Wilson, play music derived from post-bop, folk, ambient and classical music genres, and the point of intersection is where Waxwing’s unique sound begins.\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\u003c\/p\u003e\r\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" on their previous songlines release a bowl of sixty taxidermists vancouver premier chamber jazz trio waxwing in returns with flowing program compositions and improvisations that again combines delicacy strength melodic beauty textural sophistication. theirs is reflective kind lyricism often tinged tenderness or nostalgia but be prepared for the unexpected as pieces move though different forms emotional states. diverse musical influences at play this unique group range from classical contemporary new music composing larger ensembles lee to personal socially engaged song cycles wilson modern production bentley who produced mixed sequenced record explains how it was put wanted incorporate very short into overall structure album by using them interesting sonic intermissions transitions. they contain unusual sound sources add colour picture refresh ear more standard composed songs. there recording than ones hopefully hidden well. i started prerecording some ideas tank drum instrument created recycled propane can heard tracks back which then brought studio where we improvised over top those pre-recorded tracks. took essentially constructed hybrid improv songs ableton live serato sample software are not common use setting. many actually manipulated help give slightly feel retaining spontaneity interest original improvisation. have large element ideally keeping somewhat underlying overproduced. arrangements changed dramatically initially recorded stayed true original. long process developing sections through overdubbing instruments altering sounds my studio. also fair amount manipulating tony guitar loops various methods. well built library years me samples throughout recording. cohesive vision slowly emerged result working intimately after shaping hours certain seemed naturally gravitate towards each other gradually start work together groups. perhaps similar assembling complex jigsaw puzzle except case you reshape piece better one beside it. spirit jon would core approach waxwing. doesn mean everything needs aesthetically pleasing all time because still even most savage moments our lives outside music. data-sheets-userformat=\"{\" together:=\"\" remarks:=\"\"\u003eFollowing on their previous Songlines release, \u003cem\u003eA Bowl of Sixty Taxidermists\u003c\/em\u003e (2015), Vancouver’s premier chamber jazz trio \u003cstrong\u003eWaxwing\u003c\/strong\u003e (formed in 2006) returns with \u003cem\u003e\u003cstrong\u003eFlicker Down\u003c\/strong\u003e\u003c\/em\u003e, a flowing program of compositions and improvisations that again combines delicacy and strength, melodic beauty and textural sophistication. The album is \u003cstrong\u003eExclusively Available at NativeDSD in Stereo DSD 512, DSD 256, DSD 128 and DSD 64.\u003c\/strong\u003e\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" on their previous songlines release a bowl of sixty taxidermists vancouver premier chamber jazz trio waxwing in returns with flowing program compositions and improvisations that again combines delicacy strength melodic beauty textural sophistication. theirs is reflective kind lyricism often tinged tenderness or nostalgia but be prepared for the unexpected as pieces move though different forms emotional states. diverse musical influences at play this unique group range from classical contemporary new music composing larger ensembles lee to personal socially engaged song cycles wilson modern production bentley who produced mixed sequenced record explains how it was put wanted incorporate very short into overall structure album by using them interesting sonic intermissions transitions. they contain unusual sound sources add colour picture refresh ear more standard composed songs. there recording than ones hopefully hidden well. i started prerecording some ideas tank drum instrument created recycled propane can heard tracks back which then brought studio where we improvised over top those pre-recorded tracks. took essentially constructed hybrid improv songs ableton live serato sample software are not common use setting. many actually manipulated help give slightly feel retaining spontaneity interest original improvisation. have large element ideally keeping somewhat underlying overproduced. arrangements changed dramatically initially recorded stayed true original. long process developing sections through overdubbing instruments altering sounds my studio. also fair amount manipulating tony guitar loops various methods. well built library years me samples throughout recording. cohesive vision slowly emerged result working intimately after shaping hours certain seemed naturally gravitate towards each other gradually start work together groups. perhaps similar assembling complex jigsaw puzzle except case you reshape piece better one beside it. spirit jon would core approach waxwing. doesn mean everything needs aesthetically pleasing all time because still even most savage moments our lives outside music. data-sheets-userformat=\"{\" together:=\"\" remarks:=\"\"\u003eTheirs is a reflective kind of lyricism, often tinged with tenderness or nostalgia, but be prepared for the unexpected as pieces move though different forms and emotional states. The diverse musical influences at play in this unique jazz\/improv group range from classical and contemporary new music and composing for larger jazz ensembles (\u003cstrong\u003ePeggy Lee\u003c\/strong\u003e) to personal, socially engaged song cycles (\u003cstrong\u003eTony Wilson\u003c\/strong\u003e) and modern music production (\u003cstrong\u003eJon Bentley\u003c\/strong\u003e). Bentley, who produced, mixed and sequenced the record, explains how it was put together:\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" on their previous songlines release a bowl of sixty taxidermists vancouver premier chamber jazz trio waxwing in returns with flowing program compositions and improvisations that again combines delicacy strength melodic beauty textural sophistication. theirs is reflective kind lyricism often tinged tenderness or nostalgia but be prepared for the unexpected as pieces move though different forms emotional states. diverse musical influences at play this unique group range from classical contemporary new music composing larger ensembles lee to personal socially engaged song cycles wilson modern production bentley who produced mixed sequenced record explains how it was put wanted incorporate very short into overall structure album by using them interesting sonic intermissions transitions. they contain unusual sound sources add colour picture refresh ear more standard composed songs. there recording than ones hopefully hidden well. i started prerecording some ideas tank drum instrument created recycled propane can heard tracks back which then brought studio where we improvised over top those pre-recorded tracks. took essentially constructed hybrid improv songs ableton live serato sample software are not common use setting. many actually manipulated help give slightly feel retaining spontaneity interest original improvisation. have large element ideally keeping somewhat underlying overproduced. arrangements changed dramatically initially recorded stayed true original. long process developing sections through overdubbing instruments altering sounds my studio. also fair amount manipulating tony guitar loops various methods. well built library years me samples throughout recording. cohesive vision slowly emerged result working intimately after shaping hours certain seemed naturally gravitate towards each other gradually start work together groups. perhaps similar assembling complex jigsaw puzzle except case you reshape piece better one beside it. spirit jon would core approach waxwing. doesn mean everything needs aesthetically pleasing all time because still even most savage moments our lives outside music. data-sheets-userformat=\"{\" together:=\"\" remarks:=\"\"\u003e“We wanted to incorporate very short improvisations into the overall song structure of the album by using them as interesting sonic intermissions or transitions. They contain different and unusual sound sources that add colour to the overall album picture and refresh the ear for the more standard composed songs. There is more production on this recording than the previous ones but hopefully it is hidden well. I started prerecording some ideas on a tank drum [an instrument created from a recycled propane tank – it can be heard on tracks 7 and 13] back in 2017 which I then brought into the studio where we improvised over top of those pre-recorded tracks. I then took those improvisations and essentially constructed hybrid improv\/composed-sounding songs using Ableton Live and Serato Sample production software, which are not common to use in a trio chamber jazz setting. Many of the short pieces on the album are actually manipulated improvisations to help give them a slightly more composed feel but retaining the spontaneity and interest of the original improvisation. I wanted to have a large modern production element to this recording but ideally keeping it somewhat underlying and not overproduced. The arrangements on some songs changed dramatically from how we initially recorded them and on some they stayed true to the original. It was a long process of developing new, interesting sections through overdubbing new instruments\/samples or altering the original recorded sounds at my studio. There was also a fair amount of manipulating Tony Wilson's recorded guitar sounds and loops through various production methods. As well, I have built a large personal recorded sample library over the years that is unique to me and there is a fair amount of those samples hidden throughout the recording.\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" on their previous songlines release a bowl of sixty taxidermists vancouver premier chamber jazz trio waxwing in returns with flowing program compositions and improvisations that again combines delicacy strength melodic beauty textural sophistication. theirs is reflective kind lyricism often tinged tenderness or nostalgia but be prepared for the unexpected as pieces move though different forms emotional states. diverse musical influences at play this unique group range from classical contemporary new music composing larger ensembles lee to personal socially engaged song cycles wilson modern production bentley who produced mixed sequenced record explains how it was put wanted incorporate very short into overall structure album by using them interesting sonic intermissions transitions. they contain unusual sound sources add colour picture refresh ear more standard composed songs. there recording than ones hopefully hidden well. i started prerecording some ideas tank drum instrument created recycled propane can heard tracks back which then brought studio where we improvised over top those pre-recorded tracks. took essentially constructed hybrid improv songs ableton live serato sample software are not common use setting. many actually manipulated help give slightly feel retaining spontaneity interest original improvisation. have large element ideally keeping somewhat underlying overproduced. arrangements changed dramatically initially recorded stayed true original. long process developing sections through overdubbing instruments altering sounds my studio. also fair amount manipulating tony guitar loops various methods. well built library years me samples throughout recording. cohesive vision slowly emerged result working intimately after shaping hours certain seemed naturally gravitate towards each other gradually start work together groups. perhaps similar assembling complex jigsaw puzzle except case you reshape piece better one beside it. spirit jon would core approach waxwing. doesn mean everything needs aesthetically pleasing all time because still even most savage moments our lives outside music. data-sheets-userformat=\"{\" together:=\"\" remarks:=\"\"\u003e“A cohesive vision slowly emerged, a result of a long process working intimately with the tracks. After shaping the songs over many hours certain tracks seemed to naturally gravitate towards each other and then gradually start to work together in larger groups. Perhaps it’s similar to assembling a complex jigsaw puzzle except in this case you can reshape each puzzle piece to work better with the one beside it.”\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" on their previous songlines release a bowl of sixty taxidermists vancouver premier chamber jazz trio waxwing in returns with flowing program compositions and improvisations that again combines delicacy strength melodic beauty textural sophistication. theirs is reflective kind lyricism often tinged tenderness or nostalgia but be prepared for the unexpected as pieces move though different forms emotional states. diverse musical influences at play this unique group range from classical contemporary new music composing larger ensembles lee to personal socially engaged song cycles wilson modern production bentley who produced mixed sequenced record explains how it was put wanted incorporate very short into overall structure album by using them interesting sonic intermissions transitions. they contain unusual sound sources add colour picture refresh ear more standard composed songs. there recording than ones hopefully hidden well. i started prerecording some ideas tank drum instrument created recycled propane can heard tracks back which then brought studio where we improvised over top those pre-recorded tracks. took essentially constructed hybrid improv songs ableton live serato sample software are not common use setting. many actually manipulated help give slightly feel retaining spontaneity interest original improvisation. have large element ideally keeping somewhat underlying overproduced. arrangements changed dramatically initially recorded stayed true original. long process developing sections through overdubbing instruments altering sounds my studio. also fair amount manipulating tony guitar loops various methods. well built library years me samples throughout recording. cohesive vision slowly emerged result working intimately after shaping hours certain seemed naturally gravitate towards each other gradually start work together groups. perhaps similar assembling complex jigsaw puzzle except case you reshape piece better one beside it. spirit jon would core approach waxwing. doesn mean everything needs aesthetically pleasing all time because still even most savage moments our lives outside music. data-sheets-userformat=\"{\" together:=\"\" remarks:=\"\"\u003eDescribing the overall spirit of the album, Jon remarks: “Beauty would be at the core of how I approach Waxwing. That doesn’t mean everything needs to sound aesthetically pleasing all the time because there can still be beauty in even the most savage musical moments, similar to all of our lives outside of music.”\u003c\/span\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" lee cello wilson electric guitar harmonica kalimba percussion ektara bentley tenor soprano saxophones tank drum synths bells samples programming clingwall flute space echo data-sheets-userformat=\"{\"\u003e\u003cstrong\u003ePeggy Lee\u003c\/strong\u003e, cello\r\n\u003cstrong\u003eTony Wilson\u003c\/strong\u003e, electric guitar, harmonica, kalimba, percussion, ektara\r\n\u003cstrong\u003eJon Bentley\u003c\/strong\u003e, tenor \u0026amp; soprano saxophones, tank drum, synths, percussion \u0026amp; bells, samples \u0026amp; programming\r\n\u003cstrong\u003eMiranda Clingwall\u003c\/strong\u003e, flute \u0026amp; space echo (tracks 7, 13, 16)\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":56740435231044,"sku":"SGL16332-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740435263812,"sku":"SGL16332-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740435296580,"sku":"SGL16332-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740435329348,"sku":"SGL16332-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740435362116,"sku":"SGL16332-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":57342787387716,"sku":"SGL16332-22","price":25.