On this compilation of award-winning studio recordings and passionate live performances, guitarist and composer Friedemann takes the listener through that magnificent musical scenery which he has cultivated so expertly over the last three decades. But on the way from the 1980s to 2008 there are also some previously unreleased tracks to be discovered.
Recorded live at the Dalton Center Recital Hall at Western Michigan University. The stellar band for the occasion was comprised of pianist Ellis Marsalis, bassist Reginald Veal, and drummer Ralph Peterson. From the thrilling opening crawl through 'Tin Roof Blues' to a strutting 'Sesame Street Theme' with some plunger mute magic all the way to the appropriately nostalgic 'Do You Know What It Means To Miss New Orleans' closer, this recording gives the listener a glimpse of the captivating, real and true soul and spirit of Delfeayo Marsalis.
Once upon a time there was a young folk singer who left his home in a small town in Alemannia and set out into the world to seek his fortune.« That more or less is the beginning of the story of Friedemann, who eventually, in the mid-nineties, three decades later, returned to his home at the foot of the Black Forest. A lot has happened in that time. The young lad has turned into a cosmopolitan man in touch with his home roots, a guitarist and composer, father of two daughters, music publisher, producer, businessman and… storyteller.
Monumental! Lavishly conceived, superlative 15-CD Boxset with 160-page (French, English) booklet, a dream come true!!!! François Bayle's itinerary spans over five decades through which music was able to renovate its material through a sensible use of technology. The terms of Musique Concrète, Electroacoustics or Acousmatics, as conveniently proposed by François Bayle, ultimately explore a similar artistic approach: a creative and expressive work on recorded sound. This last half-century saw many major technical mutations and François Bayle - in the fertile context of the Grm seized the right opportunities, often initiating them through his function as director, so as to renovate and update creativity to serve what he called the Light Speed Sound.
No, this CD is not a »best of« collection, nor is it a collection of Friedemann's greatest hits. Here Friedemann, guitarist, composer and producer, looks back on a wide variety of memories from the past three decades of his career as a musician, without sinking into self-indulgent nostalgia or just rehashing old, well-known recordings. He has searched through his private tape archive and selected a few previously unreleased tracks to document his career and development as a musician from his first performance in 1967. He looked up some of his old fellow musicians such as Bonnie Dobson, Anne Haigis, Davic Moses or Klaus Weiland, and in 1996 he wrote and recorded a number of new tracks with them.
The compositions herein are performed by two of the famed Charles Mingus Jazz Workshop groups and they are considered among his best recorded works. These 1954 recordings represent the grass roots from where all the innovative forms and expressions of tomorrows jazz conceived by Mingus really began. From then on, Mingus became the most influential composer and bassist of various generations in jazz history. After its first date, he said about the improvised interplay between every instrument: I feel that it is usually impossible to attempt such delicacies with musicians who do not enjoy the unusual freedom or understand the thought of the leading instrument. Teo Macero, John LaPorta, George Barrow and Mal Waldron, of course, are just as responsible as I am for the final construction.