It's hard to imagine that a group as bottom-heavy as percussionist Pierre Favre's new ensemble could actually sound light and ethereal. But Fleuve does just that. With a septet featuring two basses, tuba/serpent, percussion and, at times, bass clarinet, there's no shortage of warmth and depth. But with guitar, harp and soprano saxophone fleshing out the middle and top end, Fleuve manages to have both weight and an airy ambience that works, in no small part, due to Favre's carefully crafted compositions and the kind of sonic transparency that's long been a defining aspect of the ECM aesthetic.
This previously unreleased concert recording from 1980 presents a special confluence in the development of free jazz as a wholly international language, with trumpeter Don Cherry and his personal evolution at the centre of the music.
ECM made history in 1984 with the release of Tabula rasa, the first of the jazz label’s equally influential New Series. Not only did this beloved recording introduce many to the music of Arvo Pärt, but it also clarified producer Manfred Eicher’s classical roots and fed into the likeminded sensibilities Eicher was then bringing with increasing confidence to his groundbreaking approach to jazz. It is therefore appropriate that Pärt, the imprint’s shining star, should be represented here more than any other composer or performer.
Collecting five CDs for about the price of three, this set of Boulez recordings is without parallel among the conductor's new-music releases. Imagine getting Boulez's celebrated single CD of Luciano Berio's Sinfonia and Eindrücke and his equally impressive single CD of Arnold Schoenberg's Pelleas und Melisande and Variations for Orchestra, bundled with four pivotal Elliott Carter works, Sir Harrison Birtwistle's electrifying …AGM…, Gérard Grisey's Modulations, Iannis Xenakis's Jalons, Hugues Dufourt's Antiphysis, and Brian Ferneyhough's Funerailles, and you have an idea how far this set stretches.
Bach’s Goldberg Variations have played a central role in harpsichordist Pierre Hantai’s musical life since his early youth. At 28 he recorded the work for the Opus 111 label (now available on Naïve), a highly acclaimed release that stands among the work’s choice versions. Over the past 11 years Hantai evidently has rethought and refined his interpretation, as revealed in this 2003 remake. There’s greater rhythmic freedom and variety of articulation, plus a more subjective approach to ornaments and agogics, especially in the repeats (he observes all but those in Variation 15, 25, and the Aria Da Capo; the 1992 recording honors all repeats save for Variation 25). Variations previously characterized through Hantai’s seamless legato technique (Nos. 3, 6, 8, 11, 17, and 18, for example) are further enlivened by detaché finger strokes and more inflected phrasings. The latter infuse Variations 7, 10, and 16 with greater resilience and rhythmic verve than their earlier counterparts.
Sixty-five years since Pierre Fournier first recorded for Decca, DG is proud to celebrate the artistry of this most distinguished of cellists and his wealth of recordings for Deutsche Grammophon, Decca and Philips – presented here together for the very first time in this 25-CD box set!
Excellent addition to any prog rock music collection.
Gabriel Yacoub, for all that he has done as a solo artist, is still best known and remembered for his pioneering work with the group malicorne, who played electric folk music from France.