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16332.jpg?v=1790630096"},{"product_id":"sgl16182-kush","title":"Kush","description":"\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" his album of original compositions american east coast guitarist ryan blotnick mines a bittersweet melodic vein balanced by an african-influenced rhythmic elan. conceived as antidote to the more aggressive forms new york jazz kush offers freshly-minted waltzes haunting ballads and than touch frisellian americana well variety grooves combining african feels. saxophonist michael blake longtime mentor collaborator is perfect foil contributing own blend lyricism heat harmonic depth. also integral record success buoyant yet laid-back rhythm team scott colberg bass rj miller drums. repays close attention for its subtle details while rewarding listeners attuned moods solos. wanted music simmer just keep expanding opposed my natural inclination sort tell succinct story then step back. alice coltrane journey in satchidananda great example this it doesn register series solos i think has lot common with west possibly indian classical that way. playing on constant variation really hard pull off way he does it. groove always very much there even if all around see extension what paul motian ed blackwell have contributed music. inspirations cites guitarists jacob bro ali farka tour day marc ribot billy strayhorn wayne shorter bill evans bright snow fela kuti niger most popular band tal national was member akoya afrobeat performed south duke mseleku groups. amazing synthesis african-american musics. put me deep section where stuck one line whole twenty-minute song. at first felt like jail time but after seven or eight years found some freedom guess main thing every style=\"\" fingerprint goes beyond anything you could down paper. when passed from generation subtlety about how place accents feel certain rhythms gets lost writing try simplify point memorizable speaks audience directly lee konitz another tried get note starts start fingers heart brain plays lives dies each not forced heavy still light heart. data-sheets-userformat=\"{\" figure:=\"\"\u003eIn his 2016 album of original compositions, American East coast guitarist \u003cstrong\u003eRyan Blotnick\u003c\/strong\u003e mines a bittersweet melodic\/harmonic vein balanced by an African-influenced rhythmic elan. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" his album of original compositions american east coast guitarist ryan blotnick mines a bittersweet melodic vein balanced by an african-influenced rhythmic elan. conceived as antidote to the more aggressive forms new york jazz kush offers freshly-minted waltzes haunting ballads and than touch frisellian americana well variety grooves combining african feels. saxophonist michael blake longtime mentor collaborator is perfect foil contributing own blend lyricism heat harmonic depth. also integral record success buoyant yet laid-back rhythm team scott colberg bass rj miller drums. repays close attention for its subtle details while rewarding listeners attuned moods solos. wanted music simmer just keep expanding opposed my natural inclination sort tell succinct story then step back. alice coltrane journey in satchidananda great example this it doesn register series solos i think has lot common with west possibly indian classical that way. playing on constant variation really hard pull off way he does it. groove always very much there even if all around see extension what paul motian ed blackwell have contributed music. inspirations cites guitarists jacob bro ali farka tour day marc ribot billy strayhorn wayne shorter bill evans bright snow fela kuti niger most popular band tal national was member akoya afrobeat performed south duke mseleku groups. amazing synthesis african-american musics. put me deep section where stuck one line whole twenty-minute song. at first felt like jail time but after seven or eight years found some freedom guess main thing every style=\"\" fingerprint goes beyond anything you could down paper. when passed from generation subtlety about how place accents feel certain rhythms gets lost writing try simplify point memorizable speaks audience directly lee konitz another tried get note starts start fingers heart brain plays lives dies each not forced heavy still light heart. data-sheets-userformat=\"{\" figure:=\"\"\u003eConceived as an antidote to the more aggressive forms of New York jazz, \u003cem\u003e\u003cstrong\u003eKush\u003c\/strong\u003e\u003c\/em\u003e offers freshly-minted waltzes, haunting ballads and more than a touch of Frisellian Americana, as well as a variety of grooves combining jazz and African feels. \u003c\/span\u003e\r\n\r\nThe album is \u003cstrong\u003eExclusively Available in Stereo DSD 512, DSD 256, DSD 128, DSD 64 from NativeDSD\u003c\/strong\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" his album of original compositions american east coast guitarist ryan blotnick mines a bittersweet melodic vein balanced by an african-influenced rhythmic elan. conceived as antidote to the more aggressive forms new york jazz kush offers freshly-minted waltzes haunting ballads and than touch frisellian americana well variety grooves combining african feels. saxophonist michael blake longtime mentor collaborator is perfect foil contributing own blend lyricism heat harmonic depth. also integral record success buoyant yet laid-back rhythm team scott colberg bass rj miller drums. repays close attention for its subtle details while rewarding listeners attuned moods solos. wanted music simmer just keep expanding opposed my natural inclination sort tell succinct story then step back. alice coltrane journey in satchidananda great example this it doesn register series solos i think has lot common with west possibly indian classical that way. playing on constant variation really hard pull off way he does it. groove always very much there even if all around see extension what paul motian ed blackwell have contributed music. inspirations cites guitarists jacob bro ali farka tour day marc ribot billy strayhorn wayne shorter bill evans bright snow fela kuti niger most popular band tal national was member akoya afrobeat performed south duke mseleku groups. amazing synthesis african-american musics. put me deep section where stuck one line whole twenty-minute song. at first felt like jail time but after seven or eight years found some freedom guess main thing every style=\"\" fingerprint goes beyond anything you could down paper. when passed from generation subtlety about how place accents feel certain rhythms gets lost writing try simplify point memorizable speaks audience directly lee konitz another tried get note starts start fingers heart brain plays lives dies each not forced heavy still light heart. data-sheets-userformat=\"{\" figure:=\"\"\u003eNew York saxophonist \u003cstrong\u003eMichael Blake\u003c\/strong\u003e, a longtime Blotnick mentor and collaborator, is the perfect foil, contributing his own blend of lyricism, heat, and harmonic depth. Also integral to the record’s success is the buoyant yet laid-back rhythm team of \u003cstrong\u003eScott Colberg\u003c\/strong\u003e, bass (Calexico) and \u003cstrong\u003eRJ Miller\u003c\/strong\u003e, drums. The album repays close attention for its subtle details while also rewarding listeners more attuned to moods than solos.\u003c\/span\u003e\r\n\r\nAccording to Blotnick, \u003cem\u003e\"RJ wanted the music to simmer and just keep expanding as opposed to my natural inclination to sort of tell a succinct story and then step back. Alice Coltrane’s music (e.g. Journey in Satchidananda) is a great example of this – it doesn’t register as a series of solos and I think it has a lot in common with West African and possibly Indian classical music that way. I think RJ’s playing on this record has a constant variation that is really hard to pull off the way he does it. The groove is always very much there even if he is playing all around it. I see it as an extension of what Paul Motian and Ed Blackwell have contributed to the music.”\u003c\/em\u003e\r\n\r\nAmong the inspirations for \u003cem\u003eKush\u003c\/em\u003e Blotnick cites guitarists Jacob Bro (“Lunenburg”), Ali Farka Touré (“May Day”) and Marc Ribot, Alice Coltrane (“Kush”, “May Day”), Billy Strayhorn (“Spring”), Wayne Shorter and Bill Evans (“Delaware”, “And Bright Snow”), Fela Kuti, and Niger’s most popular band Tal National (“DX7”).\r\n\r\nRyan was a member of New York’s Akoya Afrobeat and has performed in South African saxophonist Duke Mseleku’s groups. “Afrobeat is an amazing synthesis of West African and African-American musics. Playing with Akoya put me deep in the rhythm section where I was stuck with one rhythm line for the whole twenty-minute song. At first it felt like jail time but after seven or eight years I found some freedom there! I guess the main thing with African music is that every style has its own rhythmic fingerprint that goes way beyond anything you could put down on paper.\r\n\r\nWhen the music is passed down from generation to generation there is a subtlety about how to place accents and how to feel certain rhythms that gets lost in music that is passed down in writing…I always try to simplify my music to the point where it is memoizable – I also think it speaks to the audience more directly this way.” Lee Konitz is another mentor figure: “He tried to get me to think about where the note starts – does it start in the fingers? Or the heart? Or the brain? When Lee plays he lives and dies with each note but it is also not forced – it is very heavy yet still light at heart.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" his album of original compositions american east coast guitarist ryan blotnick mines a bittersweet melodic vein balanced by an african-influenced rhythmic elan. conceived as antidote to the more aggressive forms new york jazz kush offers freshly-minted waltzes haunting ballads and than touch frisellian americana well variety grooves combining african feels. saxophonist michael blake longtime mentor collaborator is perfect foil contributing own blend lyricism heat harmonic depth. also integral record success buoyant yet laid-back rhythm team scott colberg bass rj miller drums. repays close attention for its subtle details while rewarding listeners attuned moods solos. wanted music simmer just keep expanding opposed my natural inclination sort tell succinct story then step back. alice coltrane journey in satchidananda great example this it doesn register series solos i think has lot common with west possibly indian classical that way. playing on constant variation really hard pull off way he does it. groove always very much there even if all around see extension what paul motian ed blackwell have contributed music. inspirations cites guitarists jacob bro ali farka tour day marc ribot billy strayhorn wayne shorter bill evans bright snow fela kuti niger most popular band tal national was member akoya afrobeat performed south duke mseleku groups. amazing synthesis african-american musics. put me deep section where stuck one line whole twenty-minute song. at first felt like jail time but after seven or eight years found some freedom guess main thing every style=\"\" fingerprint goes beyond anything you could down paper. when passed from generation subtlety about how place accents feel certain rhythms gets lost writing try simplify point memorizable speaks audience directly lee konitz another tried get note starts start fingers heart brain plays lives dies each not forced heavy still light heart. data-sheets-userformat=\"{\" figure:=\"\"\u003e\u003cstrong\u003eRyan Blotnick, Guitar\r\n\u003c\/strong\u003e\u003cstrong\u003eMichael Blake, Saxophone\r\n\u003c\/strong\u003e\u003cstrong\u003eScott Colberg, Bass\r\n\u003c\/strong\u003e\u003cstrong\u003eRJ Miller, Drums\r\nJonny Lam, Pedal Steel Guitar (on \"Lunenburg\")\u003c\/strong\u003e\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740439687492,"sku":"SGL16182-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740439720260,"sku":"SGL16182-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740439753028,"sku":"SGL16182-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740439785796,"sku":"SGL16182-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740439818564,"sku":"SGL16182-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740439851332,"sku":"SGL16182-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":57342795120964,"sku":"SGL16182-7","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16182.jpg?v=1778497535"},{"product_id":"pwsgl16092-at-the-reception","title":"At The Reception","description":"\u003cblockquote\u003e\n\u003cem\u003eComposer Wayne Horvitz adapts the large-ensemble ‘conduction’ method of musical innovator Butch Morris to create vital new jazz. Listen for traces of Ellington and Mingus in these vividly recorded performances.\u003c\/em\u003e\r\n- Mark Werlin (HRAudio, All About Jazz, NativeDSD Music)\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003eThe \u003cstrong\u003eRoyal Room Collective Music Ensemble\u003c\/strong\u003e started off as a fairly loose collective of \u003cstrong\u003eWayne Horvitz's\u003c\/strong\u003e favorite Seattle improvisers playing his music at Seattle’s Royal Room, the club he co-owns and books.\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003e The essential ingredient is Wayne’s adaptation of Butch Morris’s Conduction system for free improvisers into a language for spontaneously arranging and reconstructing his music on the fly, using numbers for a piece’s written motifs, and other hand signals (to individuals or shifting groupings) to indicate how to treat their material. While maintaining the spontaneity of small group performance, he uses it to structure complexities only possible with a larger ensemble: \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003eAs Wayne relates, \u003cem\u003e“It was exciting to me in that it could be very free and malleable at some points but at other times could also work up a riff-based music similar to the music of Charles Mingus or even Count Basie. Harmonically it was very gratifying to constantly be re-inventing the arrangements. Even when the players misinterpreted hand signals things would happen that could be taken advantage of and developed.”\u003c\/em\u003e\u003c\/span\u003e\r\n\r\nWayne of course knew Butch Morris well in New York in the 80s and considers him an important mentor: \u003cem\u003e“Butch was using the improvisers’ language set to create totally new music, it was really a fairly radical approach. Not so with what I am doing. In some ways I am doing now what Butch started doing and then abandoned for his more ‘pure conduction’ approach. In the 80s David Murray had a big band that Butch would conduct, and he would work with David’s charts, and break things up with those charts as a starting point. Later we made a CD for New World records that took his own tunes and used a similar approach. And the fact that I was involved in many if not most of Zorn’s game pieces at the same time that I was first working with Butch certainly helped me develop an alternative approach to creating structure live.”\u003c\/em\u003e On this record the two Redux pieces are closest to pure conduction,\u003cem\u003e “except I asked the musicians to have the score with the motifs from a specific tune available, but we did not play the arrangement per se.”\u003c\/em\u003e\r\n\r\nAs for the arrangements, one might occasionally flash on Ellington, Gil Evans or Gerry Mulligan in terms of voicings, and the way the elements are played off against each other plus the marshalled energies of the performance could bring to mind Anthony Braxton, George Lewis, or Misha Mengelberg: \u003cem\u003e“All of those are artists whose music I love. Only after I started putting this band together did I really start to hear a similarity to someone else – Mingus. I love Mingus’s music but I never considered him an ‘essential’ influence the way I do say Cecil Taylor or The Art Ensemble of Chicago, but it kind of makes sense. Mingus’s up-tempo tunes often took fairly simple riffs and ‘re-purposed’ them in all kinds of ways. And then he loved ballads, as do I.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eWayne Horvitz, Conductor \u0026amp; Composer\u003c\/strong\u003e\r\n\u003cstrong\u003eThe Royal Room Collective Music Ensemble\r\n\u003c\/strong\u003eTrumpets: Al Keith, Samantha Boshnack, Steve O’Brien\r\nTrombones: Naomi Siegel, Jacob Herring, Willem de Koch\r\nClarinet: Beth Fleenor\r\nSoprano Saxophone: Kate Olson\r\nAlto Saxophone: Ivan Arteaga\r\nTenor Saxophone: Skerik\r\nBaritone Saxophone: Greg Sinibaldi\r\nPiano: Ryan Burns\r\nBass: Geoff Harper\r\nDrums: Eric Eagle\u003cstrong\u003e\r\n\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740451123524,"sku":"PWSGL16092-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740451156292,"sku":"PWSGL16092-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740451189060,"sku":"PWSGL16092-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740451221828,"sku":"PWSGL16092-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740451254596,"sku":"PWSGL16092-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740451287364,"sku":"PWSGL16092-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740451320132,"sku":"PWSGL16092-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342812520772,"sku":"PWSGL16092-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL16092.jpg?v=1790631709"},{"product_id":"sglsa15802-ways-means","title":"Ways \u0026 Means","description":"\u003cblockquote\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003e\u003cem\u003eBlending analogue keyboard textures with the horns of trumpetist Ralph Alessi and saxophonists Peter Epstein and Tony Malaby, pianist James Carney weaves elements of jazz, rock, funk, classical and world music into a tightly-orchestrated soundscape.