Launched ten years ago by the saxo player Pierre Bertrand and the trumpeteer Nicolas Folmer, the Paris Jazz Big Band is extremely famous on the French Jazz scene with many awards like the Victoires du Jazz and Django d’Or. It has been mostly recognized for its creative repertoire and the orchestra has performed with prestigious singers like Diana Krall; Johnny Griffin, Richard Galliano or Michel Legrand. The aim of this new repertoire « Source(s) » was to follow the tracks of culture an d music from Africa, South Mediterranea and Latin America.
Nikolai Borisovich Obukhov (Nicolas Obouhow) (1892–1954) was a modernist and mystic Russian composer, active mainly in France. An avant-garde figure who took as his point of departure the late music of Scriabin, he fled Russia along with his family after the Bolshevik Revolution, settling in Paris. His music is notable for its religious mysticism, its unusual notation, its use of an idiosyncratic 12-tone chromatic language, and its pioneering use of electronic musical instruments in the era of their earliest development.
Au départ, une passion, une envie et un besoin de faire passer la musique dans son plus simple appareil ou par la subtile complexité des émotions. Les INTENTIONS parfois pleines de TENSIONS mais toujours INTENSES, sont le moteur même de la vision artistique de Nicolas Viccaro.
Cette nouvelle formation en quartet offre à Nicolas plus de liberté d’improvisations, détail qui a son importance lorsque l’on travaille avec un artiste comme Joe, personnage fantasque, virtuose et imprévisible. La musique oscille entre swing, bop et modal. Les influences se promènent entre Dexter Gordon et Sonny Rollins pour le ténor et Charlie Parker et Jackie Mc Lean pour l’alto.
Through the combination of sacred and profane that she embodies, the profoundly human personality of Mary Magdalene greatly inspired artists of the Baroque era, whether painters, poets or composers. It was in the sphere of influence of Italian oratorios, highly prized at the court of Vienna, that Antonio Bertali devoted a most moving sepolcro to her in 1663, a genre traditionally played during Holy Week. In 1617, in Mantua, it was in the form of theatrical interludes that she was honoured by court composers such as Salomone Rossi, Muzio Effrem and Claudio Monteverdi, who wrote the prologue for this other Maddalena.
The music of Flemish composer Nicolas Gombert (accent it like "Dilbert"), active in the first generation after Josquin in the 1530s and 1540s, has remained almost completely untouched by the growth in audience enthusiasm for Renaissance music in recent years. Is this because, according to one of those music-historical sidelights reproduced in the notes here, Gombert was once fired from a job for committing "gross indecency" with a choirboy? More likely it's the relatively unchanging texture of his unaccompanied choral music; although it is far from inexpressive, it is quite dense. His language is derived from that of his mentor Josquin, but there are no high-relief points of imitation to grab onto, no moments of lucidity. It's sort of a Renaissance wall of sound, dark-colored, but with flashes of intense red and blue.