Pandapendu L'ete

Orchestre National De Jazz & Claude Barthélemy - Admirabelamour (2003) {Label Bleu LBLC 6659}
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© 2003 Label Bleu | LBLC 6659
Jazz / Modern Big Band / Progressive Jazz

Guitarist Barthelemy has spent much of his career working with orchestras, both jazz and classical, and on this album he teams up again with the 13-piece Orchestre National De Jazz. Stylistically various, the programme here ranges from wild free-form to tightly arranged passages, sometimes in pastiche mood. This is exciting, exploratory Euro-jazz.

Alain Pinsolle - Chtarbmusique (2011) {Terrones Impro08 rec 2002}
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© 2002, 2011 Terrones | Impro 08
Jazz / Contemporary Jazz / Vibes / Saxophone

Alain Pinsolle is a vibraphonist, pianist, accordionist, percussionist, improviser and French composer. For several years, he has directed a quartet of musicians performing a music infused with modern jazz that he named "Chtarbmusique". It is a combination of total improvisation and harmonic structure, melodic and organized rhythm that proposes a dimension of verbal and visual poetics, an attempt between the reflective and the spontaneous.

The chamber cantata flourished in Italy as a counterpart to public opera and oratorio, cultivated by aristocratic patrons for their personal enjoyment. Perhaps because of its essentially private origins, this pervasive Baroque form remains little known today. During his years in Italy (1706-1710), George Frideric Handel composed nearly 100 cantatas for a series of important patrons, but they have tended to be passed over in favour of his larger operas, oratorios, concertos and orchestral suites.

With much of Handel’s mature work now well represented on CD, his less familiar early music is proving increasingly popular fare. The 100 or so chamber cantatas he wrote during his four years in Italy (1706-10) are a particularly rich resource. Dramatically striking, instrumentally adventurous and blessed with a profusion of glorious tunes, these cantatas are brimful with the sunny exuberance of a young composer delighted to show off his talents. Deborah York, best-known for her work with Philippe Herreweghe and Robert King, has chosen four suitably diverse pieces.

The convent of St Francis in Assisi is a place of pilgrimage and the founding location of the Franciscan order. In the baroque period novices hoping to enter the order were trained in music, and there is a long musical tradition there. Most of the performances here are world premiere recordings of baroque vocal compositions from the library of the convent of St Francis in Assisi. All the vocal pieces are for soprano solo (combined with solo alto in Finale's `Oh Quam Jubilat'), and it is thought that the solos may have been sung by young men. Here they are taken by very fine female singers, and the accompanying ensemble is made up of top players.

Jochen Kowalski is one of the most charismatic and successful male altos of our time and has built up an unusually and wide-ranging and extensive repertoire. It is the dramatic quality of his voice which makes it special.