• 

  Live to Love Love to Live

  LIVE TO LOVE, LOVE TO LIVE: This latest offering features the incredible musical talents of Ron Velosky on acoustic and electric basses, guitarists B.D. Lenz and Steve Girardi, and multi-instrumentalist Dave Edwards on piano, violin and electric and acoustic basses. Rounding out the group is composer Greg Federico on keyboards, drum kit, and percussion. Thirteen soulful musical portraits are beautifully arranged and performed in a generous program lasting over a satisfying 77 minutes! This recording features 9 compositions by Federico, 2 by B.D. Lenz, and 1 each by Steve Girardi and Ron Velosky. Says Federico: 'This record represents the highest level of writing, arranging and performing I've ever been associated with.' What the press have said about 'Live to Love, Love To Live': 'Federico's 'Live To Love, Love To Live'. . .is a collection of jazzy hybrids mixed with Midwestern folk impressionism, world, Latin, classical and pop. . .the album is astoundingly well constructed. It is a kind of musical motion picture, in which each track seems to tell it's own story before flowing easily into the next. And like a good movie, it is filled with wonder and surprise.' ~ Jack Florek (U.S.1) 'It is hard to express the mystical in music, yet Mr. Federico succeeds somehow.' ~ Susan Van Dongen (Princeton Packet) 'Federico's ('Live To Love, Love To Live') recording takes his listeners on an eclectic and geographical journey.' ~ Curt Yeske (Trenton Times) -------------------------------------------------- As much as Greg Federico would like to say that he chose in this life to express himself as a musician, in his heart of hearts he believes it was the other way around: That music, instead, chose him. . . Greg was born in the southern U.S. (Alabama) but was raised in the northeast (Maryland, and then New Jersey). Music has been in his blood for as long as he can remember, and his musical studies began in his childhood with the piano. As he progressed into his teens, his interests expanded to include the drums. Before recognizing that his vocation for the musical life was undeniably set in stone, Greg spent his college years on different paths of learning, eventually earning a Bachelor of Arts in Philosophy from Villanova University (in western suburban Philadelphia, PA). To this day Greg maintains that there is great value he obtained from this discipline and that he is the better for it as is the music he's created to date. Subsequent to his time at Villanova it became abundantly clear to him that music called and would continue to call him until he answered in the affirmative and gave himself over to it. He went on to study music education for two years at Trenton State College specializing in drums and percussion under the tutelage of Tony DeNicola [Harry James Orchestra] while further augmenting his studies outside of the classroom on drums and exotic percussion with Joe Mekler [Deborah Henson-Conant]. Greg's love of hearing live jazz eventually took him to New York City's famed jazz 'dive', The 55 Bar, where he met and subsequently studied with drummer Dick Weller, who had been performing with Atlantic recording artist and jazz guitarist Mike Stern. Shortly thereafter, Greg connected with drummer Richie Morales [Spyro Gyra, Grover Washington, Jr.] at another Mike Stern show and this proved pivotal to Greg's educational advancement. Studies with Morales led to studies with Greg's latest mentor, John Riley [Stan Getz, Dizzy Gillespie, Miles Davis, Quincy Jones], who authored such instructional books as 'The Art of Bop Drumming' and 'Beyond Bop Drumming'. Over time, Greg developed a diverse array of musical proficiencies, not only as a performer, composer, and recording artist, but also as a music transcriptionist and engraver. To the latter, he has worked behind the