Shaolin Nicolas Errera

The concept of freedom in music relates to many things. Bassist/composer Clovis Nicolas didn’t eschew formal jazz harmony and rhythm in the search for freedom but found a measure of added purpose and space for his bass playing in a chord-less band format without piano or guitar. Freedom Suite Ensuite is a recording of Nicolas’s efforts in this formation and a tribute to the musician who exemplifies playing free within a form, saxophone great Sonny Rollins.

Piano is Philip Glass’ primary instrument (he also studied violin and flute); he composes at the keyboard. With its seemingly contradictory elements of lyricism and percussiveness, it is in some ways the ideal medium for Glass’ musical language. With its deep roots in tradition (spanning the Classical, Romantic and Modern eras), the instrument embodies the composer’s desire to merge new ideas with classic forms. It is perhaps via piano (and, by extension, keyboard) that performers and listeners can make the most direct and personal contact with Glass’ musical genius. Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists. Known for his boundary-less musical explorations, Horvath is an enthusiastic promoter of contemporary music. He has commissioned numerous works and collaborated with leading contemporary composers from around the world including Philip Glass.

Nicolas Masson's acquaintance with his fellow quartet travelers Colin Vallon, Patrice Moret and Lionel Friedli goes back roughly two decades - in this time the players have developed an intimate musical bond, expressed purely and beautifully on Renaissance, the group's second recording for ECM after 2018's Travelers. Comprised exclusively of originals by the Swiss saxophonist and one collective improvisation, the album's spotlight shifts between contrasting moods and shapes, capturing the venturesome leader stretching his compositional muscle in evocative interplay with his colleagues. The band is in a searching spirit on rubato exercises like the expressive "Tremolo" or the ambient "Tumbleweeds", mathematical on the more cerebral cuts like "Renaissance", but always operate with a lyrical disposition at heart, as heard elsewhere on the record and with a particularly gripping melodiousness on "Anemona".

Né le 6 octobre 1949 à Rennes, Nicolas Peyrac, de son vrai nom Jean-Jacques Tazartez, grandit au sein d’une famille de médecins. Peu enthousiasmé par des cours de musique fort peu rock 'n' roll, le futur Nicolas a néanmoins la fibre musicale et se passionne pour Ferré et Brel.

Auteur d'un premier album enregistré en 2011 en solo intitulé Pawana, Damien Groleau, pianiste-flûtiste-compositeur, s'essaye à l'art délicat du trio sur son album Jump finalisé en janvier 2015. Signalé sur la pochette, le musicien souhaite respecter "sans truquage" les conditions d'un live : il nous livre un album enregistré sur le vif, respectant la spontanéité et les envies du trio sur le moment. Accompagné par Sylvain Dubrez à la contrebasse et Nicolas Grupp à la batterie, la contrainte posée par Damien Groleau se vérifie aisément. Les musiciens sont en parfaite symbiose sonore.

Lorsqu'Alexandre Courtès et Marc Teissier du Cros m'ont proposé de composer la musique de la série « Au service de la France », il s'agissait de rendre hommage aux musiques de séries télévisées des années 60, et spécifiquement à celles narrant les aventures d'agents secrets telles que « Mission impossible ». Comment refuser ?

Nicolas Masson's acquaintance with his fellow quartet travelers Colin Vallon, Patrice Moret and Lionel Friedli goes back roughly two decades - in this time the players have developed an intimate musical bond, expressed purely and beautifully on Renaissance, the group's second recording for ECM after 2018's Travelers. Comprised exclusively of originals by the Swiss saxophonist and one collective improvisation, the album's spotlight shifts between contrasting moods and shapes, capturing the venturesome leader stretching his compositional muscle in evocative interplay with his colleagues. The band is in a searching spirit on rubato exercises like the expressive "Tremolo" or the ambient "Tumbleweeds", mathematical on the more cerebral cuts like "Renaissance", but always operate with a lyrical disposition at heart, as heard elsewhere on the record and with a particularly gripping melodiousness on "Anemona".

Christophe Rousset leads his ensemble Les Talens Lyriques, a chamber choir and a large cast of soloists on the first recording in over 40 years of the one act comic opera Uthal by Étienne Nicolas Méhul. The French Romantic composer conceived the work as the musical translation of the Scottish fog and replaced the orchestra's violins with violas to lend a darker sound. This large-scale production was staged and recorded at the Château de Versailles in May 2015.