Avery cd

Revered producer and composer Daniel Avery releases his most ambitious and accomplished studio album to date, Ultra Truth, via Phantasy Sound.

In the beginning there was John Coltrane. Teodross Avery experienced an epiphany at 13 when he first heard Trane’s “Giant Steps.” He emerged in the mid-1990s with two critically hailed releases for GRP/Impulse! Avery’s long and productive journey has taken him down many musical paths, from gigs with jazz legends and hip hop stars to sessions with NEA Jazz Masters and platinum pop albums. With his Tompkins Square label debut After The Rain: A Night for Coltrane, Avery has found his way back home, reasserting himself as a supremely eloquent exponent of the post-Trane jazz continuum.​

Daniel Avery returns with his third full-length album, Love + Light, a surprise release out now via Phantasy worldwide and Phantasy/Mute in the United States and Canada on all digital platforms, with ethereal artwork taken from an image by Avery’s tour photographer Keffer.

George Frideric Handel lavished particular attention on the contralto or mezzo-soprano roles in his operas and oratorios throughout the years. What better way to celebrate the lush arias that Handel composed for his contralto stars than with Avery Amereau—described by The New York Times as "an extraordinary American alto on the rise"—alongside Handelian scholar Nicholas McGegan and Philharmonia Baroque Orchestra. Featuring virtuosic, passionate, stirring arias throughout Handel's composing career—from his early Aci, Galatea e Polifemo (1708) to his later Alcina (1735)—this recording brings to life the incredible music once sung by Nicolini, Senesino, and Carestini. This debut album by Amereau marks the last recording of Nicholas McGegan at the helm of PBO.

German composer Matthias Spahlinger (b. 1944) scored his Farben der Frühe (Colors of Morning) for the unusual, if not unique, ensemble of seven pianos. It's impossible to know the composer's motivation for limiting a work whose subject is "color" to the single color of the piano, but apparently it proved to be a daunting task, because it took eight years to complete. The six-movement, 45-minute piece falls squarely into the tradition of European modernism, with a spiky tonal language and loads of rhythmic complexity.

German composer Matthias Spahlinger (b. 1944) scored his Farben der Frühe (Colors of Morning) for the unusual, if not unique, ensemble of seven pianos. It's impossible to know the composer's motivation for limiting a work whose subject is "color" to the single color of the piano, but apparently it proved to be a daunting task, because it took eight years to complete. The six-movement, 45-minute piece falls squarely into the tradition of European modernism, with a spiky tonal language and loads of rhythmic complexity.