scenes with jazz guitarist, composer, and 19-time Grammy award winner Pat Metheny, assisting the legendary musician in scoring two songbooks published by Hal Leonard Publishing: 'Orchestrion - The Complete Score' (released in March 2011) and a revision of 'The Pat Metheny Songbook' (currently in production at this time). As a performer, Greg has had the good fortune to play with many notable jazz artists including mulit-keyboardist, composer/arranger Pete Levin, nationally acclaimed New York bassist Tony Cimorosi, Milwaukee guitarist Jack Grassel, New York pianist Eric Olsen, and the late, great bassist Ron Velosky. In addition to his work as a sideman, the philosopher-turned-musician has developed several of his own jazz ensembles over the past 19 years, each with their own unique sound, performing primarily in the Mid-Atlantic region of the U.S. Though 'home' for Greg is considered the New Jersey corridor between Philadelphia and New York City, he has also toured the Midwest to promote his CD recordings. As a composer, Greg has been awarded many accolades over the past decade from various songwriting competitions. These include such significant acknowledgements as: 1st Place in the Portland Songwriter's Association Song Contest for: • 'Pacific Coast Highway' (Instrumental category - 2006) • 'Beneath the Stars' (Instrumental category - 2005) • 'Here We Are' (Pop category - 2004) • 'The Promise' (Instrumental category - 2004) • 'Faith' (Instrumental category - 2003) 1st Place in the Mid-Atlantic Song Contest for: • 'Beneath the Stars' (Instrumental category - 2006) 1st Place in Composer's Guild Annual Composition Contest for: • 'Postcard' (Pop category - 2003) • 'Beneath the Stars' (Jazz/New Age category - 2003) Other noteworthy awards include: • An impressive Finalist showing for 'Pacific Coast Highway' in the Instrumental category of the 2006 UK Songwriting Contest (top 4% out of over 750 entries in this category alone), an important and highly regarded contest said to be 'the UK's leading songwriting event and one of the world's major international songwriting competitions' • 4th Place (out of over 600 instrumental entries) in the Instrumental/Jazz category of the 2004 Unisong International Song Contest for 'Beneath The Stars' When composing, Greg draws great inspiration from the positive, life-affirming experiences he's been gifted with, ranging from many of the wonderfully unforgettable places to which he has traveled over time to some of the beautiful, influential persons who have profoundly touched his life along the way. . . -------------------------------------------------- ADDITIONAL BUZZ: 'Greg Federico is a philosopher. He also is a musician. It's almost impossible to separate the two facets of who he is - and probably not necessary, because one enhances the other. Whether he's teaching, gathering in more academic knowledge, or composing, playing, or marketing his music, Greg Federico is constantly blending all those facets of who he is into one. It's just that blend of diversity that makes his music so interesting, entertaining and moving.' ~Janet Purcell Piggott (Hopewell Valley News) '. . .this man is very talented in a lot of areas. . .Federico. . .concentrates on the groove and creates support for the soloists. He avoids the cliché of playing predictable, repetitive rhythms. . .and his timing is flawless.' ~ Jack Grassel (Milwaukee City Edition) 'I can honestly say that (Greg Federico's) music is pleasantly surprising. While not invoking hard work for the ear to accept, it nevertheless provides an excellent mix of the expected and unexpected, rhythmically, melodically, and especially harmonically. I've often said that good music sets you up for the familiar, while consistently delivering the extraordinary. I found that to be true in (this) music.' ~ Fred Srock (Fredio.Com)

