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Herbie Hancock - Hear, O Israel: A Prayer Ceremony In Jazz (1968) {Jonny Records JBH025CD rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 212 Mb | MP3 @320 -> 91 Mb
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© 1968, 2008 Jonny Records / Trunk | JBH025CD
Jazz / Post Bop / Modal Music / Soul Jazz / Modern Creative

In 1965, encouraged by his rabbi, the 17-year-old Jonathan Klein wrote a selection of jazz themes for a Jewish Sabbath concert. Originally recorded in 1968 by an all-star cast of musicians that included Herbie Hancock, Thad Jones, and Ron Carter, the collection is a unique, free-flowing series of pieces that perfectly complement the accompanying Jewish Sabbath prayers, and provides a rare opportunity to hear these talented musicians performing in a unique setting that's at once creative and intensely devotional.

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.

Eugène Ysaÿe, a violin virtuoso admired by all his contemporaries, was an inheritor of what has justly been considered as the Belgian school of violin, whose ascendancy can be traced back to the beginning of the 19th century. His work as a composer, however, is much less well known today and it is this facet of his extraordinarily active life that we will explore here. He composed many different types of works; here we present his works for solo violin and orchestra, including two movements of violin concertos which are now available on record for the first time, and his chamber music. A great champion of the music of his time, Ysaÿe gave the first performances of a great number of works, many of which were dedicated to him as well as having been commissioned by him; the most well-known of these pieces are also included here. This fascinating boxed set from the Queen Elisabeth Music Chapel is a fine example of the work of this important musical institution: it features the Chapel’s masters and the young soloists who trained there alongside two Belgian orchestras of international renown.

The longtime lead vocalist for Krautrock pioneers Can, Kenji "Damo" Suzuki was born in Japan on January 16, 1950. An expatriate street poet inspired by Jack Kerouac's On the Road, he spent the better part of the late 1960s wandering through Europe, and while busking outside a cafe in Munich in May of 1970 was discovered by Can members Holger Czukay and Jaki Liebezeit; asked to replace the group's former frontman Malcolm Mooney, Suzuki joined them onstage that very night, making his recorded debut later that same year on the LP Soundtracks. With Suzuki in the lineup, Can produced its most enduring and innovative work, including classic LPs like 1971's Tago Mago, 1972's Ege Bamayasi and 1973's Future Days; however, upon completing work on the latter, he left the band to become a Jehovah's Witness. Absent from music for a decade, in 1983 Suzuki began showing up unannounced to perform at shows by the band Dunkelziffer, eventually joining the group full-time and recording a pair of LPs; in 1998, he founded the Damo's Network label, issuing a series of live recordings including V.E.R.N.I.S.S.A.G.E., Seattle and the seven-CD box set P.R.O.M.I.S.E..