On this 2001 album, Norwegian pianist/composer/producer Bugge Wesseltoft further refines his concept of 'the new conception of jazz'. Having started out playing stereotypically Nordic ECM-style jazz, Bugge (pronounced 'Boogie') formed the jazzland label and brought out several records in a new, experimental jazz style that fused elements of electronic music with traditional jazz instrumentation to excellent effect.
Stan Kenton could not and would not confine himself to only one category. His ensembles were musical hermaphrodites and his band was his instrument, on whose sound he worked with unusual instrumentation and above all with courageous arrangers, composers and idiosyncratic soloists. In 1972, after a break of several years, the Stan Kenton Orchestra went on tour through Europe. At this time Stan Kenton was preceded by his reputation as the legend of progressive jazz.
Jazz 4 All Seasons is a Compilation CD released in 1993, This compilation unites great artists like Wayne Henderson, Wilton Felder, Ronnie Laws, Chet Baker.
Piggybacking on 1992’s Invisible Storm, ECM maverick Edward Vesala returned with his organic collective, Sound & Fury, as our guide for Nordic Gallery. Vesala draws a thinner circle around his ensemble this time around, weaving inside it a dreamcatcher for communal freedom, as exemplified in the 11-minute “Bird In The High Room,” a menagerie of cymbals, muted horns, drums, and birdsong. The latter signals a luxuriant indulgence in the Vesala soundscape as winds and wings fall in line like a panel out of Where the Wild Things Are. Even the electric guitar whistles in its sibilant cage, avian heart unfolded. Field recordings continue to leave breadcrumb trail of “Fulflandia” on its way toward “The Quay of Meditative Future.” Harpist Iro Haarla’s veiled and omnipresent insistence turns arrival into departure as the music’s long-shadowed caravan cuts a line in the sand.
The liner notes for Barry Guy's extended composition/improvisation Folio (a printer's term for a piece of paper folded in half to create four pages) refer extensively to Nikolai Evreinov's 1912 play The Theatre of the Soul, in which three aspects of the soul are introduced by a pretentious professor who claims the Self as Trinity: Rational, Emotional, and Eternal (or subconscious). Performed a scant five years before the Russian Revolution and simultaneously as Freud's big exposition of the Id, the Ego, and the Superego, the play is one of those moments where history seems to be suggesting bits and pieces of itself. What that all has to with Guy's piece is ponderous at best and known only to Guy. Even Brian Lynch's liner essay is speculative and academic.