\u003c\/em\u003e\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\u003c\/p\u003e\r\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eGreen-Wood\u003c\/strong\u003e\u003c\/em\u003e, the \u003cstrong\u003eJames Carney Group\u003c\/strong\u003e’s first album, received many accolades for Carney’s distinctive aesthetic – one which, in Troy Collins words, “blends classic modernism with knowing futurism.” \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003eLike Green-Wood, \u003cem\u003e\u003cstrong\u003eWays \u0026amp; Means\u003c\/strong\u003e\u003c\/em\u003e explores the border regions of styles and genres, from jazz, rock, and funk to classical and world music: Carney: “The differences between approaches, styles, and eras of music are almost meaningless to me, and in fact I see more of a continuum between everything than I ever did before.\"\u003c\/span\u003e\r\n\r\nIn \u003cem\u003eWays \u0026amp; Means\u003c\/em\u003e, Carney further pursues his vision of jazz as virtual cinema. From the outset, Ways \u0026amp; Means (a Chamber Music America commission) was designed as a movie in sound:\r\n\r\n\u003cem\u003e“I really did think about a 70-minute dramatic narrative film, and how the individual compositions would intertwine, because there is a different sort of approach with film scoring, in that the music should always complement and enhance the onscreen action and emotion. I wanted to create music that could function as the complete score for an edited sequence of images – music that would have themes, sound effects, atmosphere, shock value, drones, periods of time with no established tempo, and dynamic range surprises that are usually a component of scores. And I continually visualized the end result during the process. I didn’t think of a specific story, but I did ponder and focus on abstracted collages of scenes from many films I admired in the past.\u003c\/em\u003e\r\n\r\n\u003cem\u003eBut in traditional film scoring it’s rare to have the music be jazz-based, or improvisational in nature, and usually when it is, it’s a single or specific type of jazz like bebop or ragtime, big band or cool. And, almost always, the music becomes sliced and diced. When I scored projects in the past, they never featured group improvisation, and they never used all the sonic tools I now have at my disposal. It’s not just blending electronic instruments [an Alesis Andromeda analog synth and a Fender Rhodes] and acoustic instruments in a jazz context – it’s the ability of my band members to coax very unique and sometimes completely unpredictable sounds from their instruments because of their musicianship and their open aesthetic. And most importantly, it’s the blend of all of those sounds, intervals, chords, and their related partials that I wanted to exploit, coming from both the composed passages and the open sections. You can’t plan it, and you really can’t orchestrate it, either.\"\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003e\u003cstrong\u003eJames Carney Group\u003c\/strong\u003e\r\nJames Carney, acoustic and electric pianos, analog synthesizer, glockenspiel\r\nPeter Epstein, soprano \u0026amp; alto sax\r\nRalph Alessi, trumpet\r\nTony Malaby, tenor sax\r\nJosh Roseman, trombone\r\nChris Lightcap, contrabass\r\nMark Ferber, drums\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740458234180,"sku":"SGLSA15802-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740458266948,"sku":"SGLSA15802-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740458299716,"sku":"SGLSA15802-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740458332484,"sku":"SGLSA15802-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740458365252,"sku":"SGLSA15802-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740458398020,"sku":"SGLSA15802-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740458430788,"sku":"SGLSA15802-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740458463556,"sku":"SGLSA15802-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740458496324,"sku":"SGLSA15802-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740458529092,"sku":"SGLSA15802-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740458561860,"sku":"SGLSA15802-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740458594628,"sku":"SGLSA15802-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342817599812,"sku":"SGLSA15802-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15802.jpg?v=1790632372"},{"product_id":"sgl15952-genera","title":"Genera","description":"\u003cblockquote\u003e\n\u003cem\u003eA milestone in the musical journey of clarinetist-composer François Houle. Solos by cornetist Taylor Ho Bynum and trombonist Samuel Blaser weave through the unique voicings of pianist Benoît Delbecq in a set of dazzlingly inventive chamber jazz compositions.\u003c\/em\u003e\r\n- Mark Werlin, HRAudio \u0026amp; NativeDSD Reviewer\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" of canada premier contemporary classical clarinetists fran houle is equally a virtuosic and original avant-jazz improviser notable composer. known as the genera sextet consists outstanding international leaders in jazz music including new york based canadians michael bates harris eisenstadt swiss trombonist samuel blaser braxton associate taylor ho bynum. lineup was very crucial i wanted to explore colors varied instrumental combinations while retaining classic sound. also desired have strong idiosyncratic voices each chair band so that compositions would be designed for players personalities coming life kind ellingtonian way. group coalesces an intense moving collaboration balances spontaneous exploration disciplined ensemble dense textures spare off-kilter lyricism. one angle this much record beautiful john carter tribute vernacular from another it brings together his interests with free improv. common factor keen awareness century its various manifestations fascination structure organization sound both composition improvisation. been influenced by steve lacy primarily because their mastery orchestration small groupings. jimmy giuffre important influential figure terms orchestration. always seduced makes full use stravinsky prokofiev elliott ligeti xenakis. arena attracted more colorful approaches gil evans toshiko akiyoshi bob brookmeyer. my versatility but writing focusing on at micro level. example these ideas how beno delbecq piano sounds combine progressively other instruments loop bd come musical standpoint putting tones pitches or rhythms together. process however borrows many sources art literature architecture mathematics science. am into neuroplasticity understandings our cognitive functions adapt environment we perceive time. knowledge inspires different way looking relationships rhythm. good found where all lines are derived main melody clarinet except parts stretch rhythm values incrementally. end result strange diatonic counterpoint producing potent mood. started rhythmic cell. intent feeling mood already present start. really me realize construct evocative primary state. called album express idea genetic code beginning creative you want your playing line inner purpose raw sweet. job musician tap potentials via sounds. become vehicle something intrinsically human experience. least what sense when hear great making. seems deep place. if can walk fine between virtuosity expressivity then shouldn too far off ideal means personally. data-sheets-userformat=\"{\" colors:=\"\"\u003eOne of Canada’s premier contemporary classical clarinetists, \u003cstrong\u003eFrançois Houle\u003c\/strong\u003e is equally a virtuosic and original avant-jazz improviser and notable composer. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" of canada premier contemporary classical clarinetists fran houle is equally a virtuosic and original avant-jazz improviser notable composer. known as the genera sextet consists outstanding international leaders in jazz music including new york based canadians michael bates harris eisenstadt swiss trombonist samuel blaser braxton associate taylor ho bynum. lineup was very crucial i wanted to explore colors varied instrumental combinations while retaining classic sound. also desired have strong idiosyncratic voices each chair band so that compositions would be designed for players personalities coming life kind ellingtonian way. group coalesces an intense moving collaboration balances spontaneous exploration disciplined ensemble dense textures spare off-kilter lyricism. one angle this much record beautiful john carter tribute vernacular from another it brings together his interests with free improv. common factor keen awareness century its various manifestations fascination structure organization sound both composition improvisation. been influenced by steve lacy primarily because their mastery orchestration small groupings. jimmy giuffre important influential figure terms orchestration. always seduced makes full use stravinsky prokofiev elliott ligeti xenakis. arena attracted more colorful approaches gil evans toshiko akiyoshi bob brookmeyer. my versatility but writing focusing on at micro level. example these ideas how beno delbecq piano sounds combine progressively other instruments loop bd come musical standpoint putting tones pitches or rhythms together. process however borrows many sources art literature architecture mathematics science. am into neuroplasticity understandings our cognitive functions adapt environment we perceive time. knowledge inspires different way looking relationships rhythm. good found where all lines are derived main melody clarinet except parts stretch rhythm values incrementally. end result strange diatonic counterpoint producing potent mood. started rhythmic cell. intent feeling mood already present start. really me realize construct evocative primary state. called album express idea genetic code beginning creative you want your playing line inner purpose raw sweet. job musician tap potentials via sounds. become vehicle something intrinsically human experience. least what sense when hear great making. seems deep place. if can walk fine between virtuosity expressivity then shouldn too far off ideal means personally. data-sheets-userformat=\"{\" colors:=\"\"\u003e\u003cstrong\u003eFrançois Houle 5 + 1\u003c\/strong\u003e (now known as the Genera Sextet) consists of outstanding international leaders in jazz\/creative music, including New York based Canadians \u003cstrong\u003eMichael Bates\u003c\/strong\u003e and \u003cstrong\u003eHarris Eisenstadt\u003c\/strong\u003e, Swiss trombonist \u003cstrong\u003eSamuel Blaser\u003c\/strong\u003e, and Braxton associate \u003cstrong\u003eTaylor Ho Bynum\u003c\/strong\u003e. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" of canada premier contemporary classical clarinetists fran houle is equally a virtuosic and original avant-jazz improviser notable composer. known as the genera sextet consists outstanding international leaders in jazz music including new york based canadians michael bates harris eisenstadt swiss trombonist samuel blaser braxton associate taylor ho bynum. lineup was very crucial i wanted to explore colors varied instrumental combinations while retaining classic sound. also desired have strong idiosyncratic voices each chair band so that compositions would be designed for players personalities coming life kind ellingtonian way. group coalesces an intense moving collaboration balances spontaneous exploration disciplined ensemble dense textures spare off-kilter lyricism. one angle this much record beautiful john carter tribute vernacular from another it brings together his interests with free improv. common factor keen awareness century its various manifestations fascination structure organization sound both composition improvisation. been influenced by steve lacy primarily because their mastery orchestration small groupings. jimmy giuffre important influential figure terms orchestration. always seduced makes full use stravinsky prokofiev elliott ligeti xenakis. arena attracted more colorful approaches gil evans toshiko akiyoshi bob brookmeyer. my versatility but writing focusing on at micro level. example these ideas how beno delbecq piano sounds combine progressively other instruments loop bd come musical standpoint putting tones pitches or rhythms together. process however borrows many sources art literature architecture mathematics science. am into neuroplasticity understandings our cognitive functions adapt environment we perceive time. knowledge inspires different way looking relationships rhythm. good found where all lines are derived main melody clarinet except parts stretch rhythm values incrementally. end result strange diatonic counterpoint producing potent mood. started rhythmic cell. intent feeling mood already present start. really me realize construct evocative primary state. called album express idea genetic code beginning creative you want your playing line inner purpose raw sweet. job musician tap potentials via sounds. become vehicle something intrinsically human experience. least what sense when hear great making. seems deep place. if can walk fine between virtuosity expressivity then shouldn too far off ideal means personally. data-sheets-userformat=\"{\" colors:=\"\"\u003e\u003cem\u003e“The lineup was very crucial, as I wanted to explore colors and varied instrumental combinations while retaining a classic jazz sound. I also desired to have strong idiosyncratic voices in each chair of the band so that the compositions would be designed for the players’ personalities, coming to life in a kind of Ellingtonian way.”\u003c\/em\u003e The group coalesces in an intense and moving collaboration that balances spontaneous exploration and disciplined ensemble, dense textures and spare, off-kilter lyricism.\u003c\/span\u003e\r\n\r\nFrom one angle this is as much of a jazz record as Houle’s beautiful 1998 John Carter tribute In the Vernacular; from another it brings together his classical music interests with free improv. The common factor is a keen awareness of 20th century music in its various manifestations and a fascination with the structure and organization of sound in both composition and improvisation. “I’ve been very influenced by the music of John Carter and Steve Lacy, primarily because of their mastery of orchestration in small groupings. Jimmy Giuffre would be another important influential figure in terms of orchestration. I’ve always been seduced by a kind of composition that makes full use of instrumental colors: Stravinsky, Prokofiev, Elliott Carter, Ligeti, Xenakis. In the jazz arena I would be attracted to the more colorful approaches of Gil Evans, Toshiko Akiyoshi, Bob Brookmeyer. I wanted my new band to have that kind of versatility, but with the writing focusing on instrumental combinations at the micro level.” An example of these ideas is how Benoît Delbecq’s piano sounds combine progressively with the other instruments in “Piano Loop (for BD).”\r\n\r\n“My ideas always come from a musical standpoint, putting tones, pitches or rhythms together. How I process these ideas, however, borrows from many sources, including art, literature, architecture, mathematics, science. For example, I am very much into neuroplasticity, new understandings of how our cognitive functions adapt to our environment, and also how we perceive time. This knowledge inspires a different way of looking at our relationships to sound and rhythm. A good example is found in “Concombre I,” where all the lines are derived from the main melody in the clarinet, except that for each of the other parts I stretch the rhythm values incrementally. The end result is a strange diatonic counterpoint producing a very potent mood.\r\n\r\n“Most of the compositions on this record started from a sound, a small of group of sounds, or a rhythmic cell. So the intent, feeling, mood of the compositions are already present at the start. It was really important for me to realize and construct ideas from an evocative primary state. I called the album Genera to express this idea of a genetic code that is present from the very beginning of the creative process….Ultimately, you want your playing to be in line with an inner purpose, be it raw or sweet. Your job as a musician is to tap into these potentials via sounds. You become a vehicle for something that is intrinsically a human experience. At least that is what I sense when I hear great music making. It always seems to come from a very deep place. If I can walk the fine line between virtuosity and expressivity, then I shouldn’t be too far off my ideal of what music means to me personally.