During the second half of the 19th century, a French school of trumpet playing was established, with French musicians and composers at the forefront of the instrument’s musical and technical development. As a result, it was entrusted with a more prominent role within the orchestra and soon also as a solo instrument. On the present disc, Håkan Hardenberger – who like so many other leading trumpet players studied in Paris – presents some of the fruits of this development: five important French works composed between 1944 and 1977. With the support of the Royal Stockholm Philharmonic Orchestra and conductor Fabien Gabel – who incidentally began his career as a trumpet player – he opens the disc with Henri Tomasi’s Trumpet Concerto. Often performed and recorded, it here appears on disc for the first time with its original, longer ending, reconstructed from a newly discovered manuscript.
The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest ngers of jazz seem to dance weightlessly along the wooden bridge; yearning, ligree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly de nable as the sound of a classical music instrument. Then the sound under the scorpion-like hands irresistibly swells. Payton Crossley gently caresses the cymbal, and Jimmy Green, the „new member“ on the tenor saxophone as well as pianist Renee Rosnes push the chorus onto the nely crocheted rhythm cover. “With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet‘s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song.
Recent winners of BBC Jazz Awards International artists of the year awards, EST are that rare thing in jazz; a band with a true cult following. Renowned as re-inventors of the piano trio their music has increasingly found its own form and its own sonic world. On December 10, 2000 Stockholm´s famous Nalen rockclub was the setting of a concert of the Swedish trio e.s.t. (Esbjörn Svensson Trio) that has been captured for this DVD.
Orfeus Barock Stockholm is the debut album of a Swedish group that goes by the same name. The fantastic new release contains pieces by Johann Sebastian Bach and his second son, Carl Philipp Emanuel Bach. Orfeus Barock Stockholm was founded in 2015 by some baroque loving members of the Royal Stockholm Philharmonic Orchestra and has grown to be an important part of the music life of Stockholm and a meeting point for some of the leading baroque musicians of Sweden. Performing on period instruments, the group ́s repertoire ranges from early 17th century to master pieces by Händel, Bach and Vivaldi yet a special focus lies in bringing forth less known masters, as composers included in the so called Düben-collection.
Three CD live archive release from the Jazz great. John Coltrane embarked on an ambitious European tour with his classic quartet in 1962. Fortunately, a number of these performances were recorded. This release presents the two complete concerts given by the group at the Konserthuset, in Stockholm, Sweden, on November 19, 1962. This is the first time that these two shows are presented in their entirety and on a single set. The sound quality is good in both sets and, although some titles are repeated, Trane and his band are heard here at the pinnacle of their genius. Includes 16-page booklet.
As maiden symphonies go Alfred Schnittke’s First is a hugely ambitious enterprise. Scored for a large orchestra – including quadruple woodwinds, guitars, several saxophones and a number of soloists - it can seem intimidating at first. Indeed, hearing the clamour of bells at the start and the chaos that precedes the conductor’s arrival on stage you may well be tempted to switch off. But stay your hand, for this is a polystylistic masterpiece that assimilates a range of genres and periods in a remarkably organic way. Not only that, Schnittke uses his soloists and groups thereof in highly imaginative ways; all of which makes for a glorious kaleidoscope of sound and colour.