The name of this project references Marcel Proust’s “In Search of Lost Time”, but that doesn’t prepare us for the music played on “Stille”. Orquesta del Tiempo Perdido is a wildly eclectic, ‘post- everything’ explosion, taking on aspects of contemporary classical music, jazz, experimental electro- acoustic, math-rock, pop, non-Western folklore, exotica and vaudeville. The points of reference are deftly approached on their own terms, and re-contextualised in impossible composites.
To celebrate Jimmy Haslip’s Grammy win for the Grammy’s 2017 brings a celebrate music sale offer to all the fans of the great bassist around the world. Follow the links bellow , listen to the music and enjoy the promo offer allowing you getting those files for such a great price!
Born in Serbia in the late seventies, and resident of Barcelona, Spain, since the beginning of the century, Dusan Jevtovic has recorded with Tony Levin, Gary Husband, Asaf Sirkis, Vasil Hadzimanov, Marko Djordjevic, Xavi Reija, Bernat Hernandez, Markus Reuter and many others. The recipe for the music, as described by Dusan, is – an amalgam of the improvisational approach associated with jazz, coupled with the sensibility of the great Jimmy Hendrix, with the hint of Serbian ethnic folklore – creates a eclectic mix well worth a
Every solo album with a horn is a difficult task, and that’s the reason why so few are released on record or played on the stage. No-one else is there to give you cues, to challenge you: your creativity and your technical skills are the only resources available. Or so it seems, because in a solo situation you’re duelling with two presences:
Hugh Masekela, the legendary South African jazz musician, has died aged 78. I am feeling so blessed that I had a time and chance to go and enjoy his most recent performances in the UK. Given his vitality and the steam going out of the stage I wouldn’t even think about that we can be loosing him so soon forever.
Here cones a challenge with this interpretation. Truth Glenn Miller fans might risk dying of the heart palpitation if getting exposed to the tracks for longer when those who are dedicated fans of the Scandinavian band would probably shrug with disbelieving. Or just smile ready for fun. Whatever sort of fun is is going to be, forget the ballroom and leave your Tuxedo at home or you might risk getting it ragged.
Originally released in January 1980, the second album from (Crammed founder) Marc Hollander’s band was more intense and experimental than Aksak Maboul’s debut album yet often as playful. Containing complex written sections, free improv, and a wild variety of elements, Bandits was recorded with a band comprising revered UK musicians Fred Frith & Chris Cutler, and is described by All Music Guide as “a pinnacle of the RIO movement” (RIO being Rock In Opposition, the late-‘70s radical, pan-European coalition of bands, of which Aksak Maboul was part). The album reached #3 in the NME’s top ten European albums of 1980 (afterYello and The Nits, before Steve Reich and Faust!).
For 20 years Rune Grammofon have made a habit of releasing music that is beyond easy classification, in later years typified by Swedish trio Fire!, consisting of Mats Gustafsson, Johan Berthling and Andreas Werliin. All three are highly accomplished musicians, but Fire! music is not “difficult” in the sense that jazz and especially free jazz is often perceived. Very much a tight knit unit with three equal players, Fire! has been likened to powerful guitar led trios such as Cream and The Jimi Hendrix Experience, but with Berthling´s heavy, doom laden bass-lines being such a typical identifier, we can´t help but thinking of Black Sabbath´s debut album when it comes to hypnotic impact.
Norwegian guitarist/composer Kim Myhr’s follow-up to the acclaimed ‘Bloom’ presents an oceanic immersion in intensely saturated sound over two separate ‘sides’ featuring guest drummers Tony Buck (The Necks), Ingar Zach (Huntsville, Dans les Arbres) and Hans Hulbaekmo (Atomic, Moskus, Broen)
The Erlend Apneseth Trio’s first album, Det Andre Rommet, earned glowing praise in Norway and abroad, and received both a Norwegian Folk Music Award in the open category and a nomination for Spellemannsprisen (the Norwegian Grammy). The BBC Music Magazine gave it the highest possible rating, and wrote: “The diversity of moods, styles, settings – and the track sequence – make for an enthralling listen.” MOJO praised the trio’s “close, intuitive compositions groaning, roiling and clattering with a raw exploratory life, creating a wild new strain of Norwegian folk tunes that move, appropriately, from sun-dappled utopianism to the bleakest noir netherworld.” Now the trio is returning with a masterly, poetic and surprising album where the musicians sound more cohesive than ever.