#morninglistening to #Debussy’s late #chambermusic on @harmoniamundi / @pias_usa
w/@QueyrasJG et al.
Excellent supplements for the Debussy centenary boxes from DG & Warner! That said, these pieces are some of the hardest to wrap my head around, as regards Debussy. I rarely outright enjoy them.
#classicalcdcollection # #
#morninglistening to #Debussy’s late #chambermusic on @harmoniamundi / @pias_usa
With the full programme confirmed for this year’s EFG London Jazz Festival, which runs from 16 to 25 November, it’s the festival’s huge number of free concerts that are set to tempt in the wider public, with a dizzying range of international music, live radio broadcasts, panel discussions and workshops on offer. Heading up the myriad European musicians appearing are 15 of the brightest young stars in the Italian jazz firmament (Barbican Free Stage, 17 and 18 Nov, as well as at a special free concert at the Italian Cultural Institute, Belgravia on 19 Nov). These include silken-voiced guitarist/singer Simona Severini (above right) and piano soloist Giovanni Guidi, swing-influenced rockers Clock’s Pointer Dance, sonic architects Yellow Squeeds and the groove-led Drive!, as well as a guest appearance by elder statesman, saxophonist Francesco Bearzatti. Elsewhere the Next Generation Takes Over programme features two full days of performances from emerging young UK jazz talent (Clore Ballroom, 24-25 Nov).
Acclaimed keyboardist Kit Downes performs spellbinding ambient organ soundscapes at a special free matinee show with saxophonist Tom Challenger (1pm, RFH, 23 Nov), with Nordic keys man Sigbjørn Apeland providing another idiosyncratic take on the ‘organ recital’ with his first-time collaboration with keyboardist Danalogue (The Comet is Coming/Soccer 96) and saxophonist Helen Papaioannou at the Union Chapel (12pm, 17 Nov).
Another Southbank free-show highlight comes from tuba-man Andy Grappy, who leads a small army of young brass players in the foyer of the Queen Elizabeth Hall, under the banner of James Reese Europe Marches, in tribute to the inspirational wartime bandleader (6.45pm, 18 Nov). An equally uplifting sound is sure to come from the combined forces of high-energy Vula Viel gyil player Bex Burch, leading UK saxophonist Jason Yarde and Ghanaian master percussionist Afla Sackey, who perform as Mwalimu Express for some intense Afro-jazz grooves (2.30pm, Rich Mix, 18 Nov).
Something a little more chilled comes courtesy of alto saxophonist Martin Speake who leads his new project, Charukesi, featuring Alyson Cawley (tenor/clarinet), Rob Luft (guitar) and Will Glaser (drums/perc) (2.30pm, Cadogan Hall, 19 Nov). Pizza Express Jazz Club opens its doors for two free lunchtime gigs from a pair of Serious ‘Take Five’ alumni, with gigs from exciting latin-jazz influenced pianist Al MacSween (1pm, 22 Nov) and fiery guitar virtuoso Ant Law (above left, 1pm, 19 Nov).
Among the numerous talks and workshops at the festival, Jazzworks presents a day of discussions and shared insight for everyone working in, or interested in working in, the music industry (Level 5, Southbank Centre, 24 Nov), with a series of showcase performances in the Clore Ballroom from undergraduate jazz musicians. There’s also the danceable Chicago X London night, which sees UK saxophonist Nubya Garcia and US drummer Makaya McCraven (top centre) unite for an evening of free-flowing, forward thinking jazz and beats (EartH, Hackney Arts Centre, 24 Nov).
Other significant concert hall gigs include a stellar Jazz Cubano triple-bill, with Alfredo Rodriguez, Omar Sosa and Arturo O’Farrill (Barbican, 23 Nov); the heavyweight Dave Douglas UPLIFT band with Bill Laswell and Mary Halvorson (QEH, 16 Nov); Hammond hero James Taylor Quartet‘s cinematic ‘Electric Black’ show (Cadogan Hall, 21 Nov) and visceral Chicagoan trumpeter Jaimie Branch‘s two nights at Cafe OTO (21-22 Nov).
And fans of jazz photography should keep an eye out for works by renowned jazz snapper William Ellis, with his ‘The One LP Project’ on display in the main foyer at Cadogan Hall during the festival. Prints from his ‘Miles and Beyond’ show – featuring images of Dizzy Gillespie, Dee Dee Bridgewater, Nancy Wilson, Kurt Elling, Herbie Hancock and many more – will be on display at Omnibus Theatre, Clapham Common North Side from 16 to 28 November.
All these events join those previously listed in Jazzwise, who is festival media partner.
– Mike Flynn
For full listings and tickets visit www.efglondonjazzfestival.org.uk
Our second webinar is here! And we’re beyond ecstatic to share what you can expect from this new chance to step up your Discogs sales game.
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U.S.-based sellers, join us for this webinar to learn more about Discogs Shipping labels and how they can help your business.
One of our Marketplace experts will host our second webinar to guide you through using Discogs Shipping labels and will provide clear advice on how you can start using them to save money and time.
We want to provide all our Sellers with the tools to thrive at Discogs. Hope to see you all there!
Save the date: Wednesday, November 28, 10:00 AM PST
The post U.S. WEBINAR: How To Save Time And Money With Discogs Shipping Labels appeared first on Discogs Blog.
