Graham Haynes

Born in Sapporo, Japan in 1954, Yuko Fujiyama started playing piano at the age of four. But it wasn’t until a summer morning in 1980 standing on a sidewalk in New York’s East Village that she found her calling; someone was playing a Cecil Taylor tape and she was transfixed by the piano sounds. That someone was Taylor’s drummer, Jerome Cooper, and that moment opened a door for her to the abstract beauty of music. She has been “looking for musical structures” ever since. “Recently, I’ve been trying to be free from a feeling of linear time. This album, Night Wave, is the result of my long search.” Joining her in this quest are three esteemed fellow travelers in the art of improvisation: percussionist Susie Ibarra, violinist Jennifer Choi, and cornet/flugelhornist Graham Haynes: “It was a joy to play with these beautiful musicians. I appreciate Susie for her earthy but sensitive sound, Jennifer for her beautiful melodies, and Graham for his simple and rich expressions.” .

Bill Dixon - Tapestries For Small Orchestra (2009) [2CD+DVD] {Farehouse 12}
XLD rip | FLAC+CUE+LOG -> 498 Mb | MP3 @320 -> 260 Mb
DVD5 -> 3,23 Gb | All Regions | NTSC 4:3 | LinearPCM, 2 ch | ~ 90m | ISO Image
Full Artwork @ 300 dpi (jpg) -> 32 Mb
© 2009 Firehouse 12 Records / Bill Dixon | FH12-04-03-008
Jazz / Avant-Garde Jazz / Trumpet

Tapestries for Small Orchestra, eminent trumpeter/composer Bill Dixon's new multi-disc set, includes two audio CDs of specially commissioned original music plus a documentary film featuring exclusive interviews and session footage (DVD available only with physical release). Made possible in part by a grant from the LEF Foundation's Contemporary Work Fund and the support of the Festival of New Trumpet Music, this project thoroughly documents the three-day recording session at Firehouse 12's state of the art recording studio, offering unprecedented access into Dixon's creative process.

François Couperin’s period of pre-eminence falls neatly between those of Lully and Rameau, whose rising reputations have rather overshadowed his in recent years. Yet Couperin produced some splendid music: for example, the elegant Nouveaux concerts, written for chamber concerts at the French court and published in 1724 under the title Les goûts réunis (referring to their mixture of French and Italian styles). This reissue comprises eight of the ten Nouveaux concerts in accomplished period performances from 1972 and 1974. While the leisurely tempi and restrained playing now give the recording a somewhat dated air, the music largely retains its capacity to charm.