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" of canada premier contemporary classical clarinetists fran houle is equally a virtuosic and original avant-jazz improviser notable composer. known as the genera sextet consists outstanding international leaders in jazz music including new york based canadians michael bates harris eisenstadt swiss trombonist samuel blaser braxton associate taylor ho bynum. lineup was very crucial i wanted to explore colors varied instrumental combinations while retaining classic sound. also desired have strong idiosyncratic voices each chair band so that compositions would be designed for players personalities coming life kind ellingtonian way. group coalesces an intense moving collaboration balances spontaneous exploration disciplined ensemble dense textures spare off-kilter lyricism. one angle this much record beautiful john carter tribute vernacular from another it brings together his interests with free improv. common factor keen awareness century its various manifestations fascination structure organization sound both composition improvisation. been influenced by steve lacy primarily because their mastery orchestration small groupings. jimmy giuffre important influential figure terms orchestration. always seduced makes full use stravinsky prokofiev elliott ligeti xenakis. arena attracted more colorful approaches gil evans toshiko akiyoshi bob brookmeyer. my versatility but writing focusing on at micro level. example these ideas how beno delbecq piano sounds combine progressively other instruments loop bd come musical standpoint putting tones pitches or rhythms together. process however borrows many sources art literature architecture mathematics science. am into neuroplasticity understandings our cognitive functions adapt environment we perceive time. knowledge inspires different way looking relationships rhythm. good found where all lines are derived main melody clarinet except parts stretch rhythm values incrementally. end result strange diatonic counterpoint producing potent mood. started rhythmic cell. intent feeling mood already present start. really me realize construct evocative primary state. called album express idea genetic code beginning creative you want your playing line inner purpose raw sweet. job musician tap potentials via sounds. become vehicle something intrinsically human experience. least what sense when hear great making. seems deep place. if can walk fine between virtuosity expressivity then shouldn too far off ideal means personally. data-sheets-userformat=\"{\" colors:=\"\"\u003e\u003cstrong\u003eFrançois Houle 5 + 1\r\n\u003c\/strong\u003eFrançois Houle, clarinets, compositions\r\nTaylor Ho Bynum, cornet, flugelhorn\r\nSamuel Blaser, trombone\r\nMichael Bates, bass\r\nHarris Eisenstadt, drums\r\nSpecial Guest: Benoît Delbecq, piano, electronics\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740460986692,"sku":"SGL15952-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740461019460,"sku":"SGL15952-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740461052228,"sku":"SGL15952-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740461084996,"sku":"SGL15952-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740461117764,"sku":"SGL15952-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740461150532,"sku":"SGL15952-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740461183300,"sku":"SGL15952-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342824644932,"sku":"SGL15952-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL15952.jpg?v=1790632646"},{"product_id":"sgl15752-looks-like-its-going-to-snow","title":"Looks Like It's Going To Snow","description":"\u003cblockquote\u003e\n\u003cem\u003eA demonstration-quality recording of contemporary acoustic jazz. Deep bass timbre and propulsive drumming lay down a solid groove under saxophone and trumpet, in a set of tunes that renew the vibe while respecting the tradition.\u003c\/em\u003e\r\n- Mark Werlin, HRAudio \u0026amp; NativeDSD Reviewer\u003c\/blockquote\u003e\r\n\u003cstrong\u003e\u003cem\u003eLooks Like It's Going To Snow\u003c\/em\u003e\u003c\/strong\u003e features the \u003cstrong\u003eOctober Trio\u003c\/strong\u003e. The October Trio was formed in Vancouver in 2004 when all three were in the Capilano College jazz program.\r\n\r\nThe immediate chemistry led to a decision to focus on a deeper exploration of the sax trio format, but as Dan Gaucher puts it, \u003cem\u003e“Our ideas started out very music specific and have gradually moved more into conceptual and expressive\/emotional territory.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eEvan Arntzen, Tenor Saxophone\u003c\/strong\u003e\r\n\u003cstrong\u003eBrad Turner, Trumpet \u0026amp; Flugelhorn\u003c\/strong\u003e\r\n\u003cstrong\u003eJosh Cole, Bass\u003c\/strong\u003e\r\n\u003cstrong\u003eDan Gaucher, Drums\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740464755012,"sku":"SGL15752-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740464787780,"sku":"SGL15752-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740464820548,"sku":"SGL15752-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740464853316,"sku":"SGL15752-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740464886084,"sku":"SGL15752-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740464918852,"sku":"SGL15752-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740464951620,"sku":"SGL15752-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342831100228,"sku":"SGL15752-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/a3882652979_16.jpg?v=1790633091"},{"product_id":"sgl24092-ejdeha","title":"Ejdeha","description":"\u003ch4\u003eSave 20% with the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca style=\"color: #ff9900;\" href=\"https:\/\/www.nativedsd.com\/product\/gordon-grdina-jazz-bundle-vol-1-dsd-bundle\/\"\u003eGordon Grdina DSD Bundle\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/h4\u003e\r\n\u003cblockquote\u003e\n\u003cem\u003e\u003cspan lang=\"EN-CA\"\u003eA must-have album for Jazz and World Music fans. \u003c\/span\u003eIn this set of original compositions, guitarist-composer Gordon Grdina performs on the oud, an ancestor of the European lute. The quartet, including bassist Mark Helias, cellist Hank Roberts and percussionist Hamin Honari, spin jazz improvisations over Near-Eastern musical forms. The recording presents the instruments with superb clarity.\u003c\/em\u003e\r\n- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" vancouver york project extends gordon grdina previous oud-centred fusions involving jazz improvisation and middle eastern music from his debut think like the waves with gary peacock paul motian to group haram. it also draws on vibe of more guitar-based new projects no difference featuring oud duets mark helias recent quartet as told critic stuart derdeyn last few years starting feel playing guitar are turning into same thing feels is looking outwards iraqi arabic stuff persian they all giving another viewpoint improvising. certainly jazzing has been going for decades abou-khalil anouar brahem not mention admed abdul-malik but avant-jazz background makes a very different result. marrow began trio hank roberts soon morphed addition canadian percussionist hamin honari. original compositions by mostly based classical modes quarter-tones well executed provides context creative interplay. intricate sometimes delicate other times high-risk exciting. there dark brooding excursions propelled vamps contrapuntally through-composed works that relate inroads. program includes two slow song-like explorations strings without percussion final piece vibrant toe-tapping tribute malian guitarist boubacar traore. title track farsi kurdish word dragon shows how adapts middle-eastern own purposes references dastgahs nava saba nahawand before resolving rast. personal musical practice developed taking off reins letting go try constrict than in conscious effort add ideas traditional language. this led staying completely within tonal modal or rhythmic constraints stretching them. i have still am working at hearing internalizing maqam dastgah order aspects them come about naturally fluidly just western improvisational already do. data-sheets-userformat=\"{\" music:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eEjdeha\u003c\/strong\u003e\u003c\/em\u003e extends \u003cstrong\u003eGordon Grdina\u003c\/strong\u003e’s previous oud-centred fusions involving jazz improvisation and middle eastern music, from his 2006 debut Think Like the Waves with Gary Peacock and Paul Motian to his Vancouver 10-piece group Haram. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" vancouver york project extends gordon grdina previous oud-centred fusions involving jazz improvisation and middle eastern music from his debut think like the waves with gary peacock paul motian to group haram. it also draws on vibe of more guitar-based new projects no difference featuring oud duets mark helias recent quartet as told critic stuart derdeyn last few years starting feel playing guitar are turning into same thing feels is looking outwards iraqi arabic stuff persian they all giving another viewpoint improvising. certainly jazzing has been going for decades abou-khalil anouar brahem not mention admed abdul-malik but avant-jazz background makes a very different result. marrow began trio hank roberts soon morphed addition canadian percussionist hamin honari. original compositions by mostly based classical modes quarter-tones well executed provides context creative interplay. intricate sometimes delicate other times high-risk exciting. there dark brooding excursions propelled vamps contrapuntally through-composed works that relate inroads. program includes two slow song-like explorations strings without percussion final piece vibrant toe-tapping tribute malian guitarist boubacar traore. title track farsi kurdish word dragon shows how adapts middle-eastern own purposes references dastgahs nava saba nahawand before resolving rast. personal musical practice developed taking off reins letting go try constrict than in conscious effort add ideas traditional language. this led staying completely within tonal modal or rhythmic constraints stretching them. i have still am working at hearing internalizing maqam dastgah order aspects them come about naturally fluidly just western improvisational already do. data-sheets-userformat=\"{\" music:=\"\"\u003eIt also draws on the vibe of his more guitar-based New York projects No Difference (2013), featuring oud duets with Mark Helias, and his more recent New York quartet (Inroads, 2017). As Grdina told critic Stuart Derdeyn, \u003cem\u003e“In the last few years it’s starting to feel like the oud playing and the guitar playing are turning into the same thing…It feels like [jazz is] looking outwards…Indian music, Iraqi music, Arabic stuff, Persian music: they’re all giving jazz another viewpoint on improvising.”\u003c\/em\u003e \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" vancouver york project extends gordon grdina previous oud-centred fusions involving jazz improvisation and middle eastern music from his debut think like the waves with gary peacock paul motian to group haram. it also draws on vibe of more guitar-based new projects no difference featuring oud duets mark helias recent quartet as told critic stuart derdeyn last few years starting feel playing guitar are turning into same thing feels is looking outwards iraqi arabic stuff persian they all giving another viewpoint improvising. certainly jazzing has been going for decades abou-khalil anouar brahem not mention admed abdul-malik but avant-jazz background makes a very different result. marrow began trio hank roberts soon morphed addition canadian percussionist hamin honari. original compositions by mostly based classical modes quarter-tones well executed provides context creative interplay. intricate sometimes delicate other times high-risk exciting. there dark brooding excursions propelled vamps contrapuntally through-composed works that relate inroads. program includes two slow song-like explorations strings without percussion final piece vibrant toe-tapping tribute malian guitarist boubacar traore. title track farsi kurdish word dragon shows how adapts middle-eastern own purposes references dastgahs nava saba nahawand before resolving rast. personal musical practice developed taking off reins letting go try constrict than in conscious effort add ideas traditional language. this led staying completely within tonal modal or rhythmic constraints stretching them. i have still am working at hearing internalizing maqam dastgah order aspects them come about naturally fluidly just western improvisational already do. data-sheets-userformat=\"{\" music:=\"\"\u003eCertainly jazzing the oud has been going on for decades (Rabih Abou-Khalil, Anouar Brahem, not to mention Admed Abdul-Malik), but Grdina’s avant-jazz background makes for a very different result.\u003c\/span\u003e\r\n\r\n\u003cstrong\u003eThe Marrow\u003c\/strong\u003e began as a trio with \u003cstrong\u003eHelias\u003c\/strong\u003e and \u003cstrong\u003eHank Roberts\u003c\/strong\u003e but soon morphed into a quartet with the addition of the Canadian Persian percussionist \u003cstrong\u003eHamin Honari\u003c\/strong\u003e. The music, all original compositions by Grdina but mostly based on classical Arabic and Persian modes (many with quarter-tones, well executed by Helias and Roberts), provides a context for creative group interplay. The music is intricate, sometimes delicate, other times high-risk exciting. There are dark, brooding excursions propelled by middle eastern vamps as well as more contrapuntally through-composed works (“Wayward”) that relate to the music on Inroads. The program also includes two slow, song-like explorations for strings without percussion, and the final piece is a vibrant, toe-tapping tribute to Malian guitarist Boubacar Traore. The title track (Ejdeha is the Farsi and Kurdish word for dragon) shows how Grdina adapts middle-eastern modes to his own purposes, as it references the Persian dastgahs Nava, Saba and Nahawand before resolving on Rast.\r\n\r\nRegarding his own personal musical practice on the oud, Grdina feels that “this has developed more from taking off the reins and letting go, to not try and constrict the improvisation, more than in a conscious effort to add new ideas into traditional language. This has led to sometimes staying completely within tonal, modal or rhythmic constraints and other times stretching them. I have been and still am working at hearing and internalizing maqam and dastgah in order to have aspects of them come about naturally and fluidly just as more western improvisational ideas already do.\"\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThe Marrow\u003c\/strong\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" vancouver york project extends gordon grdina previous oud-centred fusions involving jazz improvisation and middle eastern music from his debut think like the waves with gary peacock paul motian to group haram. it also draws on vibe of more guitar-based new projects no difference featuring oud duets mark helias recent quartet as told critic stuart derdeyn last few years starting feel playing guitar are turning into same thing feels is looking outwards iraqi arabic stuff persian they all giving another viewpoint improvising. certainly jazzing has been going for decades abou-khalil anouar brahem not mention admed abdul-malik but avant-jazz background makes a very different result. marrow began trio hank roberts soon morphed addition canadian percussionist hamin honari. original compositions by mostly based classical modes quarter-tones well executed provides context creative interplay. intricate sometimes delicate other times high-risk exciting. there dark brooding excursions propelled vamps contrapuntally through-composed works that relate inroads. program includes two slow song-like explorations strings without percussion final piece vibrant toe-tapping tribute malian guitarist boubacar traore. title track farsi kurdish word dragon shows how adapts middle-eastern own purposes references dastgahs nava saba nahawand before resolving rast. personal musical practice developed taking off reins letting go try constrict than in conscious effort add ideas traditional language. this led staying completely within tonal modal or rhythmic constraints stretching them. i have still am working at hearing internalizing maqam dastgah order aspects them come about naturally fluidly just western improvisational already do. data-sheets-userformat=\"{\" music:=\"\"\u003eGordon Grdina, Oud\u003cstrong\u003e\r\n\u003c\/strong\u003e\u003c\/span\u003eMark Helias, Bass\r\nHank Roberts, Cello\r\nHamin Honari, Tombak, Daf \u0026amp; Frame Drum","brand":"Songlines Recordings","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740466196804,"sku":"SGL24092-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740466229572,"sku":"SGL24092-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740466262340,"sku":"SGL24092-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740466295108,"sku":"SGL24092-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740466327876,"sku":"SGL24092-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740466360644,"sku":"SGL24092-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz \/ 2ch Stereo","offer_id":57342831198532,"sku":"SGL24092-5","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL24092.jpg?v=1790633229"},{"product_id":"pwsgl16072-polarities","title":"Polarities","description":" \r\n\u003cblockquote\u003e\n\u003cem\u003eBreathing new life into the classic Ornette Coleman alto\/trumpet\/bass\/drums quartet format, saxophonist Peter Epstein and collaborators Ralph Alessi, Sam Minaie and Mark Ferber play melodically inventive originals with “total commitment to the music, to each other, and to the moment at hand.”