You can’t go wrong with any of these nine gems! From the many shades of blue to rockabilly, New Orleans tradition and forgotten R’n’B gems from long-ago and far-away, the nine CDs here represent the kind of joyousness you won’t find on commercial radio. Dig a little deeper, though, than what is spoon-fed you by the corporations, and you’ll discover a world of action-packed emotion.
The post The Many Shades Of Blue Plus New Orleans Tradition, Imaginative Jazz and Rare ’50s R’n’B appeared first on Goldmine Magazine.
There is already a sense of excitement in the air as opener Vels Trio‘s drummer Dougal Taylor brings their set of elegantly hip Hancock-esque minimal fusion to a simmering boil. This gig in the low-ceilinged Komedia basement sold out long ago – evidence of a far-sighted booking policy by joint promoters Dictionary Pudding and Brighton Alternative Jazz Festival. The Sons of Kemet themselves take to the stage without introduction and take it to the top without delay; Tom Skinner and Eddie Hicks kick off a thunderous double-drum bashment, while Shabaka Hutchings preaches above, spitting out short incandescent phrases in a hoarse tone like a furious Junior Walker, and Theon Cross prowls the stage with detached self-possession and floppy hipster hat. He looks as cool as it’s possible for a man carrying a tuba, thoroughly reclaiming the instrument from it’s association with the likes of Danny Kaye and Harold Bishop and reinventing it as a source of low-frequency wub. Shabaka leans into the attack, forcing out shrill notes with his entire body, then flashing a massive grin as he and Cross negotiate a long, complex unison.
Club grooves, Afro-beat, rave and festival vibes all combine into one 90-minute long workout, each piece blending into the next. The sheer stamina is intoxicating, with sweat and spit flying across the stage. Hutchings and Cross function effectively as co-leaders over the relentless, even chaotic double-assault of the drummers, Hutchings pumping out riffs as Cross breaks out into squeals and bass-bin shaking low-end bombs; their unison lines have a telepathic accuracy that shows the effects of heavy touring. A loping 12/8 groove builds into a pounding Afro-jig; a slow nyabinghi rhythm invites Cross to drop down low with some sub-bass that draws roars from the crowd; then the tempo shoots back up again.
Shabaka’s playing is built up from nagging two- and three-note motifs, repeated over and over, driving the energy ever upwards; it’s all about rhythm and groove, and those after melody or varied expression should probably look elsewhere. There’s a foot-on-the-monitor solo for Cross that provides an oasis of respite from the intensity, and a crescendo of echt free-time blowing for the alternative jazz crowd, but the majority here have come to dance, or at least sway and nod heads. The demographic is a typical Brighton mix of older hipsters, young students and assorted free-thinkers, and they are all ears when Hutchings finally addresses them with an unexpected foray into critical theory. “The first thing that oppressed communities lose is the ability to create their own histories,” he states, after the cheering dies down, before launching into a disquisition upon the power of ‘myth’ that would have provided useful material for any third-year students of Barthes. Then, switching off his mic and associated pedals, he moves to the front of the stage. The drummers take up the nyabinghi groove again, but this time softly, as Cross joins in on Agogo, and Hutchings freestyles over the top, in a hushed, mellow tone, full of melody and reflective yearning, as the room remains in absolute silence. It’s a magical moment that acts as a coda to, and helps contextualise and resolve, all the sound and fury that went before.
Sons Of Kemet have truly broken out of the jazz box with a message for the people – long may they continue to spread the word.
– Eddie Myer
– Photos by Lisa Wormsley
Donald Macleod marks 350 years since the birth of François Couperin, one of France’s most dazzling musical talents.
Donald begins by leading us through a gallery of the musical portraits that Couperin composed – depicting his contemporaries Lully and Corelli, his aristocratic patrons, and well-known mythological figures. Next, he delves into Couperin’s extraordinary musical family tree, boasting a long line of 7 Couperins who served as organist of St Gervais in Paris. Throughout his glittering career at court, Francois Couperin maintained a loyal connection with his family church and dedicated several works for liturgical use there. We also hear about Couperin’s time in the court of Louis XIV – as the Sun King’s composer, writing music for the Versailles Chapel and court entertainment, but also as royal harpsichord tutor. Finally, Donald examines how Couperin embraced the new musical idioms emerging from other countries, and in particular introduced Italian flavours to his native French style.
L’Apothéose de Corelli
La Princesse de Sens
Arianne consolée par Bacchus
Regina coeli laetare, Alleluia
Louis Couperin: Five Fantasies
Pange lingua en basse
Quatre versets du motet
Armand-Louis Couperin: Simphonie de clavecins, in D major
La Fleurie ou la tendre Nanette
Les plaisirs de Saint Germain en Laye
Domine salvum fac regem
Messe pour les couvents (Gloria)
Les Nations (La Francois)
Messe pour les paroisses (Agnus Dei)
L’Art de toucher le clavecin
Respice in me
Concert Royaux (Premier Concert)
Pieces de violes avec la basse chifree (Deuxième Suite)
Les Gouts-reunis ou Nouveaux Concerts (Cinquième Concert)
Quatrième livre de Pieces de clavecin, Vingt-troisième ordre
Presenter: Donald Macleod
Producer: Luke Whitlock for BBC Wales
For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Francois Couperin : https://ift.tt/2yZz6Rl
And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: https://ift.tt/2vwHS8q