  • Shop: odax
  • Price: 19.90 EUR excl. shipping
• 

  Fill the World with Loudest Praise

  A stunning high-quality CD recording of familiar hymns in choral settings, along with two winning instrumental pieces from a student composition contest sponsored by the ISAE. An inspiring and uplifting recording that will introduce you to these composer's works. You'll want to add it to your personal collection, and it also makes a great gift for your choir members, church workers, and friends. Review ' 'Fill the World with Loudest Praise' is a collection of nine hymn anthems by living American composers. All the hymns are familiar, basic repertory, but these settings breathe remarkable freshness and charm into every piece. The CD cover identifies the choir as St. Paul's Chamber Choir of Houston, Texas, inside the liner notes further identify the church as St. Paul's United Methodist Church. If you have any preconceptions of hymn singing by Methodist Texans, this stunning collection will open your ears and your minds. This very professional choir of 22 voices sings with elegance and grace, with flawless diction and breathtakingly beautiful phrasing. The trebles sing with the pure focus of cathedral choirboys, but these are women singing. Conductor Robert Brewer clearly has a strong vision of the sound he wants. Perhaps the words 'Loudest Praise' in the album title are a bit misleading. There is certainly no blaring or yelling. There is brilliant brass playing in the opening 'Holy, Holy, Holy'(NICAEA) arranged by K. Lee Scott. There is dignified vocal strength where appropriate, but there also are moments of quiet awe. In a similar spirit, Craig Phillips' SAB setting of 'Glorious Things of Thee are Spoken' (AUSTRIAN HYMN) with brass, timpani, and organ manages to avoid the Teutonic bombast which are so often clothes (and smothers!) this tune. There are also moments of intimacy and reflection in this first-class hymn anthem. Phillips is the Music Associate at All Saints Episcopal Church in Beverly Hills, California. Alice Parker is represented with Isaac Watts' first hymn, 'Come, Let Us Join Our Cheerful Songs,' set to NUN DANKET ALL. This is not an a cappella setting, as are so many of her hymn and carol arrangements, but rather is a lively and challenging organ accompaniment, beautifully played by Ken Coleman, which adds welcome punctuation and spice. Hal H. Hopson provides an organ and trumpet accompaniment in his SAB setting of Watts' 'From All That Dwell Below the Skies.' The tune LASST UNS ERFREUEN is kept strongly to the fore, except in the third verse ('Your lofty themes, ye mortals bring') where an original melody in a minor mode provides a welcome change of pace. Carl Schalk uses organ and brass choir in his arrangement of ABERYSTWYTH, to Charles Wesley's 'Jesus Lover of My Soul.' Schalk's dignified and restrained treatment makes the intimacy of the text even more powerful, especially in the a cappella stanza 'Other refuge have I none, hangs my helpless soul on thee.' John Ferguson also uses a brass quartet with organ for 'All Hail the Power of Jesus' Name' (CORONATION), achieving admirable variety and color in the six-stanza setting. A flute, a drum, and a piano provide the accompaniment for David Ashley White's setting of 'On Jordan's Stormy Banks.' The tune is PROMISED LAND, and the instrumentation, the clean counterpoint and open harmonies neatly capture the spirit of an old American camp meeting. Alfred V. Fedak adds a violin to the organ accompaniment in his setting of 'When I Survey the Wondrous Cross.' He does not use the tune HAMBURG, as Gilbert Martin does in his famous hymn anthem. The splendid choice here is the English tune ROCKINGHAM. Violinist William Pu plays impeccably, and Fedak's choice of scoring for two-part mixed voices keeps the textures clean and graceful. Edwin T. Childs of Chicago's Moody Bible Institute sets Watts' 'Jesus Shall Reign Where'er the Sun' to the familiar tune DUKE STREET. Men and women are each given stanzas, and brass and timpani fan fares herald the final verse, 'Let every creature rise and bring peculiar honors to our King.' This is a dignified setting, but it certainly breaks no new ground. Two very pleasant instrumental interludes are included on this album. They are the result of a student composition contest sponsored by the Institute for the Study of American Evangelicals at Wheaton College, through a grant from the Lilly Foundation. Kit Mills has written an orchestral fantasy for horn and strings on 'Christ the Lord is Risen Today' (EASTER HYMN). The melody is rhythmically stretched and playfully tossed about in this technically marvelous performance. Mills, still in his early twenties, is a recent graduate of Wheaton College. Let's look for more wonders from this inventive young man. The second interlude is provided by Eric Demarest, currently a senior at Wheaton College. He's given us a charming setting of 'Just As I Am' (WOODWORTH) for English horn and string trio. The tune is heard first from the cello, then from the horn. With frequent use of pizzicato and other string techniques, this charming chamber piece avoids all the sentimentality that so often accompanies the tune. The playing is exemplary throughout. All the choral arrangements on this CD are available from Selah Publishing Company, but this disc is far more than a promotional piece. It's variety, it's superb recording, and the fine taste and marvelous conducting of Robert Brewer make this an album to inspire us again and again.' --'The Hymn,' April 2001.

