Jacques Loussier Mozart

This doesn't really work, but Jacques Loussier's attempt to make Mozart work as jazz is sufficiently complex enough to make you ask, as you're hearing it, why it isn't working, and maybe that's a worthwhile thing. As the liner notes point out, it is most often Bach among classical composers whose music has served as the basis for jazz experiments. Mozart-jazz is much rarer.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.

Perhaps more of an advocate for contemporary music than any other major pianist essentially rooted in traditional repertory, Maurizio Pollini was born in Milan, Italy. He learned quickly and was given piano lessons from Carlo Lonati from an early age, making his public debut at the age of nine. Enrolling in the Milan Conservatory, he studied with Carlo Vidusso. In 1957 he performed a recital of Chopin etudes in Milan that drew favorable attention from the national Italian press. He won a second prize in the 1958 Geneva Competition. Embarking on further studies with Arturo Benedetto Michelangeli, he won first prize in the Warsaw Chopin competition in 1960…

IN+OUT Records has unearthed another treasure of Eugen Cicero: „Lullabies“, a trio studio recording from 1995 with Decebal Badila on bass and Ringo Hirth on drums. This album was originally only released for the Japanese market and is now available for the first time.

No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.