\u003c\/em\u003e\r\n- Mark Werlin, NativeDSD\/HRAudio\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" saxophonist peter epstein left new york in the early but his quartet was made up of colleagues he had been performing with for between and years although not this grouping. notes intimate personal qualities their shared conceptual aesthetic views. my mind ear i simply hear these guys playing when music head. it surprising then that record feels so cohesive there a nuanced clarity communication focus immediacy only comes what describes as relaxed total commitment to each other moment at hand. compositions range from primarily quiet introspective pieces like more intense uptempo numbers mid-tempo nigeria tune perhaps harkens back deep engagement ewe drumming student calarts has knack writing interesting melodies contrasting sections or ambiguous moods sees written material almost secondary. tunes need life vibe interpretation breathed into them by collaborators rely on heavily. here produces mercurial hard-to-pin-down highly internalized synthesis many strands jazz history influences outside example mathematically vertiginous metrical subdivisions south indian classical another studied also might be partly instrumentation surely some kind spiritual connection close stylistic one ornette coleman classic don cherry. data-sheets-userformat=\"{\" lived-in:=\"\"\u003eAlto\/soprano saxophonist \u003cstrong\u003ePeter Epstein\u003c\/strong\u003e left New York in the early 2000s, but his 2007 quartet was made up of colleagues he had been performing with for between 15 and 25 years, although not in this grouping. Epstein notes the intimate and personal qualities of their shared conceptual and aesthetic views. \"In my mind, in my ear, I simply hear these guys playing when music ‘plays’ in my head.” It’s not surprising then that this record feels so cohesive and lived-in: there’s a nuanced clarity of communication, a focus and immediacy that only comes with what he describes as “such a relaxed but total commitment to the music, to each other, and to the moment at hand.\"\u003c\/span\u003e\r\n\r\nEpstein’s compositions range from primarily quiet, introspective pieces like “Polarity” to more intense, uptempo numbers like “Hurtle” and “Constance” and the mid-tempo “Email from Nigeria”, a 10\/8 tune that perhaps harkens back to his deep engagement with Ewe drumming as a student at CalArts in the 90s. He has a knack for writing interesting melodies and pieces with contrasting sections or ambiguous moods, but sees the written material as almost secondary. \"The tunes need life and vibe and interpretation breathed into them by the collaborators that I rely on so heavily.” And here that produces a mercurial, hard-to-pin-down, highly internalized synthesis of many strands of jazz history and influences from outside the music (for example, the mathematically vertiginous metrical subdivisions of South Indian classical music, another music Peter has studied). Also, and it might be partly the instrumentation, there's surely some kind of spiritual connection (if not a close stylistic one) with Ornette Coleman's classic quartet with Don Cherry.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" saxophonist peter epstein left new york in the early but his quartet was made up of colleagues he had been performing with for between and years although not this grouping. notes intimate personal qualities their shared conceptual aesthetic views. my mind ear i simply hear these guys playing when music head. it surprising then that record feels so cohesive there a nuanced clarity communication focus immediacy only comes what describes as relaxed total commitment to each other moment at hand. compositions range from primarily quiet introspective pieces like more intense uptempo numbers mid-tempo nigeria tune perhaps harkens back deep engagement ewe drumming student calarts has knack writing interesting melodies contrasting sections or ambiguous moods sees written material almost secondary. tunes need life vibe interpretation breathed into them by collaborators rely on heavily. here produces mercurial hard-to-pin-down highly internalized synthesis many strands jazz history influences outside example mathematically vertiginous metrical subdivisions south indian classical another studied also might be partly instrumentation surely some kind spiritual connection close stylistic one ornette coleman classic don cherry. data-sheets-userformat=\"{\" lived-in:=\"\"\u003e\u003cstrong\u003ePeter Epstein, alto \u0026amp; soprano saxophone, compositions\r\nRalph Alessi, trumpet, cornet\r\nSam Minaie, bass\r\nMark Ferber, drums\u003c\/strong\u003e\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740466819396,"sku":"PWSGL16072-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740466852164,"sku":"PWSGL16072-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740466884932,"sku":"PWSGL16072-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740466917700,"sku":"PWSGL16072-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740466950468,"sku":"PWSGL16072-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740466983236,"sku":"PWSGL16072-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":57342831460676,"sku":"PWSGL16072-7","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL16072.jpg?v=1790633302"},{"product_id":"sgl24062-hive","title":"Hive","description":"\u003cstrong\u003eGamelan Madu Sari\u003c\/strong\u003e was formed in Vancouver in 1986, the year of Expo ’86. For six months the Indonesian pavilion was alive from morning to night with gamelan music and dance; when Expo was over the Javanese gamelan, Kyai Madu Sari (The Venerable Essence of Honey), was donated to Simon Fraser University.\r\n\r\nIn the years following, a core group of composer-performers came together to study new and traditional Javanese and Balinese performance practices, both here and in Indonesia.. Next, collaborating with some of Indonesia’s top shadow play artists, Gamelan Madu Sari created interdisciplinary multi-media shows such as Semar in Lila Maya, some of the music from which is included here.\r\n\r\nAll the pieces on \u003cem\u003e\u003cstrong\u003eHive\u003c\/strong\u003e\u003c\/em\u003e combine elements of the Javanese tradition with wide-ranging influences and inspirations, from morphing minimalism (Andrew Czink’s “Stream”) to the English tradition of bell pealing (Kenneth Newby’s “Symmetries”) to the fusing of polyrhythmic frameworks, Javanese lyricism and structured improvisation (Mark Parlett’s “Inquietude”). Ben Rogalsky’s wry, touching shadow-play song “From Heaven to Earth” was inspired by the old-fashioned Indonesian folk style kroncong, which developed from 16th century Portuguese music (from the time when Portugal first colonized the Spice Islands); it combines gamelan forces with mandolin, cello and string bass. Michael O’Neill’s “Bonessongs” and Parlett’s “Inquietude” also mix different gamelan scales to approximate western tuning. Both are multi-sectional works that move between expressive poles, from introspective to explosive, their lyrics presenting contrasting perspectives on the human condition.\r\n\r\n\"\u003cstrong\u003eGamelan – it’s not just for Java anymore\u003c\/strong\u003e. There are several Western groups creating new works for gamelan orchestras, but Canada’s Gamelan Madu Sari do one of the most interesting jobs of fusing the heart of Javanese gamelan music with Western sensibilities. Some of the music here was created for shadow plays, although it exists wonderfully on its own. Most interesting, though, are the vocal pieces. English words juxtaposed with gamelan can seem out of sync initially, but soon take on a soothing, dreamlike quality, especially on the shifting, lengthy ‘Bonessongs.’ There’s a variety of composers, each bringing something different to the ensemble and offering real changes from track to track. There’s plenty of time for the music to be explored (the shortest cut is over five minutes), and to introduce surprises. It’s not music for casual listening, but something to sink into, complex and inviting, and utterly absorbing.” — \u003cstrong\u003eChris Nickson, Allmusic.com\u003c\/strong\u003e\r\n\r\n\"\u003cstrong\u003eThe performances are often stunning and the clarity of the recording is beyond reproach\u003c\/strong\u003e. Hive is a wonderful example of how structures and textures from a specific indigenous tradition can be reconciled with new approaches.\" –\u003cstrong\u003eBill Barton, Signal to Noise\u003c\/strong\u003e\r\n\r\n\"...\u003cstrong\u003ean ambitious, accomplished and brave group\u003c\/strong\u003e....Most of the disc, though, is great...If you like any combination of world music, electronica or contemporary classical, you'll find something here to enjoy.\" – \u003cstrong\u003eJohn Whitfield, Songlines Magazine\r\n\u003c\/strong\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eThe instruments of Gamelan Madu Sari\u003c\/strong\u003e, played by \u003cstrong\u003eSutrisno Hartana\u003c\/strong\u003e, \u003cstrong\u003eMichael O’Neill\u003c\/strong\u003e, \u003cstrong\u003eMark Parlett\u003c\/strong\u003e, \u003cstrong\u003eBen Rogalsky\u003c\/strong\u003e, \u003cstrong\u003eKenneth Newby\u003c\/strong\u003e and others)\r\n\r\n\u003cstrong\u003eVocalists:\u003c\/strong\u003e \u003cstrong\u003eSutrisno Hartana\u003c\/strong\u003e (1, 9), \u003cstrong\u003eAnis Astuti\u003c\/strong\u003e (1, 7, 9), \u003cstrong\u003eJoanna Chapman-Smith\u003c\/strong\u003e (3), \u003cstrong\u003eBen Rogalsky\u003c\/strong\u003e (3, 5, 8), \u003cstrong\u003eJessika Kenney\u003c\/strong\u003e (5, 8), \u003cstrong\u003eD.B. Boyko \u003c\/strong\u003e(9), \u003cstrong\u003eChristine Duncan\u003c\/strong\u003e (9)","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740482220356,"sku":"SGL24062-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740482253124,"sku":"SGL24062-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740482285892,"sku":"SGL24062-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740482318660,"sku":"SGL24062-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740482351428,"sku":"SGL24062-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740482384196,"sku":"SGL24062-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740482416964,"sku":"SGL24062-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342875566404,"sku":"SGL24062-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL24062.jpg?v=1790634619"},{"product_id":"sglsa15562-magic-numbers","title":"Magic Numbers","description":"\u003cblockquote\u003e\n\u003cem\u003e\"I suggest starting with 'October' and 'Sun-Day.' It's here you'll find the best of Nachoff's esthetic: greys, beiges, btowns, deep, earth-bound colors that set off his exquisite, forlorn tenor. If he sometimes overwrites, he also creates stuff that breathes magnificently....And it takes real moxy to go out, as 'Sun-Day' does, in the great, keening gusts of a tenor-drum duo.\"\u003c\/em\u003e – Greg Buium, DownBeat\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\nNew York based \u003cstrong\u003eQuinsin Nachoff\u003c\/strong\u003e’s \u003cem\u003e\u003cstrong\u003eMagic Numbers\u003c\/strong\u003e \u003c\/em\u003ecombines the sax trio tradition of freewheeling improvisation and the discipline of a classical string quartet into an original aesthetic. Most of the music was composed before 2000, when Nachoff met and played with drummer Jim Black at the Banff Centre and decided Black’s textures and grooves would be perfect for the music. That’s when he also met Montreal-based classical\/jazz\/world\/pop violinist Nathalie Bonin.\r\n\r\nIn 2005 he invited Black and bassist Mark Helias to Toronto to perform and record the music. Bonin chose the other string players from among Montreal’s young classical elite. With Helias acting as the bridge between the classical and improvisational worlds, Bonin sometimes improvising too (e.g. “Branches”), and Black often laying down a rockish 8th note beat, the music took on its definitive shape and emotional charge, with some great solos (e.g. Black’s in “Sun-Day” as well as Helias’s solo with the strings). Nachoff’s saxophone inhabits the music’s melodic and harmonic heart, his singing lines demonstrating the expressive range, fluency and cohesion of a mature, thoughtful improviser. The arrangements are often complex, the strings elegantly weaving together the music’s forms and textures in sometimes unexpected ways.\r\n\r\nAs Quinsin writes in the liner notes, he was seeking a diplomatic blend of musical genres and styles which would nevertheless maintain the essence of melody and beauty. “I grew up listening to a lot of 20th century composers because my parents were really into that, starting with Stravinsky, Ravel, Debussy, going up to Stockhausen, Xenakis…I tried to cover quite a spectrum, sometimes within a piece and certainly across the album as a whole. The ballad ‘October’ is a really meditative, melancholy and austere tune. ‘Branches’ is frenetic. ‘To Solar Piazza’ tries to capture the angst and intensity of Astor Piazzolla’s music. ‘Circles \u0026amp; Waves’ is aiming for a fresh sort of romanticism along the lines of Kenny Wheeler and Maria Schneider. ‘Postmodern’ is crazier and more playful, little snippets of Mozart moments, free improv, Stravinsky, Shostakovich and rock all juxtaposed or squished together. ‘Whorls’ is much more serious, inspired by Berg and Schoenberg.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eQuinsin Nachoff\u003c\/strong\u003e, tenor \u0026amp; soprano saxophone, compositions\r\n\u003cstrong\u003eMark Helias\u003c\/strong\u003e, bass\r\n\u003cstrong\u003eJim Black\u003c\/strong\u003e, drums\r\n\u003cstrong\u003eNathalie Bonin, Noémi Racine Gaudreault\u003c\/strong\u003e, violins\r\n\u003cstrong\u003eJean René\u003c\/strong\u003e, viola\r\n\u003cstrong\u003eJulie Trudeau\u003c\/strong\u003e, cello","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740493492548,"sku":"SGLSA15562-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740493525316,"sku":"SGLSA15562-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740493558084,"sku":"SGLSA15562-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740493590852,"sku":"SGLSA15562-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740493623620,"sku":"SGLSA15562-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740493656388,"sku":"SGLSA15562-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740493689156,"sku":"SGLSA15562-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740493721924,"sku":"SGLSA15562-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740493754692,"sku":"SGLSA15562-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740493787460,"sku":"SGLSA15562-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740493820228,"sku":"SGLSA15562-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342898733380,"sku":"SGLSA15562-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342898766148,"sku":"SGLSA15562S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342898798916,"sku":"SGLSA15562S710","price":25.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342898831684,"sku":"SGLSA15562S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342898864452,"sku":"SGLSA15562S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342898897220,"sku":"SGLSA15562S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15562.jpg?v=1778498374"},{"product_id":"sgl16262-echo-painting","title":"Echo Painting","description":"\u003cblockquote\u003eThis set of original compositions, featuring drummer Dylan van der Schyff and trumpet player Brad Turner, displays cellist-composer Peggy Lee’s inventiveness, lyricism, and emotional depth.