  • Shop: odax
  • Price: 22.11 EUR excl. shipping
• 

  Variations on 1930

  This album is comprised of piano gems from 1927-1933 incorporating compositions ranging from Kodály's ethnic explorations to Tatum's sparkling riffs on American music theater. My inspiration came from an offhand comment while talking with my friend, Bill Bordonaro, at Bethany Church (where I am the music director and this album was recorded). Bill mentioned that the sanctuary of the church, the last part to be built, was completed in 1930 - just after the start of the Great Depression. The time frame sparked a desire in me to explore how the historical events of this period affected the music of the time in the United States and globally. The true problem was culling the great works, there is music enough for many albums but I started here. This recital was performed in Toronto, February 5, 2013 at the Richard Bradshaw Amphitheater's recital series where it received critic's pick and, subsequently, came home to Bethany Church in Chicago on May 11, 2013. Zoltan Kodály composed the piano version of Dances of Marosszék (Marosszéki táncok) in 1927 and decided it's colorful, folk-inspired music would adapt well to a full orchestration (completed in 1930). Kodály, like his compatriot and friend Bartók, devoted much time to the collection and arrangement of ethnic music. The six tunes used here were collected in Marosszék, a town in the Szekely region (formerly of eastern Hungary, currently of Romania). Kodály reveals in his notes for the orchestral version that the dances are originally from "Fairyland", otherwise known as Transylvania (Dracula and fairies...). The dances are quite a ride from heavy to creepy, finally to a swirling explosive coda. Poulenc is the perfect balm for the bombast at the end of the Kodály. The novelette in C major is the epitome of neoclassical piano beauty. Poulenc eschews his normally lush harmony for a more restrained palette which allows for the melody to come to the fore. One can almost hear Bach (C major prelude from the well-tempered clavier book 1) or Brahms (Op.117, #1) but with "Poulencian" wit. The second novelette in B flat minor is a scherzo humoresque, more typical of the whimsical side of Poulenc. I paired the novelettes with the valse-improvisation sur le nom de BACH, composed in 1932. The waltz, dedicated to Vladimir Horowitz, is a miniature with lush harmonies and wide melodic leaps, finishing with a bravura octave passage. Sergei Rachmaninoff arranged Bach's Violin partita in E Major in 1933, during a period of relatively little compositional output due to his extensive concertizing. His transcription consists of three of Bach's original six movements. Rachmaninoff follows the original Bach structure, but seamlessly fleshes the single line out for the piano in a way that is personal and satisfying. The prelude begins exactly as Bach's original with just with one line that gradually expands and finishes in a flurry of Rachmaninovian brilliance - an ending that is equal parts Bach and Rachmaninoff. The gavotte is a light, almost jazzy take on the dance with an elegant and controlled development and good use of contrast between piano registers. The gigue is contrapuntally dense and adds a fuller bass line. The three character pieces of Benjamin Britten were composed when he was 17 in his first semester at the Royal Conservatory. I describe the three pieces as restless arioso, bittersweet lullaby, and moto perpetuo - Britten lists only the tempo markings and dedications (informally to his school friends). When selecting these pieces, I played them for my musician friends and asked them to guess the composer/school in which they were composed. Invariably, the response was that the composer was French, and there was always great surprise when I revealed Britten as the composer. Fleurs de France are 8 miniatures that were composed in 1930 by one of Les Six - the only female composer, Germaine Tailleferre. The pieces are spare and concise, yet poignant and fluid. Tailleferre created these pieces in the midst of her most fruitful period of composition. Most of the pieces have a simple ABA form which is elegantly obscured by simple changes in harmonization and figuration. Each piece describes a flower: Jasmin de Provence, Coquelicot de Guyenne, Rose d'Anjou, Tournesol du Languedoc, Anthémis du Roussillon, Lavandin de Haute-Provence, Volubilis de Béarn, and Bleuet de Picardie. Copland's Piano Variations stands as a stark and stentorian presence between his earlier jazz influenced works and later populist works. I became acquainted with the work from my teacher in high school, Dan Plante. He recommended that I learn the variations for my senior recital. Always up for a challenge, I fell in love with the work. The economy of means, development, and declamatory piano writing resonated with me. The work became the backbone of many of my concerts. As I was researching these liner notes and the lectures I gave surrounding the recital, I came across this article that Leonard Bernstein wrote about the Variations contextualizing the piece and it's composer: In the fall of 1937 I had just begun my junior year at Harvard. Although I had never seen Copland, I had long adored him through his music. He was the composer who would lead American music out of the wilderness, and I pictured him as a cross between Walt Whitman and an Old Testament prophet, bearded and patriarchal. I had dug up and learned as much of his music as I could find, the Piano Variations had virtually become my trademark. I was crazy about them then--and I still find them marvelous today--but in those days, I especially enjoyed disrupting parties with the work. It was the furthest you could go in avant-garde 'noise,' and I could be relied upon to empty any room in Boston within three minutes by sitting down at the piano and starting it. The theme of the Piano Variations is made up of intentionally dissonant intervals, illustrating a tension between the major and minor thirds. The theme is declaimed in single notes using sympathetic vibrations to create ghostly sonic "after-images". Twenty variations follow, concluding with a massive rhythmically unsettled coda. Out of avant garde and swing emerged perhaps the greatest pianist of the 20th century, Art Tatum. His technique was a thing of beauty, impeccable and unimpeded. His style was absolutely his own: rococo, baroque, ornamental, witty and fast ... outrageously fast ... and he played this way mostly blind (cataracts at birth, assaulted in 1930). In 1993, J. A. Bilmes, an MIT student, invented a term that is now in common usage in the field of computational musicology: the Tatum. It means "the smallest perceptual time unit in music" and is a tribute to Tatum's pianistic velocity. He took stride piano and stretched it in every direction, improvising ornate cadenzas á la Liszt and making free use of colorful harmonic substitution. He was one of the major inspirers of bebop and many of the luminaries of the classical music world were avid admirers of Art Tatum's playing, in particular, Horowitz. At one point, Horowitz, so impressed by Art Tatum's playing, composed a set of virtuosic variations on Tea for Two, which he played Art Tatum. Tatum said "very good, I enjoyed it". Tatum then sat down and played his own set variations. Horowitz, stunned at the brilliance of Tatum's performance, asked "when did you come up with this?" Tatum said "Oh, I was just improvising". Horowitz then threw out his manuscript and vowed never to play Tea for Two in public again. There is debate over whether or not this story is true, regardless, it's a great story and shows the extent to which Art Tatum was admired by his virtuosic pianist peers. An album like this does not simply rise out of the ether and is not a solo creation. I am deeply indebted to the many individuals who helped make this happen: Nina Draganic, who programmed this recital in Toronto and came up with the catchy title, Bethany United Church of Christ and pastor Bill Bor

