Le témoignage exceptionnel du Navy SEAL aux 400 missions de combat qui a éliminé Ben Laden. …
The harmonic version of this piece was completed in 1963 and the current melodic version, played here by The Theatre of Eternal Music Brass Ensemble led by composer-performer Ben Neill, was created in 1984. Like Harry Partch, Ben Johnston and others, Young is known for basing his compositions on alternative tunings, especially "The Well-Tuned Piano" (1964-81), and "The Tortoise, His Dreams and Journeys" (1964-present). In this recorded realization, 8 trumpets with Harmon mutes provide an amazing recreation of the title's sonic experience as they play long sustained tones that beat against each other on four pitches in frequency ratios (of the complete quadrad 18/17/16/12) which "can be isolated in the harmonic structures of the sounds of power plants and telephone poles".
A collection of ambient breakbeat and soundtrack-influenced rock, Offbeat is an appropriately titled left-field venture of the Red Hot + Blue benefit series. Included are tracks from "alternative" acts like Soul Coughing, My Bloody Valentine, Spookey Ruben, Barry Adamson and Laika, plus more dancefloor-oriented producers like Skylab, DJ Krush, Meat Beat Manifesto, Moby, DJ Spooky and others. As can usually be counted on, this edition in the Red Hot series is a must for fans of the music, and an easy recommendation as an important starting point for neophytes.
Two of the most memorable albums from the trip-hop and acid jazz era are by cornettist Graham Haynes (Transition) and trumpeter Ben Neill (Goldbug). Dressing for Pleasure preceeded them both. Usually, an adjective like "suave" doesn't sit easily on an ethnomusicologist whose knack for directness is grounded by his sense of beauty; neither does a label like "acid jazz." But this is Hassell's only album to fit its musical moment, following his appearance on the soundtrack of the crime film Trespass. The feel of a fully committed band is especially amazing – Hassell and drummer Brain work with an army of bassists (six, including Flea of the Red Hot Chili Peppers) and enough programmers (three) to field a dot com startup on a coffee break. Hassell's horn flits through a sexy blend of trip-hop's hard drum programs topped with soft, impassive electronic textures like a bird circling over a crowded intersection. Woodwind player Kenny Garrett and guitarist Gregg Arreguin provide thematic voices, too, but melody is rarely enough in this genre.
David Krakauer is a clarinetist of astonishing virtuosity whose dual commitment to both upholding and exploding tradition has taken Klezmer to places we've never dreamed possible. A former member of the Klezmatics, Krakauer was featured on a recent album by the Kronos Quartet. This second CD for Tzadik pays tribute to one of the greatest clarinet soloists in jazz: pioneer Sidney Bechet. In this extended, multi faceted suite, the Krakauer trio explores the hidden connections between Bechet and Klezmer giant Naftule Brandwein - inspired in part by Bechet's legendary and incredibly rare performance of "My Yiddish Momma." Klezmer, NY is Krakauer's BECHET JESURUN, and is sure to both delight and raise more than a few eyebrows.
Composer, flutist and conductor, Petr Kotik was born in 1942 in Prague and educated at the Prague Conservatory, the Prague Music Academy, and the Vienna Music Academy. He has been living in the United States since 1969 where he founded the S.E.M. Ensemble in 1970, devoted to the performance of new music.
After the success of For ever Fortune, early music from Scotland, François Lazarevitch continues his exploration of the ‘Celtic’ repertories with a new programme devoted to early Irish music. This repertory of old airs from the seventeenth and eighteenth centuries consists of dances, songs in Gaelic and varied instrumental pieces: they tell tales of wars, of love, of strong drink and tobacco, of children and bards. A leading specialist in the flute and bagpipe families, François Lazarevitch opens out new horizons of colours and sounds. He has gathered around him here a number of distinguished performers of early music (including the fabulous Baroque violinist and fiddler David Greenberg) and invited the American tenor Robert Getchell, who cuts a very credible figure as a singer going back to his roots.