\r\n\u003cem\u003e- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" lee the vancouver-based cellist whose playing shines in many contexts from classical and contemporary to creative jazz improv is also an extraordinary composer bandleader. she known especially for her octets peggy band film music as well waxwing trio co-leads with jon bentley west coast guitarist tony wilson. this new suite ten players was commissioned by coastal blues premiered at vancouver international festival. idea says bring together some of my longstanding members younger that i had recently begun collaborate with. wasn thinking about specific instruments really just excited working but there are echoes much has been meaningful me over years. cites carla bley charlie haden liberation orchestra inspirations. colors draw upon multi-layered texturally varied featuring driving rhythmic vamps incendiary improvisation sometimes achingly beautiful melodic compositions. writing mostly worked out a loose plan designating areas solos etc. arrangements came once we started direction took completely up musicians. certainly lot common sound horns brad turner both ensembles adding violin pedal steel creates another dimension. sees distinctions between performing fluid it all related makes improvisers. moves whether great melody puccini or ennio morricone cool texture notated nicole liz solo don care what you call it. coda unfaithful servant song loved long time always thought would be vehicle soloing right kind. doing instrumental when record robin holcomb luckily game. data-sheets-userformat=\"{\" intuitive:=\"\"\u003e\u003cstrong\u003ePeggy Lee\u003c\/strong\u003e, the Vancouver-based cellist whose playing shines in many contexts, from classical and contemporary classical to creative jazz and improv, is also an extraordinary composer and bandleader. She is known especially for her octets, The Peggy Lee Band (1998- ) and Film in Music (2009- ), as well as Waxwing (2007- ), the trio she co-leads with Jon Bentley and west coast guitarist Tony Wilson. This new suite for ten players was commissioned by Coastal Jazz and Blues and premiered at the 2016 Vancouver International Jazz Festival.\u003c\/span\u003e\r\n\r\nThe idea, says Lee, was “to bring together some of my longstanding band members with some of the younger players that I had recently begun to collaborate with. I wasn’t thinking about specific instruments really, just the players that I was excited about working with, but there are echoes of much of the music that has been meaningful to me over the years.” (She cites Carla Bley and Charlie Haden’s Liberation Music Orchestra as inspirations.) With many colors to draw upon, the music is multi-layered and texturally varied, featuring driving rhythmic vamps, incendiary improvisation and sometimes achingly beautiful melodic compositions.\r\n\r\nThe writing was mostly intuitive: “I worked out a loose plan designating areas for solos etc. But specific arrangements came together once we started playing, and the direction that the solos took was completely up to the musicians. This band certainly has a lot in common with the sound of the Peggy Lee Band with the horns (\u003cstrong\u003eJon Bentley\u003c\/strong\u003e and \u003cstrong\u003eBrad Turner\u003c\/strong\u003e are in both ensembles), but adding violin and pedal steel creates another dimension.\"\r\n\r\nLee sees the distinctions between jazz and classical in her performing and writing as fluid, and that it's all related to the music she makes with improvisers. \"If the music moves me, whether it’s a great melody by Puccini or Ennio Morricone or a cool texture notated by Nicole Lizée or a Brad Turner solo, it’s all music and I don’t care what you call it.”\r\n\r\nAs for the coda, The Band’s “The Unfaithful Servant”, “that’s just a song that I’ve loved for a long time and always thought it would be a great vehicle for soloing of the right kind. We started by doing it as an instrumental but when it was time to record, I thought it would sound great with Robin Holcomb and luckily she was game.”\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003ePeggy Lee, cello\r\nBrad Turner, trumpet \u0026amp; flugelhorn\r\nJon Bentley, soprano \u0026amp; tenor saxophone\r\nJohn Paton, tenor saxophone\r\nRoderick Murray, trombone\r\nMeredith Bates, violin\r\nCole Schmidt, electric \u0026amp; acoustic guitar\r\nBradshaw Pack, pedal steel guitar\r\nJames Meger, electric \u0026amp; acoustic bass\r\nDylan van der Schyff, drums, percussion \u0026amp; Yamaha RX-15 drum machine\r\nRobin Holcomb, voice (track 13)\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740497948996,"sku":"SGL16262-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740497981764,"sku":"SGL16262-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740498014532,"sku":"SGL16262-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740498047300,"sku":"SGL16262-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740498080068,"sku":"SGL16262-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740498112836,"sku":"SGL16262-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz \/ 2ch Stereo","offer_id":57342899847492,"sku":"SGL16262-5","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16262.jpg?v=1790636037"},{"product_id":"sgl25142-speak-to-it-remastered","title":"Speak To It (Remastered)","description":"\u003cblockquote\u003eA critically-praised landmark from the peak of downtown NYC jazz, newly sourced from engineer Joe Marciano’s original ¼” analogue mixes and transparently remastered to 24\/192. The energetic performances and emotive compositions, by reeds players Chris Speed and Andrew D’Angelo, guitarist Kurt Rosenwinkel and drummer Jim Black, place this album alongside the finest recordings of the era.\r\n\u003cem\u003e- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eOriginally released in 1996, the fourth recording by the then Brooklyn-based collective ranges across jazz, improv, and contemporary classical\/new music, with a passing nod to the traditions of eastern Europe. As composers, Black, Speed and D’Angelo provide different frameworks for the band’s characteristic, often tensile explorations, heard as well in their atmospheric rendition of the Billie Holiday standard “Left Alone” where they’re joined by vocalist Holly Palmer. The rhythmic feel moves in and out of time (from jazz-rock to free, polyrhythmic and vamp to rubato), while the shifting textural\/melodic interplay demonstrates their commitment to collective improvisation. The unedited analog recording vividly preserves the integrity of their playing; this 24\/192, 2021 remaster was sourced from the rediscovered analogue mixes.\u003c\/span\u003e\r\n\r\n\u003cstrong\u003eHuman Feel\u003c\/strong\u003e was formed in Boston in 1987, Rosenwinkel joining the group in 1990. At the time Speak to It was released its members were all leading busy musical lives as performers and composers. Jim Black was in Tim Berne’s Bloodcount, Dave Douglas’s Tiny Bell Trio and trios led by Ellery Eskelin and Ben Monder. Chris Speed, whose background is in classical music as well as jazz, was also a member of Bloodcount, as well as Dave Douglas’s Sextet, Myra Melford’s Extended Ensemble, and Erik Friedlander’s Chimera, and he and Black co-led Pachora, a Balkan\/near Eastern quartet. Andrew D’Angelo was a member of Chimera, Bobby Previte’s Weather Clear, Track Fast and the Jamie Saft\/Cuong Vu band. Kurt Rosenwinkel was leading his own quartet and was in Paul Motian’s Electric Bebop Band.\r\n\r\nAfter a long hiatus Human Feel reunited in 2006 and released Galore on Speed’s label Skirl, and Gold (2019) on Intakt.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eHuman Feel\r\n\u003c\/strong\u003eAndrew D’Angelo, alto sax, bass clarinet\r\nChris Speed, tenor sax, clarinet\r\nKurt Rosenwinkel, guitar\r\nJim Black, drums\r\nHolly Palmer, voice (6)\u003cstrong\u003e\r\n\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740501946692,"sku":"SGL25142-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740501979460,"sku":"SGL25142-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740502012228,"sku":"SGL25142-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740502044996,"sku":"SGL25142-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740502077764,"sku":"SGL25142-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740502110532,"sku":"SGL25142-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57342903484740,"sku":"SGL25142-3","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL25142.jpg?v=1790636449"},{"product_id":"sgl16352-day-in-the-sun","title":"Day in the Sun","description":"\u003cspan data-sheets-root=\"1\"\u003eIn 2017 Danish guitarist \u003cstrong\u003eMikkel Ploug\u003c\/strong\u003e created \u003cem\u003eAlleviation\u003c\/em\u003e, a solo acoustic guitar record inspired by his recently acquired 1944 mahogany-top Gibson “Banner” LG-2. The album was warmly received, e.g. “Ploug finds a way to meld mind and matter into one unified musical sound” (Dan Bilawsky, AllAboutJazz) and “some of the most beautiful and unexpected solo guitar music one might wish to hear” (Stuart Broomer, The Whole Note). Ploug continued to explore the acoustic realm on his Gibson and a new hybrid flamenco-classical guitar from Granada luthier Manuel Bellido. In the early months of the pandemic he gave nightly live-streamed performances on electric guitar from his Copenhagen apartment, documented on Balcony Lullabies (Stunt). Now comes the follow-up to Alleviation: 14 gems that again weave together different stylistic paths and sonic spaces in innovative ways.\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eIn the process of developing this music Ploug was especially drawn to contemporary Danish composer Bent Sørensen, whose piece “Barcarola” is the only non-Ploug composition on the record “Lately my inspiration has been found in the solo piano music of composers like Sørensen, Hans Abrahamsen, Valentin Silvestrov and Shostakovich and in jazz pianists Craig Taborn and Jason Moran. Sørensen’s piano nocturnes have a fantastic use of space, counterpoint and melody – I just feel connected to his music like it’s the continuation of Carl Nielsen’s music from my childhood. Nielsen wrote hundreds of short melodic pieces that carry so much weight and beauty. I’m realizing more and more that I actually have some musical roots, namely the Danish folk songbook tradition – a collection of folk music and classic Scandinavian hymns. And the harmonic landscape and the melodic character of this music is deep within me. I think I’m maybe just trying to recreate the feeling I had hearing some of these powerful melodies for the first time. And often the road to finding these superficially very simple elements is very, very long and requires so much time, deep listening and dedication.\"\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eIn his solo playing Ploug doesn’t focus on improvisation for its own sake: “The interpretational aspect is enough to keep me engaged. But if I’m naturally drawn to start improvising on part of a tune or the whole piece that often means that there should probably be improvisation in it. ‘Afterthought’ is a piece like that ­– I take a classic solo, playing on the entire form as if it was a standard.”\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eAll but three of these performances are on the Gibson: “This old guitar is full of songs – its warm midrange tone means it can offer an almost classical type of sound, though the steel string ‘western’ element still dominates. But it means I can create music that doesn’t remind me of typical guitar recordings, and that helps leave prejudices at the door when composing. Working on Alleviation I became more interested in the history of the guitar and music specifically for guitar. When I spun the Bellido with gut strings and worked on a no-nail technique I found a warm sound that inspired the first piece of the album, ‘Nocturne’. You can make a rich sound with a very light touch, the guitar is very light and super alive. Every note is huge, independent and broad, almost like every string is its own personal voice in a choir. So this means for me that a simple triad can sound very exciting!”\u003c\/span\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cstrong\u003eMikkel Ploug, Guitar\u003c\/strong\u003e\u003c\/span\u003e\r\n\r\n ","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740512170308,"sku":"SGL16352-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740512203076,"sku":"SGL16352-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740512235844,"sku":"SGL16352-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740512268612,"sku":"SGL16352-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740512301380,"sku":"SGL16352-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740512334148,"sku":"SGL16352-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57342912856388,"sku":"SGL16352-3","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16352.jpg?v=1790637705"},{"product_id":"sgl25962-canada-day-iii-unmastered-edition","title":"Canada Day III (Unmastered Edition)","description":"\u003cblockquote\u003eHarris Eisenstadt’s albums Canada Day II, Canada Day III, and Canada Day IV in their unmastered editions reveal the nuances, and convey the impact of the performances, in superb sonic detail.\r\n\u003cem\u003e– Mark Werlin\u003c\/em\u003e\r\n\u003cspan style=\"color: #33cccc;\"\u003e\u003ca style=\"color: #33cccc;\" href=\"https:\/\/www.nativedsd.com\/dsd-reviews\/canada-day-volumes-ii-iii-and-iv-the-unmastered-editions\/\"\u003e\u003cstrong\u003eRead Full Review\u003c\/strong\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eCanada Day III (Unmastered Edition) is an Exclusive NativeDSD release in Stereo DSD 512, DSD 256, DSD 128 and DSD 64\u003c\/strong\u003e. For this title we have assembled the original unmastered mixes, presented without peak limiting, compression or any other mastering or processing. The result is much more dynamic, transparent, spacious and timbrally pure. It fully benefits from NativeDSD’s Higher Rates Program.\r\n\r\nHarris Eisenstadt's Canada Day band returns with an album of great tunes and spirited playing, showcasing a composer, drummer and bandleader who really loves music in all its diversity and infuses that energy and a truly distinctive voice into everything he does. And his band members respond in kind.\r\n\r\nCheck out for example Nate Wooley’s remarkable Harmon mute solo on “The Magician of Lublin,” where he unexpectedly inserts lone open notes for contrast and punctuation. Or Matt Bauder’s solo on “Nosey Parker,” which seems to assay several vintage sax styles with both real reverence and a sly sort of parodistic humor. Throughout the album there are many instances of subtle surprise, crafty interplay and underlying complexities of tone that make for a richer listening experience.\r\n\r\nNo doubt this finely-tuned level of engagement is partly the result of the band living with these pieces for a year and coming directly off the road to record. Says Harris: \u003cem\u003e“I’m going for something visceral for sure, and not overly solemn or serious…. I do think that the fluidity of solo approaches comes from playing the pieces enough to not have to think about what might work. Most importantly, I want the musicians to be able to run with their instincts and be themselves no matter what.”\u003c\/em\u003e\r\n\r\nAt the time of its release in 2012, Harris reflected on his place in the Jazz Drumming tradition: \u003cem\u003e“It has been a fantastic time to be part of the tradition, these almost-twenty years since I chose this life path. The generations or two older than me brought all these other approaches into jazz drumming – people like Joey Baron, Tom Rainey, Jim Black, Mike Sarin, Kenny Wollesen have influenced me greatly. It has also become much more common to find very interesting drummer\/composer\/leaders who are not just the nominal heads of blowing sessions, but drummers with powerful composer\/leader concepts – Gerry Hemingway and John Hollenbeck for example...Rock, textural free improvisation, African and Diaspora drum traditions and 20th century Western music are as important in my concept of jazz drum language as bebop and early jazz approaches…I’ve been studying Cuban Bata drumming for the last year, which keeps me humble and reminds me constantly how much percussion inspiration there is in the world!”