Born in Argentina to an American father and Irish mother, guitarist Dominic Miller was raised in the U.S. from age 10 and then educated there and in England. Now he lives in France, though he has toured the globe for the past three decades. Aptly, Silent Light Miller’s ECM debut, featuring him solo and with percussion accompaniment has a very international feel, with the Latin influence strong in such pieces as “Baden” (dedicated to Brazilian guitarist-composer Baden Powell). “Le Pont” has an early 20th-century Parisian air, while “Valium” evokes Celtic tunes in the vein of Bert Jansch and “Fields of Gold” is a hushed instrumental take on one of Sting’s best-known ballads.
Described by producer Shu-Fang Wang as "an imaginary soundtrack originally composed for a film story set in Taipei," Before the Light gives the music of ECM recording artist Ketil Bjørnstad a cinematic twist. For this album, the pianist has written a handful of romantic melodies and atmospheric moods. The former are presented in different arrangements scattered throughout the album; the latter often include guitar soundscapes and programmed rhythm tracks. Bjørnstad is accompanied by guitarist Eivind Aarset, viola player Nora Taksdal, and keyboardist Kjetil Bjerkestrand. Each one of these short pieces (none over six minutes) makes a melodic statement that could be qualified as being quintessential ECM. .
Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads.
Pour son quatrième album, le guitariste maltais basé à Paris développe, à la tête d’un groupe multiculturel, un ensemble de compositions qui challenge le jeu tout en n’excluant ni la douceur, ni le sens de l’espace. Soliste de la ligne claire, d’une articulation qui ne souffre aucune imprécision, Sandro Zerafa parvient à capter et restituer dans son art une sorte de lumière : celle qui révèle les beautés du monde et éclaire nos âmes sensibles par la musique. « More Light », et l’on en a bien besoin.
This delightful release, from the Indian Summer of Bernard Herrmann's recording career, always got neglected by its potential audiences, ignored by Herrmann's fans in favor of his recordings of his film music or his own classical compositions (or more conventionally familiar works such as The Planets) and missed totally by jazz listeners of a historical bent. The material contained herein is distinctly symphonic or – perhaps more accurately – concert hall jazz, the work of established composers coming to grips with and using the then-new music in their own idiom…
The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety…
For Monk fans, these Mo-Fis are must-haves. Wow! After releasing so many mediocre rock albums, Mobile Fidelity came through with not one but TWO shiny gold CDs by the enigmatic, lovable Thelonious Monk (accompanied in these live recordings by Charlie Rouse on sax, John Ore on bass, and Frank Dunlop on drums)….