Bass Solo

Roscoe Mitchell - The Complete Remastered Recordings On Black Saint & Soul Note (2015) {9CD SET CAM Jazz BXS1036 rec 1977-1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.16 Gb | MP3 @320 -> 1.00 Gb
Full Artwork @ 600 dpi (png) -> 222 Mb | 5% repair rar
© 1977-95, 2015 CAM Jazz / Black Saint / Soul Note | BXS 1035
Jazz / Post Bop / Avant-Garde Jazz / Modern Creative / Progressive Jazz / Saxophone

THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz. A deep philological work, beginning with the original recordings on original master tapes, patiently integrally remastered paying strict attention to sound quality.

The keyword "Italy" and "Contrabass" is the eighth album of UNAMAS Label at Ohga Hall by Mr. Mick Sawaguchi (Sawaguchi Masaki). Giovanni Bottechni's "Violin & Contrabass + Grand Duo Concertante by five string players", a masterpiece of Italian baroque contrabass, It is a truly ambitious program that Rossini's string sonata No. 1 major in the formation of two violin, one cello, one contra bass, and the masterpiece of director Spielberg "Schindler's list main theme" with a contrabass solo…

Composer and pianist Carla Bley has been very consistent, if not exactly prolific, for most of her 40 years in jazz. When she and bassist/life partner Steve Swallow hired British saxophonist Andy Sheppard – then one of his country's young lions as both a composer and as a reedman – in 1989, they hired him on and he's been with the group ever since. The recorded evidence was heard on Sheppard's first appearance with Bley on the utterly beguiling Fleur Carnivore, and later on the fine trio recording Songs with Legs in 1995. Drummer Billy Drummond joined the unit as a permanent member in the early part of this century, and on 2004's Lost Chords debut, locked in with a unit that seemed to be evenly weighted all around.

Purcell and the majority of the British public were genuinely fond of Queen Mary, who with William replaced King James on the throne when he fled to the continent. London musicians breathed a collective sigh of relief at the Glorious Revolution and Purcell composed six of his finest Odes to honour his new Queen’s birthday.

The "cornetto" played on this CD, and in Germany almost exclusively during the Baroque era, was not the North Italian cornetto in G used by Monteverdi and played brilliantly today by Bruce Dickey and Doron Sherwin of Concerto Palatino. It was the stubby cornettino in C (with D as its lowest note), a ridiculously hard critter to play with any aplomb, about the length of an alto recorder and with a mouthpiece the size of a Dutch dime. Let me hasten to say that cornettinist Arno Paduch performs miracles, playing nicely in tune and pushing a sweet timbre through his wee beastie. The particular idiom of Italian cornetto playing, with its mesmerizing rapid ornamentation and divisional improvization, was long dead by Telemann's time, of course, and the only thing that separates Paduch's cornettino from an other obbligato instrument is its timbre, trumpet-like but softer and more vocal.

These are outstanding examples of Telemann's German style of composition, seen mostly in his chamber cantatas, which are on a par with Bach's. The orchestra of the Michaelstein Monastery Institute for Performance Practice has always specialized in the works of Telemann, and their familiarity with that repertoire serves them well; they play the stuff with confidence and grace. The four vocalists likewise are Bach-era specialists, and prove it with vigor. My only small criticism, and it's aesthetic rather than technical, is that I don't especially enjoy the sound of alto Henning Voss's voice per se. On the slower chorale-like movements, he sounds hollow to me. On the more exhuberant embellished passages, however, his superb athleticism justifies his role in the performance.

I distinctly remember the day that I became interested in music. Sure, I'd always enjoyed listening to the radio, but was never concerned with more than the top 40 hits. The summer after my junior year in high school (1980) however, my best friend Steve called me up and asked if I wanted his extra ticket for the upcoming Who concert. I knew that they played Pinball Wizard and, oh, that other song… so I said what the heck and went to my first concert. Now Steve told me they were good seats, but everyone always claims to have good seats.