Interiores 2011 07 Pdf

Bassist Ben Williams' 2011 solo debut, State of Art, is a thoughtful contemporary and post-bop-leaning album that finds the winner of the 2009 Thelonious Monk International Jazz Competition delving into several original tunes and successful pop covers. Williams is an adroit improviser with a fluid, muscular approach to the upright - as well as the electric - bass, and he showcases all of his skills here along with his ear for unexpected covers and lively originals. Tracks like the roiling, Latin-infused number "November," featuring guitarist Matthew Stevens, and the high-energy, frenetic "Mr. Dynamite" are ear-popping straight-ahead jazz moments, while the hip-hop jazz cut "The Lee Morgan Story," featuring MC/vocalist John Robinson, brings to mind such '90s innovators as Gang Starr and A Tribe Called Quest…

From the very first note Rea and Boltro prove themselves to be excellent lyricists. The first piece of the album, Monteverdi’s "Lasciatemi morire", sounds like a soundtrack of a Sergio Leone film. On most of the pieces Boltro trumpet has a classical, pure sound, which occasionally resembles a Bach trumpet ("Sinfonia dal Barbiere di Siviglia" by Rossini). Rea presents himself as a pianist with highly virtuoso touch and outstanding subtlety.
Despite the respect for the opera classics that is evident throughout the entire album, there is also lots of space for musical innovation. Being two of the most creative improvisers of the scene, Rea and Boltro constantly come up with exciting rhythmic variations. Classical music and jazz merge into one another, without ever sounding contrived or unnatural…

"My name is Christopher von Deylen - and I am Schiller." At some point during every Schiller concert, von Deylen speaks these ten words and the crowd goes wild. Schiller’s ethereal “global pop”, as his fans and the press have coined the style, gives the listener a feeling of floating in a dream world. Inspired by electronic classics such as Tangerine Dream, Kraftwerk, and Jean-Michel Jarre, von Deylen is known for creating visionary sounds that are way ahead of their time.
"Timeline: The Very Best of 1998-2011" looks back on Schiller’s accomplishments through the years as it chronicles the best and most important songs of Schiller’s career - compiling noteworthy tracks from prior albums such as Zeitgeist, Voyage, Day and Night, and Desire. Guest artists include Nadia Ali, Colbie Caillat, Chinese pianist Lang Lang, Indonesian-French artist Anggun, and more.

A tough cop is dispatched to take down a serial killer who has been targeting police officers.

Jazz has always had a certain fascination for the moon. After love, it is one of the more common topics for jazz standards, and for Nils Landgren is no exception. For some time he has planned a ballad album as a sequel to his highly successful "Sentimental Journey", which according to the newspaper Die Welt "stole the hearts of the audience".
These songs include jazz standards, such as Henry Mancini’s "Moon River" or Herbie Hancock’s "Stars in Your Eyes", as well as folk and pop songs like Kris Kristofferson’s "Please Don’t Tell Me How The Story Ends" or "Moonshadow" by Cat Stevens, and he also includes South American song by Kurt Weill called "Holofotes" alongside his own compositions. As such, "The Moon, the Stars and You" has grown into a concept album with a whole spectrum of different moods - meditative, longing, occasionally funky yet continuously inspired and swinging.

In 2009, together with Moroccan oud and guembri virtuoso Majid Bekkas and Spanish percussionist Ramon Lopez, Joachim Kühn recorded "Out of the Desert", the follow-up to their celebrated debut "Kalimba" which was described as "pure magic" (Jazzthetik). "Out of the Desert", praised for its "previously unheard sound" (Kulturspiegel) went on to win the German Record Critics Award. It was this "desert jazz", which culminated in 2011 with the powerfully organic and incredibly intense "Chalaba", that Stötzler suggested that Kühn transpose this to a greater dimension, that the trio’s African inspired improvisations should fuse with the diverse sound repertoire of the big band. Kühn was immediately taken with the idea of playing with the Frankfurter big band because, as he says, "they put their whole heart and soul in it"…