The historic meeting of two truly influential and individual composers, arrangers, and instrumentalists on The Long March. The album appeared in 1979 on Swiss label Hat Hut. This date pairs Max Roach and Archie Shepp playing both solo and as a duo for one night in 1979 at the Willisau Jazz Festival. Roach's truly astonishing solo "J.C. Moses" is a tribute to Detroit jazz great J.C. Heard. The kinds of rimshots, trap stops and starts, and continuous rolling thunder take the breath away and make the listener wonder if this is really only one drummer. Next up is Shepp's solo tenor reading of Duke Ellington's "Sophisticated Lady," where he coaxes all the ballad's idiosyncrasies and fluidly combines them with his new jazz flourishes, without once disrespecting the integrity of the original.
Improvisation assumes a fresh experience, an unfamiliarity with what is to come, a disruption of expectations. How much more intense and disorienting the experience becomes in the music of Markus Eichenberger and Daniel Studer. Each one has an impressive résumé of musical adventures, but as a duo their music expresses special qualities and asks challenging questions. Suspended offers no customary structures, no consistent prototypes; the titles are not instructions, illustrations, or explanations. Manipulating an abstract dialect of sounds, many of them in the grey area between recognizable pitch and expressive noise, they initiate a system of relationships that allows – requires – the listener to participate in the spontaneous search for meaning.
There is a tendency to see jazz performance divided between uptempo numbers and ballads, but Adkins is perhaps concerned with something different, a thoughtful, alert, observant gait – Henry David Thoreau preferred to talk about ‘sauntering’ – that offers the player a new relationship with his surroundings. Adkins’ immediate surroundings are familiar enough, the group he unveiled on a previous hatOLOGY 660 recording Rotator; only the bassist is a newcomer. Saxophone, piano, bass fiddle and drums – nothing new there, one might think. Except that Adkins does propose a new relationship between the constituent elements…These themes invite the listener to join the company, take a stroll, ‘let him be drawn by the attractions of the terrain’ and the encounters he might find there. We walk. We listen. We’ll hear.
The ‘warm voice’ of the viola has long been associated with pioneering British performers such as Lionel Tertis, for whom Vaughan Williams wrote his tuneful and elegantly crafted ‘Suite.’ Tertis famously rejected the score of Walton’s ‘Viola Concerto,’ but instantly regretted his decision on hearing its lyrical warmth and piquant blend of delicacy and bite at the premiere performed by Paul Hindemith. Howells’s somber but noble ‘Elegy’ is a memorial for a student colleague killed in action during World War I. Hailed as “one of the world’s greatest violists” (American Record Guide), Helen Callus continues to captivate audiences with her lyrical tone, technical command, and profound artistry. She is a sought-after recitalist, chamber musician, and concerto soloists. She has performed with such world-class ensembles as the Tokyo and Juilliard String Quartets, the BBC Concert Orchestra, and delighted audiences across the world. She is an award-winning recording artist and her seven releases have been met with the highest critical acclaim.
Andalousie, juin 1553 – Le couvent de Las Golondrinas est menacé par l’Inquisition. L’abbesse et les sœurs n’ont aucun doute sur le sort qui leur est réservé et mettent tout en œuvre pour sauver cinq de leurs orphelines ainsi qu’un médaillon, bien le plus précieux de leur ordre. …