  • Shop: odax
  • Price: 20.65 EUR excl. shipping
• 

  Utaki-The Sacred Grove

  Matthew Van Emmerik Flinders Quartet Australian Chamber Brass Featuring: Janis Cook, Mark Kruger - piano Summit Records: DCD539 Total Playing Time: Approx 75 mins Having returned a few years ago to his homeland Australia, Matthew Van Emmerik is establishing quite a reputation as a euphonium soloist, conductor and teacher. Substance With this superbly recorded CD Matt shows innovation and real musical substance as a performer and serious advocate for the euphonium. Three of the five pieces are substantial original works and two of these are commissioned by our soloist, and what stunning works they are too. The title track 'Utaki', referring to a sacred grove in the Japanese Shinto religion, is a delight from start to finish. Euphonium and strings is a dream combination especially when the balance and tuning is as impeccable as it here. The Melbourne-based Flinders String Quartet along with Janis Cook (piano) combine with Matt to give about as fine a performance of this extended one movement work as one is ever likely to hear. The atmosphere it creates is really haunting. Ever present Perhaps the classical world's greatest 'ensemble' piece for euphonium is Janacek's 'Capriccio', first performed in 1928, where the euphonium has an ever-present role alongside the piano, flute, two trumpets and three trombones. Sadly it isn't heard so often and this performance, demonstrating great sensitivity and elegance, will hopefully be a model for euphonium players to study in the years to come. This is serious music with a beauty that captivates the curious listener even at first hearing from this often misunderstood Czech composer. The dark textures are performed and recorded with tremendous aplomb and Matt's contribution is again first class. Demanding The 'Euphonium Concerto' by Barry McKimm is about 37 minutes long, making it one of the longest concerti we have and demands the most concentration from the listener. Again it uses the string quartet and piano as the accompaniment and it's quite an emotional journey. The composer understands the soul of the euphonium and it's ability to blend, dominate and in turn support the ensemble. His background as a trumpet player with both jazz and orchestral experience brings a fresh perspective to his writing. Throughout, Matt's playing of this sumptuously rich work is characterised by controlled lyricism and an assured technical mastery. Given it's complexity you are unlikely to hear too many live performances, which is such a pity, but here it is played with beauty and elegance by these professional Australians musicians and it merits repeated listening. Classical arrangements Two classical arrangements frame the central original works of the album, beginning with a rhythmically charged performance of Brahms' youthful one movement work for violin and piano, 'Sonatensatz'. Whilst an octave, and sometimes two, away from the original it does in my opinion succeed, even if purists disagree! The final track is Enrico Crespo's arrangement of Bruckner's simply named 'Etude', performed by Matt sitting in as a member of the Australian Chamber Brass. This rich toned ensemble performance acts as powerful and triumphant benediction to what should be justifiably regarded as a landmark disc in euphonium recordings, where music is the winner. Effects free This is a 'gratuitous virtuosic effects'-free CD, and is one that will stand the test of time. I would urge the CD collector to not be put off by the lack of familiarity or title recognition with this disc. It should not only be in the collection of every serious euphonium player but will be enjoyed by all who seek it out. Drive It goes beyond all the bounds that normally exert themselves on a recording euphonium artist, and Matt's tenacity and drive no doubt was a major factor in this project happening. His enthusiasm is boundless, and here this is matched by some truly outstanding playing, hallmarked by an abundance of high class sound, excellent intonation and good taste. Highly recommended in every way. Steven Mead What's on this CD? 1. Sonatensatz, Johannes Brahms, 5.25 2. Utaki,The Sacred Grove, Mike Fitzpatrick, 11.13 Capriccio, Leos Janacek 3. Movement 1, 4.52 4. Movement 2, 5.17 5. Movement 3, 3.55 6. Movement 4, 6.17 Concerto for Euphonium, Barry McKimm 7. Movement 1, 14.35 8. Movement 2, 10.36 9. Movement 3, 11.43 10. Etude, Anton Bruckner, 6.04.