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eCanada Day\u003c\/strong\u003e\r\nNate Wooley, Trumpet\r\nMatt Bauder, Tenor Saxophone\r\nChris Dingman, Vibraphone\r\nGarth Stevenson, Bass\r\nHarris Eisenstadt, Drums \u0026amp; Compositions","brand":"Songlines Recordings","offers":[{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740512432452,"sku":"SGL25962-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740512465220,"sku":"SGL25962-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740512497988,"sku":"SGL25962-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740512530756,"sku":"SGL25962-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740512563524,"sku":"SGL25962-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740512596292,"sku":"SGL25962-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":57342913052996,"sku":"SGL25962-7","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL25962.jpg?v=1778498713"},{"product_id":"sglsa15712-one-dance-alone","title":"One Dance Alone","description":"\u003cblockquote\u003eCornetist Ron Miles, bassoonist Sara Schoenbeck, and cellist Peggy Lee perform chamber works for jazz ensemble by composer-pianist Wayne Horvitz. A sense of attachment to music of the past can be heard in these pieces, which allow space for creative improvisation and rhythmic vitality within tight, thoughtful arrangements. Available in stereo and mixed to 5.0\r\n\u003cem\u003e- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eWayne Horvitz Gravitas Quartet's second release\u003c\/strong\u003e is more off-the-page than their 2006 debut Way Out East. Some of the new compositions sound even more like classical chamber music, but as before, improvisation plays a major role, and there’s a lot of synergy in the way the music comes together. As Wayne says, “The compositions are so open, and the band is so flexible….” The performances are classical in their precision, jazzy in their mutable blends and their grasp of expressive possibilities. Wayne’s writing is as emotionally resonant as ever, and in bringing the music to life the band spins webs of musical relationships. Ron Miles’ cornet glances back in the direction of New Orleans and early Ellington, while Peggy Lee’s cello free associates Bach, Beethoven, Bartok, and beyond. Sara Schoenbeck’s bassoon provides wittily baroque counterpoint or contemplative melodic lead, while the piano’s runs, motifs and clusters suggest links to impressionism, and occasionally to atonality. In other pieces different sets of connections take shape.\r\n\r\nThis music resists labels. Calling it jazz means that most people who follow contemporary classical or post-rock may never hear about it, which would be a shame. If it’s the Third Stream of today, it holds within its sights the new thing, free improv, and pretty much everything else that happened in jazz, popular and ‘art’ music in the twentieth century (and the 21st, given their cover here of Elliott Smith’s “A Fond Farewell”). Horvitz comments that combining jazz and classical elements is in fact “a fairly obvious process, and it’s one with a long history. The instrumentation lends itself to writing without regard to a ‘rhythm section’ mentality, and it encourages certain ambitions and desires I have as a composer. At the same time the references to so-called jazz and blues language to me are simply due to the fact of being an American composer. Blues was the first music to really move and inspire me. As my friend Philip Johnston once said to me, ‘You know how you are listening to a record of Japanese koto music and for a moment it sounds like John Lee Hooker?’ I would say the same thing about a Bartok string quartet.” When asked whether he feels more of a responsibility to the past or to the future in his work, he replies, “That’s an interesting question. I guess when all is said and done I feel a much stronger pull to the past. And as much as I’ve been interested in and inspired by innovative, experimental and so-called avant-garde music, I would have to say that the best of that music has always been the result of some kind of deep integration of what has come before with a new vision of what can be. It seems to me that’s true in Bach’s music, Schoenberg’s, Roscoe Mitchell’s, Public Enemy and even Muddy Waters.” It’s certainly true in his own.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eWayne Horvitz Gravitas Quartet\u003c\/strong\u003e\r\nWayne Horvitz, Piano\r\nPeggy Lee, Cello\r\nRon Miles, Cornet\r\nSara Schoenbeck, Bassoon","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740516921668,"sku":"SGLSA15712-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740516954436,"sku":"SGLSA15712-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740516987204,"sku":"SGLSA15712-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740517019972,"sku":"SGLSA15712-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740517052740,"sku":"SGLSA15712-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740517085508,"sku":"SGLSA15712-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740517118276,"sku":"SGLSA15712-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740517151044,"sku":"SGLSA15712-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740517183812,"sku":"SGLSA15712-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740517216580,"sku":"SGLSA15712-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342918328644,"sku":"SGLSA15712-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342918361412,"sku":"SGLSA15712S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342918394180,"sku":"SGLSA15712S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342918426948,"sku":"SGLSA15712S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15712.jpg?v=1778498839"},{"product_id":"sgl16242-inroads","title":"Inroads","description":"\u003ch4\u003eSave 20% with the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca style=\"color: #ff9900;\" href=\"https:\/\/www.nativedsd.com\/product\/gordon-grdina-jazz-bundle-vol-1-dsd-bundle\/\"\u003eGordon Grdina DSD Bundle\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/h4\u003e\r\n\u003cblockquote\u003eSaxophonist-clarinetist Oscar Noriega (from Tim Berne’s Snakeoil), pianist Russ Lossing, and percussionist Satoshi Takeishi lock onto tightly-arranged, eclectic compositions by guitarist-composer Gordon Grdina and Grdina\/Lossing. The crystal-clear 24\/96 recording captures the full dynamics of the performances, from delicate solo piano passages to crunchy guitar-driven climaxes. A strong recommendation, especially in NativeDSD’s exclusive higher rate versions.\r\n– Mark Werlin, NativeDSD and All About Jazz\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003ch3\u003eInroads combines intricate counterpoint with the ebb and flow of dynamic yet focused improvisation.\u003c\/h3\u003e\r\n\u003cstrong\u003eGrdina \u003c\/strong\u003etakes inspiration from the complexity of Bartok, the freedom of Ornette Coleman, the energy and logical construction of ideas in Soundgarden, and the delicacy of Webern. Grdina’s debut recording, Think Like the Waves, was a trio with his mentor Gary Peacock and Paul Motian, and there is something of that group’s deep improvised jazz roots at work here, along with the compositional, classical music bent of his East Van Strings project The Breathing of Statues and the intense rock playing of his instrumental duo Peregrine Falls.\r\n\r\nSays Grdina: \u003cem\u003e“I felt a strong inner urge to write music that was more unexpected, that didn’t repeat itself so much and was more challenging than what I had been playing. Forms can sometimes feel like you’re being strangled and talked down to. I wanted the music to continually move, feeling free but clearly directed. Compositionally this also came out of the work I’d done with Gary Peacock but in a very different way. \u003c\/em\u003e\r\n\r\n\u003cem\u003eWe worked a lot on composition being a distilled idea that is the germ that sparks improvisation. I wanted to see what would happen if I composed the development of the ideas, keeping the same focused writing style. The musicians came together over a two-year process of getting more involved in the NY scene. Oscar, Russ and Satoshi are all amazing, incredibly well rounded, multi-faceted musicians with unique voices. It’s not easy music to grasp fully while you’re playing it, as it is very contrapuntal. \u003c\/em\u003e\r\n\r\n\u003cem\u003eEach instrument is focused on their own part and it takes a while before you hear it click with the other lines and the logic becomes apparent. I hear so many connections to so many genres in this music and from these musicians. What it demands though is deep listening. There are moments where it is energetic and in your face, bringing the music to you, but it always goes back in, requiring the listener to come closer and bring their own experience to it.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eGordon Grdina- guitar, oud\u003c\/strong\u003e\r\n\u003cstrong\u003eOscar Noriega - alto sax, clarinet, bass clarinet\u003c\/strong\u003e\r\n\u003cstrong\u003eRuss Lossing- piano, rhodes\u003c\/strong\u003e\r\n\u003cstrong\u003eSatoshi Takeishi - drums\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56740767859012,"sku":"SGL16242-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740767891780,"sku":"SGL16242-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740767924548,"sku":"SGL16242-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740767957316,"sku":"SGL16242-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740767990084,"sku":"SGL16242-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740768022852,"sku":"SGL16242-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz \/ 2ch Stereo","offer_id":57342927208772,"sku":"SGL16242-5","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16242.jpg?v=1778499034"},{"product_id":"sgl16012-aves","title":"Aves","description":"\u003cspan data-sheets-root=\"1\"\u003eThe \u003cstrong\u003e\u003cem\u003eAves\u003c\/em\u003e\u003c\/strong\u003e project came about when Ken Pickering, the late artistic director of the Vancouver International Jazz Festival, programmed a duo concert at the 2011 festival. Clarinetist \u003cstrong\u003eFrançois Houle\u003c\/strong\u003e, based in Vancouver for almost 25 years then but originally from the Montreal area, and pianist \u003cstrong\u003eHåvard Wiik\u003c\/strong\u003e, Norwegian but living in Berlin, had performed together before a few times, but this was their first program as a duo. They both brought new compositions to the project, as well as playing a number of free pieces and one by pianist Benoît Delbecq. The result, according to Pickering, is “an incredible set of music, a triumph”.\u003c\/span\u003e\r\n\r\nWhat’s unique about this duo is partly the timbral qualities and partly the players’ different but compatible approaches to composing and improvising. Houle brings his arsenal of extended techniques, including slap tonguing (“Woodhoopoe”), flutter-tonguing, playing without a mouthpiece (“Ged’s Shadow”), and, in “Fallen Angel”, creating a melody softly shadowed a 12th below (this ‘duo tone’ is actually the fundamental with the 5th partial emphasized). But he uses these effects rather sparingly. Wiik’s often dynamic free\/modal approach brings out Houle’s melodic gifts to the full. Charged rhythmic interplay and subtle textural shadings further display their mutual understanding. As Houle puts it, “I felt, as I listened back to the session’s music, that there was this undercurrent of things unsaid, that we as musicians feed off of. A lot of fleeting shadows of ideas flying by, with the two of us trying to catch on to, play with, and release.” (“Ged’s Shadow” references Ursula Le Guin’s Earthsea trilogy and specifically his detached shadow that eerily stalks the young mage Ged\/Sparrowhawk.)\r\n\r\nAs for the clarinet-piano combination, there are only a few precedents in jazz, though many in classical music – what makes it so satisfying? François: \u003cem\u003e“Having had a serious training as a classical musician [M.M from Yale] my relationship to the piano is deep, having had to learn most of the traditional repertoire, as well as playing tons of chamber music. Timbre is key here. Both instruments are basically metal tagged to a wooden resonating chamber, so they blend well together. There are very few instances for sure: Kuhn Brothers, Jimmy Giuffre with Paul Bley. Most influential recordings I know have bass or drums in addition. But the duo format that really caught my ears was the long-term relationship of Steve Lacy with two very different pianists, Mal Waldron and Gil Evans. Both really shed light on different aspects of Lacy’s playing. What I like about playing with piano is how it re-contextualizes what you do melodically into a harmonic framework. It forces you to listen more closely to how you connect notes.” Håvard adds: “I’ve always felt that the instruments blend very well sonically, the clarinet takes up less sonic space than the saxophone which gives some more space for the piano. Not many pure clarinet-piano duos in the jazz-canon but some strong combinations, including Tony Scott and Bill Evans.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cstrong\u003eFrançois Houle, Clarinet\u003c\/strong\u003e\r\n\u003cstrong\u003eHåvard Wiik, Piano\u003c\/strong\u003e\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740875567428,"sku":"SGL16012-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740875600196,"sku":"SGL16012-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740875632964,"sku":"SGL16012-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740875665732,"sku":"SGL16012-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 176.4 kHz \/ 2ch Stereo","offer_id":56740875698500,"sku":"SGL16012-71","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342929830212,"sku":"SGL16012-14","price":23.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGL16012.jpg?v=1778499070"},{"product_id":"pwsgl16002-fun-house","title":"Fun House","description":"\u003cblockquote\u003eWhat is most striking about this session is the way that all six artists luxuriate in the ensemble’s collective sound and the spaces in between. There is a stunning sense of ambience around each note, and every wisp of melody is held in fragile suspension by each musician’s sensitive contribution. — Shaun Brady, Jazziz\u003c\/blockquote\u003e\r\n\u003cem\u003e\u003cstrong\u003eFun House\u003c\/strong\u003e\u003c\/em\u003e highlights the rare double-trio configuration is a ground-breaking encounter between jazz piano and the sonic resources of contemporary classical music, between American tradition and the European avant-garde, but above all between two fantastic pianists (coincidentally, both winners of the Grand Prix du Disque for jazz).\r\n\r\n\u003cstrong\u003eFred Hersch’s quest\u003c\/strong\u003e for absolute beauty and impeccable virtuosity have become legendary. \u003cstrong\u003eBenoît Delbecq \u003c\/strong\u003eis one of Europe’s most prominent jazz keyboardists; his compositions and elegant, complex improvisations build on John Cage’s prepared piano techniques. Add to this\u003cstrong\u003e Steve Argüelles\u003c\/strong\u003e’ stealthy ‘assistance and obstacles’ live sampling, and three of the most celebrated rhythm section players of today, and the result is a multi-faceted collaboration, with opportunities for various combinations of duos and trios as well as full-group interaction. The music has its moments of abstraction, its moonlit soundscapes such as “One is Several,” but also embraces a jazzier aesthetic, for example the Monkish\/Lacyish “Night for Day.”\r\n\r\nThe project was sparked in 2008 when Fred came to a New York gig Benoît was playing with the John Hébert Trio. They had only met once before but had been digging each other’s playing on record. Fred: \u003cem\u003e“The first time I listened to Pursuit I was completely mesmerized – it is an amazing project and it showed me that Benoît is a completely unique pianist, composer and conceptualist.”\u003c\/em\u003e Benoît: \u003cem\u003e“I had a few albums with Fred including Chicoutimi (with Michael Moore and Mark Helias) which had an immediate and very special effect on me: there was something in Fred’s playing I felt more connected to than ever. I’ve always so admired his rare musicianship and subtle touch and the rhythmicity in his playing.” Benoît came up with the idea of a double trio including his longtime collaborators Jean-Jacques Avenel and Argüelles, and Fred had a long history with Mark Helias and Gerry Hemingway. Benoît: “The personnel came very naturally. Everybody knew each other already. The first minutes of the first rehearsal I remember very precisely, they just showed we’d made a great choice! The music found its flow and freedom from the beginning.”\u003c\/em\u003e\r\n\r\nMost of Delbecq’s pieces here were written for the group. “I was imagining scenarios and road maps for each tune, although leaving a lot of space for everyone’s creativity. I believe I imagined it as a sextet, trying to find enough ideas to make the ideas blossom in an original way for each tune...And Steve’s electronics are always bringing something unexpected we react to.” (“Tide” is an Argüelles remix.) “Lonely Woman” was played as a duo encore one night and worked so well they decided to record it that way at the studio as the final track.\r\n\r\nThe recording took two days. Benoît: “Drums were in booths on the first day but we agreed it was important to record the whole thing once again the second day but this time all together in the same room. A big part of the record comes from day 2. Not that the music was less strong on day 1, simply the drummers felt less isolated and the music found itself even more easily in term of blending all together.” The pianos are somewhat panned in the mix (Hersch left, Delbecq right). Fred: “When I listened back for the first time to the recording, I was struck by both the similarities and the differences between us, especially regarding tone. But there were also places where I was not sure who was playing what! I think we stepped into each other’s musical\/pianistic world so well.” Benoît: “What makes us close at certain designated moments is that, I think, we have a related way of breathing inside the lines, or might I say between the lines…Every great player has a sense of dynamics of his\/her own – like, creativity in sounds and accents, in phrasing, in ways to play with time or silence. 