Zebley

Yusef Lateef, Adam Rudolph, Go: Organic Orchestra - In the Garden (2003) {Meta Digital Download, Bandcamp 16-44.1 rel 2018}
FLAC (tracks) - 16bit/44kHz - Official Digital Download (bandcamp.com) -> 604 Mb | MP3 @320 -> 242 Mb | Cover | 5% repair rar
© 2003, 2018 Meta Records | YAL 008
Jazz / Progressive Jazz / Creative Music / Experimental / Percussion

For this, the third concert recording of Go: Organic Orchestra, artistic director Adam Rudolph has reunited with longtime collaborator and mentor Yusef Lateef. Rudolph conducts the orchestra in an improvisational process, utilizing themes and cues he and Lateef have composed. From these compositional modules, Rudolph spontaneously constructs the sonic environments with which the soloists interact.

Noëlle Spieth (Solstice, record 1990-2003): the inescapable reference, with recordings that have matured over 13 years, thanks to a courageous independent label. Under the agile fingers of Noëlle Spieth, an incessant kaleidoscope of multicolored images unfolds, as the artist approaches Couperin as a painter. Never the enigmatic titles of each piece will have borne their names as well, real sketches on the spot, affectionate or ironic, without ever malice. The key word of Noëlle Spieth is movement and contrast. Alternately capable of brushing teeming storms, of approaching movements in the luthed style with emotion and modesty, the harpsichordist moves and surprises each note.

Adam Rudolph - Go: Organic Orchestra 1 (2001) {Meta Records 006 rel 2016}
FLAC (tracks) - 16bit/44.1kHz - Digital Download (bandcamp.com) -> 464 Mb | MP3 @320 -> 163 Mb | Cover | 5% repair rar
© 2001, 2016 Meta Records | META 006
Jazz / Creative Music / Post Bop / Progressive Jazz / Percussion

Go: Organic Orchestra is a 21st century vision of a "future orchestra". Artistic director Adam Rudolph's prototypical approach to composing and improvisational conducting embraces music forms and cosmologies from around the world. Using a non-linear score with his unique approach to rhythm as the seed material, Rudolph improvisationally conducts the musicians in concert. This creates spontaneous orchestrations which serve as both context and inspiration for the musicians improvisational dialogue.

Jordi Savall & Le Concert des Nations - Le Concert Spirituel: Au temps de Louis XV (2010) {Alia Vox AVSA 9877}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 432 Mb | MP3 @320 -> 181 Mb
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© 2010 Alia Vox | AVSA 9877
Classical / Chamber Music / Baroque

Le Concert Spirituel was essentially a Parisian concert series held at the Tuileries Palace, begun in 1725 as an opportunity for musical performances during Lent and other Holy Days when secular musical activities like opera were forbidden. The concerts continued until 1790, just after the beginning of the French Revolution. The music of French composers filled most of the programs, but German and Italian music was occasionally heard, and this CD includes five pieces by Corelli, Telemann, and Rameau that were known to have been played at the concerts. Jordi Savall and Le Concert des Nations, one of the many stellar ensembles he is responsible for founding, play these works with such surging vibrancy that anyone who thinks of the Baroque as a period of stiff formality would be disabused of that notion on hearing these performances.

Pygmalion is, perhaps, Rameau's most consistently alluring ac/c de ballet whose overture, at least, was greatly admired in the composer's lifetime. There have been three earlier commercial recordings of which only the most recent, on Deutsche Harmonia Mundi, is currently available. Pygmalion was Rameau's second ac/c de ballet and it contains affecting and vigorous music in the composer's richest vein. The action takes place in Pygmalion's studio. Captivated by the appearance of the statue he has just completed, Pygmalion, legendary King of Cyprus, falls in love with it.

The present recording of the Piano Concertos KV 466 & 467 is the starting point for the complete collection of Mozart piano concertos to be issued by the label Accent. Arthur Schoonderwoerd, in great demand as a hammerklavier performer, and his ensemble Cristofori play on authentic instruments of the period or modern reproductions. The string parts in the orchestral accompaniment are played by only one musician per part, producing a slender, transparent tone which supports the hammerklavier without ever dominating its fine tone.