  • Shop: odax
  • Price: 34.79 EUR excl. shipping
• 

  Transition

  Track Listings 1. Far Away From Here (music by Hirokazu Hiraishi, Tomoko Yazawa) 3'36 2. Gyration (music by Masahiro Sugaya, Tomoko Yazawa)5'55 3. Tlapazola (music by Carl Stone) 7'12 4. Imaginary Dance 1 (music by William Duckworth)1'14 5. The Time Curve Preludes 2 (music by William Duckworth)2'05 6. The Time Curve Preludes 3 (music by William Duckworth)2'13 7. Imaginary Dance 7 (music by William Duckworth)1'51 8. The Time Curve Preludes 1 (music by William Duckworth)2'12 9. Imaginary Dance 8 (music by William Duckworth)1'32 10. Patterns of Plants : The Seventh Collection : Pattern A (music by Mamoru Fujieda) 4'27 11.Patterns of Plants : The Seventh Collection : Pattern B (music by Mamoru Fujieda) 3'24 12. Patterns of Plants : The Seventh Collection : Pattern C (music by Mamoru Fujieda) 3'27 13. Patterns of Plants : The Seventh Collection : Pattern D (music by Mamoru Fujieda) 3'33 14. Fire (music by Hirokazu Hiraishi, Tomoko Yazawa) 6'17 note The theme of Geisha Farm is stylish, sexy and futuristic. The second disc from the label, 'Transition'is by Tomoko Yazawa, a contemporary music specialist and the owner of the label. A silk screen print on the jewel case allows for a 'transition' from the cover design when the booklet is removed. The refrain of phrase calls to your imagination, heavy beats invite you into trance. It is a disc of simplicity and depth. 'First things first, you can't help but love the sexy packaging of this new Geisha Fram/Monroe Street Music release. Printed on the jewel case itself is a translucent square vertically divided in half, one side red, the other blue, creating an optical tessellation that causes the bold, contemporary color scheme of the 2-page booklet inside to pop. It's a delicious effect. Now as for the music, well, sometime you can judge a book by it's cover. The first two tracks 'Far Away From Here' by Hirokazu Hiraishi and 'Gyration' by Masahiro Sugaya are downright slick, combining angular Babbitt-like riffs on the piano with laptop accompaniments reminiscent of the louder side of lowercase sound à la trente oiseaux, or the minimalist dub associated with ~scape, and of course good ol' club electronica. Next comes Carl Stone's chorale-like Tlapazola which distributes similar material to both piano and electronics while they rhythmically phases in and out of synch with one another. William Duckworth goes completely unplugged with his Imaginary Dances and The Time Curve Preludes. Pianist Tomoko Yazawa chooses to alternate 3 pieces from each collection. This Cliffs Notes version reveals an obsessiveness within the music, which sort of sounds like a mix of Satie, Debussy-like figures, blues, and pop-inspired minimalism. Although Mamoru Fujieda's Patterns of Plants - The Seventh Collection is also acoustic, it's definitely affected by the techno vibe that permeates the entire CD-reinforced in part by the ready-for-radio length of each track. In what could have been an attempted crossover disaster, Yazawa excels, even proves some street cred by programming some mean beats for Hiraishi's rousing piece Fire which very nicely bookends the entire disc.' -RN ~ Music Box ~ Listener's response 'Transition' ? Pop and experimental! It changed the image I used to have about the piano. ( office worker 30s) ? It felt as if I had been to the future. ( college tutor 40s) ? This is feel good music - the delicate piano sound expands inside your head.( college student ) ? I feel it relaxes and energizes me at the same time.( freelancer 20s) This CD is a limited edition, silk screen print. It won't be available forever! If listed as out-of-stock, it should become available again shortly. About artist Connoisseurs of modern music would know pianist Tomoko Yazawa as a contemporary music specialist. To quote the artist,' I'm much more attracted to music that is being created than music of former times. She has appeared many times in major contemporary music festivals all over the world and she is highly praised for her accurate performances which is supported by a deep understanding of works and her tonal beauty. Ms. Yazawa was born in Tokyo and is a graduate of the Toho School of Music. She also holds an advanced diploma from l'Ecole Normale de Musique de Paris. She was a scholarship student at the Tanglewood Music Center in 1990. She is a recipient of major prizes and numerous famous composers have written works for her. Most notably 'La Mandragore' by Tristan Murail. She founded a recording label 'Geisha Farm' for women artists, of which she is the producer and the director. For the first album 'Cabaret', she was also the arranger for the cabaret songs of Kurt Weill, Friedlich Hollander and others. Through the breadth and variety of her musical activities, Ms Yazawa goes far beyond the confines of a pianist.