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Trumpetist Brad Turner and reeds player Jon Bentley draw sound paintings on the acoustic-electric canvas of Gestrin, bassist André Lachance and percussionist Dylan van der Schyff. Audiophile Audition described the sonics as “super-clean, detailed and spatially located with great precision…’ear-stretching’.\"\u003c\/em\u003e\r\n\u003cem\u003e\u003cstrong\u003e- Mark Werlin, NativeDSD Music \u0026amp; AllAboutJazz\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cstrong\u003eChris Gestrin\u003c\/strong\u003e is a Vancouver-based pianist, keyboardist and composer who might occasionally put you in mind of Bill Evans or Keith Jarrett, if either of those masters were young today and equally at home with the acoustic and the electronic, jazz and ambient. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cem\u003e\u003cstrong\u003eStillpoint\u003c\/strong\u003e\u003c\/em\u003e was his first release on Songlines Recordings, and it stands as perhaps his most personal statement as a jazz-and-beyond composer-performer. His handpicked, versatile quintet, featuring trumpeter \u003cstrong\u003eBrad Turner\u003c\/strong\u003e and drummer \u003cstrong\u003eDylan van der Schyff\u003c\/strong\u003e, creates rich images in sound. From a tender solo piano improvisation to swirling group inventions, a musical narrative of almost cinematic sweep unfolds. Gestrin’s compositions range across jazz, experimental music, new age and world music for their ideas, but this is not “fusion” in any ordinary sense, there is too much originality and panache for that. The multi-channel remix opens on an imaginary environment that connoisseurs of surround sound, whether jazz fans or not, will surely appreciate.\u003c\/span\u003e\r\n\r\nBorn just outside Vancouver in 1972, Gestrin graduated from the Berklee College of Music in 1995 with a degree in film composition. He quickly became one of Vancouver’s busiest pianists, keyboardists, effects artists, and soundtrack composers, co-leading or performing in many bands of various kinds, from funk and soul jazz to less categorical combinations of jazz, fusion, ambient, and improv. His trio with bassist Andre Lachance and Dylan van der Schyff has been active since 1996.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eChris Gestrin - piano, synthesizers, sampler, electronics\u003c\/strong\u003e\r\n\u003cstrong\u003eBrad Turner - trumpet, flugelhorn, electronics\u003c\/strong\u003e\r\n\u003cstrong\u003eJon Bentley - tenor \u0026amp; soprano saxophone, bass clarinet, electronics\u003c\/strong\u003e\r\n\u003cstrong\u003eAndré Lachance - double bass\u003c\/strong\u003e\r\n\u003cstrong\u003eDylan van der Schyff - drums, percussion, electronics\u003c\/strong\u003e\r\n\u003cstrong\u003eJoseph ‘Pepe’ Danza - percussion (4)\u003c\/strong\u003e\r\n\u003cstrong\u003eDeanna Newton - voice (11)\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56741094818116,"sku":"SGLSA15402-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56741094850884,"sku":"SGLSA15402-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56741094883652,"sku":"SGLSA15402-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56741094916420,"sku":"SGLSA15402-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56741094949188,"sku":"SGLSA15402-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56741094981956,"sku":"SGLSA15402-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56741095014724,"sku":"SGLSA15402-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56741095047492,"sku":"SGLSA15402-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57342989500740,"sku":"SGLSA15402-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342989533508,"sku":"SGLSA15402S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342989566276,"sku":"SGLSA15402S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57342989599044,"sku":"SGLSA15402S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15402.jpg?v=1790642597"},{"product_id":"pwsgl16102-golden-state-ii","title":"Golden State II","description":"\u003cblockquote\u003e\n\u003cem\u003eChamber jazz that doesn’t take itself too seriously. A frontline of clarinetist Michael Moore (heard on NativeDSD’s 2021 album of the year “Amulet”) and virtuoso bassoonist Sara Schoenbeck, interacting with the deep bass of Mark Dresser and the animated drums of composer-leader Harris Eisenstadt, blend equal parts of angular improvisation, solid rhythmic grooves, and tight arrangements.\u003c\/em\u003e\r\n- Mark Werlin, NativeDSD \u0026amp; AllAboutJazz\u003c\/blockquote\u003e\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cem\u003e\u003cstrong\u003eGolden State II\u003c\/strong\u003e\u003c\/em\u003e is \u003cstrong\u003eHarris Eisenstadt’s\u003c\/strong\u003e second release with his \u003cstrong\u003eGolden State Quartet\u003c\/strong\u003e, featuring his wife and longest active musical partner \u003cstrong\u003eSara Schoenbeck\u003c\/strong\u003e on bassoon. It was recorded in concert at the 2014 Vancouver jazz festival, with \u003cstrong\u003eMichael Moore’s\u003c\/strong\u003e clarinet replacing Nicole Mitchell’s flute. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eAs before, the basic concept of the band is putting orchestral instruments in chamber and improvising contexts; influences include Eric Dolphy, Yusef Lateef, and the AACM, particularly Wadada Leo Smith, whom Harris studied with at CalArts, and Henry Threadgill. \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eBut there are also differences, as Harris points out: \u003cem\u003e“There’s something more straightforward about these songs. They mostly follow fairly conventional forms, even head-solos-head in some cases, though with quite open approaches to solo sections and written materials. As for my own playing, I think there’s a simplicity or an economy of style meant to fit the compositions.\" Somehow the feel is earthier, the music is a bit more grounded in jazz, and some of that has to do with Michael Moore. \"Michael has a beautiful, playful, lyrical style, a harmonically fluid style; a supremely natural way of playing melodically and harmonically and rhythmically all at the same time, all in such deep ways. He brings a wonderful sense of spontaneous ensemble interplay that I’ve always loved in his work with two long-standing groups, ICP Orchestra and Available Jelly. He really introduced his own sense of spontaneous orchestration to Golden State, which worked great.\"\u003c\/em\u003e\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eAs usual with Harris, the titles of the pieces have specific references. “The Arrangement of Unequal Things” is a quote from Richard Ford’s Canada referring to John Ruskin’s idea that composition is the arrangement of unequal things – in this case, “moving between duple and triple feels both in the written materials and as contrasting environments for clarinet and bassoon solos.” “Seven in Six” is a line in 7 on top of a longer line in 6, while “A Particularity with a Universal Resonance” is “three elegiac, meditative sections, and ultimately, a more uplifting strolling section that Michael solos on”; the title is taken from the obit for James Gandolfini in the NY Times. “A Kind of Resigned Indignation” is from the Times’ obit for Nora Ephron: “the solos and overall spirit are definitely indignant.” “Agency” is about “the ways in which each musician negotiates the composition in improvisatory ways.” “Gleaning” refers to “collecting leftover crops after a harvest, an apt reference to my compositional process. To glean also means to extract information. I supplied only so much information to the musicians; they extracted the information they needed and constantly re-cast the materials.”\u003c\/span\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cstrong\u003eMichael Moore, clarinet\u003c\/strong\u003e\r\n\u003cstrong\u003eSara Schoenbeck, bassoon\u003c\/strong\u003e\r\n\u003cstrong\u003eMark Dresser, contrabass\u003c\/strong\u003e\r\n\u003cstrong\u003eHarris Eisenstadt, drums\u003c\/strong\u003e\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 64 \/ 2ch Stereo","offer_id":56741100355908,"sku":"PWSGL16102-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56741100388676,"sku":"PWSGL16102-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56741100421444,"sku":"PWSGL16102-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56741100454212,"sku":"PWSGL16102-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56741100486980,"sku":"PWSGL16102-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56741100519748,"sku":"PWSGL16102-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":57343000707396,"sku":"PWSGL16102-7","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL16102.jpg?v=1790643836"},{"product_id":"sglsa15632-stories-to-tell","title":"Stories To Tell","description":"\u003cblockquote\u003e\n\u003cem\u003eA lively brew of world music, blues, rock, soul, and jazz ingredients, based on Celtic and West African song-forms, featuring top NY downtown players Marc Ribot (guitar) and Mat Maneri (viola).\u003c\/em\u003e\r\n- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\nAmerican drummer-bandleader \u003cstrong\u003eSean Noonan\u003c\/strong\u003e has described his \u003cstrong\u003eBrewed by Noon\u003c\/strong\u003e project as “tribal rhythms by an Irish griot” and added “My goal is to adapt folklore in a modern jazz context, merging storytelling and folk music from bardic and griot traditions.” The basic concept isn’t particularly novel in jazz: what happens when “wandering” folk melodies and grooves from different cultures are communally re-created through improvisation. But the ingredients, the brewing methods, and the spirit of the resulting music, are indeed different.\r\n\r\nRecuperating from a near-fatal car accident in 2003, Sean began developing a new project that would blend jazz-punk with west African folk music, and got together again with Senegalese bassist Thierno Camara, an old friend in whose Waaw Band he’d performed years before, to write some new tunes. The first Brewed by Noon album was released independently in 2005, a quartet featuring guitarist friends Aram Bajakian and Jon Madof. He expanded the range of possibilities for this second record by seeking out new collaborators: brilliant downtown jazzers Marc Ribot and Mat Maneri, percussionist Jim Pugliese, Malian vocalist Abdoulaye Diabaté (a griot or hereditary praise singer and younger brother of Kasse Mady Diabaté), as well as Irish gaelic folk\/rock singer Susan McKeown and classical and soul vocalist Dawn Padmore (herself of Liberian parentage). The music was created with the assistance of a commissioning grant from the American Composers Forum.\r\n\r\nThe stories Sean and his band tell in these 10 pieces are exceptionally diverse. There are elements of blues, rock, soul, jazz and improv in various combinations, adding in Celtic and west African song-forms, lyrics, melodic content and instrumental approaches, but all transformed in the process of development. From the funky metaphoric love song to a “Pineapple,” to moral fables about a lost baby elephant in “Esspi” and the presumptuous lord “Massana Cissé,” to the grinding out-rock\/jazz interplay of “Scabies” and the spooky hospital lullaby “Dr. Sleepytime,” to the Irish\/Malian duet “Noonbrews,” Stories to Tell kaleidoscopically refracts its participants’ cultures, talents and musical experiences into an ecstatic, intoxicating vision, one constantly supported by the energy and direction of Sean’s drumming. And New York, the symbolic melting pot where it all transpired, is paid homage to in the musical rollercoaster “NY.”\r\n\r\n\u003cem\u003e\u003cstrong\u003eStories To Tell\u003c\/strong\u003e\u003c\/em\u003e was creatively mixed to 5 Channel Surround Sound. Heard in that format, the often complex instrumental and vocal interplay stands out in great detail even as the listener is immersed in the music.\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eSean Noonan's Brewed by Noon\r\n\u003c\/strong\u003eSean Noonan, electro-acoustic drumset\r\nMarc Ribot, Aram Bajakian, Jon Madof, electric guitars\r\nMat Maneri, viola\r\nThierno Camara, electric bass, vocals (5), percussion\r\nAbdoulaye Diabaté, vocals (2, 3, 5)\r\nSusan McKeown, vocals (3)\r\nDawn Padmore, vocals (8)\r\nJim Pugliese, percussion\r\nThiokho Diagne, djembe\u003cstrong\u003e\r\n\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"DSD 128 \/ 2ch Stereo","offer_id":56741100650820,"sku":"SGLSA15632-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56741100683588,"sku":"SGLSA15632-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56741100716356,"sku":"SGLSA15632-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56741100749124,"sku":"SGLSA15632-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56741100781892,"sku":"SGLSA15632-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56741100814660,"sku":"SGLSA15632-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56741100847428,"sku":"SGLSA15632-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56741100880196,"sku":"SGLSA15632-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":57343000772932,"sku":"SGLSA15632-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57343000805700,"sku":"SGLSA15632S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57343000838468,"sku":"SGLSA15632S1517","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57343000871236,"sku":"SGLSA15632S1617","price":34.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15632.jpg?v=1778499683"},{"product_id":"sgl15252-ghost-of-electricity","title":"Ghost of Electricity","description":"\u003cblockquote\u003e\n\u003cem\u003eNotable players in the 1990s San Francisco Bay Area jazz scene, clarinetist Ben Goldberg and guitarist John Schott, backed by bassist Trevor Dunn and drummer Kenny Wollesen, developed a set of original compositions inspired by Schott’s interest in Mississippi blues, and Goldberg’s high regard for avant-garde jazz elder Steve Lacy. The spacious performance, with wide dynamics and a deep soundstage, was recorded by audiophile engineer Cookie Marenco (Windham Hill, Blue Coast) in analog.\u003c\/em\u003e\r\n- Mark Werlin, NativeDSD \u0026amp; All About Jazz\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003e\u003cstrong\u003eJunk Genius\u003c\/strong\u003e’s first record consisted of fractured, go-for-broke treatments of difficult bebop compositions. Five years later they returned with a different focus: original songs that sound as if they’d come from old field recordings, recovered artifacts inspiring a new oral tradition. Through hymns, stomps, hollers, and anarchic strum-alongs, \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\"\u003eJunk Genius trace the border regions between alternative jazz, improvisation, and the primal music of Dock Boggs, Son House, the Carter Family, the Georgia Sea Islands, work songs, and the Sacred Harp tradition. \u003cstrong\u003eBen Goldberg\u003c\/strong\u003e, \u003cstrong\u003eJohn Schott\u003c\/strong\u003e, \u003cstrong\u003eTrevor Dunn\u003c\/strong\u003e and \u003cstrong\u003eKenny Wollesen\u003c\/strong\u003e play together as one, and are beautifully recorded. But this is no exercise in nostalgia: while it moves the listener with the reverence of its melodies, the rhythmic feel is dynamic and unsettling and the overall tone of the record both liberating and tragic.\u003c\/span\u003e\r\n\r\nJohn Schott writes: \u003cem\u003e\u003cstrong\u003eGhost of Electricity\u003c\/strong\u003e is in some measure a commentary on American folk music, a catch-all label for the many musical traditions that spring from rural Southern cultures. We set ourselves the challenge of writing music that could almost have been passed along through oral tradition. We wanted to preserve the messy, knotted and tangled pictures the music presented us, and not prettify it or put quotation marks around it. We didn’t want to simplify or needlessly complicate.\u003c\/em\u003e\r\n\r\n\u003cem\u003eOur model for the personal transformation of folk song was Bob Dylan, whose song ‘Visions Of Johanna’ provides the title of our record. From the outset of his career Dylan had an uncanny feeling for the strange, off-balance world the old songs inhabit. He knew that the violence of the imagery, the Old Testament justice, and the naked expressions of desire present in the songs were all but underground in the conservative ’50s milieu from which he emerged. In our way we had attempted a similar re-claiming of the almost malevolent genius of bebop on our first record. Folk traditions have of course been used by jazz musicians before, memorably by Jimmy Giuffre, Ornette Coleman, and Albert Ayler. 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