In recent years London has become an epicenter for experimental, visionary jazz. On this unique session, two of the finest exponents of the London jazz scene, Tamar Osborn and Al MacSween, join forces with members of the celebrated Danish psychedelic underground – Jonas Munk, Jakob Skøtt and Martin Rude – to create a heady sonic brew. On this first volume of material there’s everything one could hope for in such a collaboration: sonically it summons the free flowing euphoria of Alice Coltrane and Pharoah Sanders’ work in the late 1960s and early 1970s. But there’s also a focus on rhythmic energy and vitality that calls to mind the grooviest krautrock or electric period Miles Davis, as well as a healthy dose of electronic experiments.
This is a quite extraordinary achievement. Not the least of its merits is that it leaves you loving the music as never before. The orchestra gives splendid support and the sound is warm and ingratiating.
First recognized as the dance duo behind the club hits "Stakker" (as Humanoid) and "Papua New Guinea," Future Sound of London later became one of the most acclaimed and respected international experimental ambient groups, incorporating elements of techno, classical, jazz, hip-hop, electro, industrial, and dub into expansive, sample-heavy tracks, often exquisitely produced and usually without easy precursor.
Notoriously enigmatic and often disdainful of the press, the group's Garry Cobain and Brian Dougans worked their future-is-now aesthetic into a variety of different fields, including film and video, 2- and 3-D computer graphics and animation, the Internet, radio broadcast, and, of course, recorded music…
Wonderful Playlist Lounge Chill out!
Lennox Berkeley wrote his Piano Concerto in B flat major in 1947–48 for his loyal interpreter Colin Horsley, who gave the first performance in the Royal Albert Hall in London. The solo part combines a good deal of bravura writing, including several passages of double octaves, with simple, lyrical melodies, sometimes over a Chopin-like arpeggio accompaniment and sometimes played by the two hands in octaves.
A convert to Roman Catholicism in his mid-twenties, Berkeley composed a good deal of music for worship, as well as several concert works on sacred or devotional texts. Among the best known of the latter is …….
"…Hickox's set has achieved the status of a classic for Britten recordings." ~sa-cd.net
"…Hickox's set has achieved the status of a classic for Britten recordings." ~sa-cd.net