  • Shop: odax
  • Price: 28.21 EUR excl. shipping
• 

  Scenes

  One of the delightful mysteries of music is the power it possesses to stimulate visual impressions in the minds of listeners. Certain works-even small musical fragments-can fire the imagination with images from our world. A chevron of birds in flight, a serene mountain lake, the morning after a snowstorm, a starry sky, a cityscape, all from melody, harmony, and rhythm. Certain musical strains can release floods of memories that instantly connect us with the poignancy of times and places that we long to glimpse again. Like many before me, pursued a lifelong quest to find and capture the notes that may move others to feel such things. The guitar has been an excellent musical companion in this pursuit. The range of musical styles into which it's voice fits has enabled me (in different seasons of my life) to delve into folk, rock, jazz, and sacred music in addition to the classical repertoire. Consequently, the pieces I've written for this album have been shaped by my passage through diverse stylistic territories. The suite Four Scenes From a New England Calendar offers pastoral impressions of the part of the country where I've spent most of my years. The individual movements bear the subtitles "January", "April", "August", and "October" and attempt to convey feelings about the seasons as experienced in America's Northeast. As well, each movement explores different guitar textures and techniques and harmonies. "January" employs block chords struck vigorously in an eighth note pulse throughout. "April" is an atmospheric but melodic waltz at a medium tempo. In my mind, the rolling triplet arpeggio texture of "August" suggests ocean waves. "October" is dark and introspective with a lyrical melody. It brings the suite to a close with a coda that's as warm and peaceful as glowing embers on a chilly night. Descent to a Dream explores the moments of waning consciousness as we drift into sleep. The piece opens with a serene melody that becomes more rhythmically animated as it develops. Whole-tone scale motives, suggestive of the dream state, appear periodically for transitions. Fragments of the main theme emerge again in the coda above a bass line and hypnotic arpeggios. Four long chords signal the final break with the waking world. In the blues Mississippi Revisited, astute listeners might detect inspiration drawn from various blues guitar stylists blended with harmonies slightly reminiscent of George Gershwin's music. The middle section with it's walking bass line and chord jabs gives a nod to jazzmen Joe Pass and Lenny Breau. Three Hymn Tunes is a group of settings of popular hymn melodies: "Where Can I Turn for Peace?" "Abide With Me," and "Come, Come Ye Saints." My first serious exposure to hymn tunes began in 1984 when my wife MaryAnn and I joined the Church of Jesus Christ of Latter Day Saints and felt the uplifting power of hymns through singing them. The canon of American hymn tunes includes original melodies and adaptations of folk songs that have enjoyed long lives in both Europe and America. When I began making guitar settings of hymns in 1993, my approach was to take them out of the vocal domain and into the instrumental world and attempt to illustrate aspects and images inspired by the titles and lyrics. Joleen G. Meredith (1924-2004) wrote the melody to "Where Can I Turn for Peace" in 1971. Of the three hymns in this grouping, this melody has the shortest history, but has touched millions with a buoying message about turning to Christ for peace amid life's tumult. "Abide With Me" is considered a masterpiece of the Christian hymnody. British organist and composer William H. Monk (1823-1889) wrote this melody, which he titled "Eventide," and joined it with lyrics penned by Reverend Henry F. Lyte as the latter was succumbing to tuberculosis in 1847. The line "the darkness deepens, Lord abide with me" builds on a metaphor relating the inevitability of the close of the day to the end of life. "Come, Come, Ye Saints" is the best known of all Mormon hymn tunes. The melody is from an English folk song with lyrics written by William Clayton (1814-1879) after he and thousands of other Mormons were unlawfully ejected from their homes in Nauvoo, Illinois in the winter of 1846. This setting opens with the single-line melody accompanied by a snare drum effect (produced by plucking the fifth and sixth strings after crossing and fretting them at the midpoint of the guitar neck), alluding to the forced exodus and historic Mormon pioneer trek across America's plains. The ebb and flow of rhythmic and harmonic activity are meant to conjure up images of the energy and vibrancy of the pioneers who built a new city in the Salt Lake Valley. Malenky Etude is a short arpeggio study created to help master the right-hand fingering pattern found in "Etude 1" by Brazilian composer Heitor Villa Lobos. Virtually all classical guitarists have grappled with the unusual demands of that piece. "Malenky" is a Russian word for small, and the piece is dedicated to my Russian-born former teacher Dmitry Goryachev. Beneath the Lowering Sky seeks to portray the reaction to the sight of angry clouds overtaking a formerly clear sky. It's based on angular question-and-answer phrases built from the arrangement of nine tones. I worked this curious little melody through several permutations, presenting it in a number of harmonic and textural guises to fit a range of shifting moods. Metheny is a tribute to the great jazz composer and guitarist Pat Metheny. Over the years he has named several tunes for people. Two musicians whose work has moved him-songwriter James Taylor and bassist Jaco Pastorius-inspired the tunes "James" and "Jaco." I'm not aware of any musician returning the favor, so I named this piece for Pat. While it doesn't directly quote any of his music, it does contain allusions to aspects of his style in the articulations of certain melodies, unusual chord voicings and progressions, Latin rhythms, vigorous strumming, and a button ending. It's a tribute to an artist whose music has been a recurring theme in the soundtrack of my life since 1976. Farewell is the only piece I didn't write or arrange for this project. John Doan, best known for playing the 20-string harp guitar and for his Celtic-influenced compositions, came up with this gem. It's tinged with a bit of Irish dolor that affected me deeply the first time I heard it. Who hasn't experienced bittersweet resignation when the time for parting arrives and we desperately wish it could be postponed? John's simple but eloquent tune captures that sentiment perfectly, making it an ideal choice to close this album. -Mark Small.

