Agorà

With their highly anticipated album "Hotel Tango" Trio Agora invites us on a journey through the history and development of the tango. From its roots to its manifold manifestations worldwide, the trio presents tango as a unique mixture of European, South American and African idioms. With arrangements and dedicated compositions, the trio explores the genre from a personal perspective. Look forward to a reimagined version of Astor Piazzolla's "Las cuatro estaciones porteñas," works of Stravinsky, Gardel, Ravel, Ginastera and more.

With her latest album, Viola Borealis, violist Marina Thibeault explores the musical links between several northern cultures. From the 2016 concerto by Latvian composer Pēteris Vasks to solo works by Anishinaabe composer Melody McKiver to the very first viola concerto—composed around 1716 by Telemann—the elections on this album showcase the spellbinding talent of Thibeault, who is joined by Orchestre de l’Agora under Nicolas Ellis.

Agorà came to life in 1974 in the province of Ancona, from the ashes of a band called Oz Master Magnus Ltd. The name of the band refers to a central public space in ancient Greek city-states and the literal meaning of the word is gathering place or assembly. The first line up featured Roberto Bacchiocchi (keyboards, vocals), Ovidio Urbani (sax), Renato Gasparini (guitar, vocals), Paolo Colafrancesco (bass, vocals) and Mauro Mencaroni (drums, vocals), all in love with jazz rock and influenced by bands such as Weather Report and Perigeo. Thanks to a good live activity and to a manager who spotted them, in 1975 they had the chance to play live at the Montreux Jazz Festival and signed a deal with Atlantic Records…

Fennesz - Agora (2019) {Touch Music TO:115}
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© 2019 Touch Music | TO:115
Electronic / Experimental / Acoustic / Noise / Abstract / Glitch / Electroacoustic

Christian Fennesz made Agora in his flat after losing access to his proper studio. He recorded everything through headphones, and didn't go through the trouble of connecting every piece of equipment he owned. Understandably, the result isn't quite as intricately detailed as previous works like Venice or Bécs, but it brings to mind Moodymann's famous dictum that "it ain't what you got, it's what you do with what you have." These four compositions have a hazy quality which most likely would have been scrubbed away in a state-of-the-art studio, and they feel much more exploratory than his usual studio work, edging toward the improvisational spirit of his live performances and collaborations.

Brazilian-born percussionist Paulinho Da Costa's first album as a leader is very much an album of its era, for good and bad. Da Costa is the preeminent Brazilian percussionist of his time, and his kinetic grooves, built on a variety of traditional Afro-Cuban percussion instruments, power these six lengthy workouts. Indeed, on the hypnotic "Terra," his percussion is nearly the only instrument. However, the rest of this album tends toward standard mid-'70s jazz-funk.