  • Shop: odax
  • Price: 27.40 EUR excl. shipping
• 

  Wish

  1.Sculpture in Wood: This beautiful piece for 4 marimbas was originally composed for a Swiss ensemble. 2Wish Good Speed: This is Phonix's original number. Rhythmically exciting and upbeat, with all the instruments alternately playing solo, this is fun to listen to and to perform. 3. Percussive Conference No.1 : This is a wonderful example that human voice can be used as a percussive instrument. The composer, Ikuo Kakehashi describes it as " an oral tradition oriented style,' with 'chat-like playfulness." 4.Omphalo Centric Lecture: According to Westlake, this piece for marimba ensemble was inspired by the painting of Paul Klee as well as African music. 5. Over the Ocean: Fusion and Japanese pop music influences this piece, which expresses the composer's yearning for traveling to foreign countries. 6. Greetings to Herman: As the title indicates, this piece is often used as an opening for a concert. Although short, this is a percussion masterpiece, sustaining exciting and fierce rhythm patterns throughout. 7. On the Country Road: Composed in the image of an American country road, stretching infinitely in a natural landscape. Minimalist in style, with simple melody lines and rhythm patterns. 8. Visional Train. It consists of three parts, "departure," "encounter," and "farewell." It's melody is simple and beautiful and is enjoyable for everyone. 9. Knock & Click: Progressive rock music may be the closest to describe this original piece. Urban and energetic in a best of rock music way, it is a popular repertoire among percussion ensemble players and fans. 10. Whisper of Forest: This quiet marimba ensemble piece was inspired by J. B. Bach. Please imagine trees whispering to each other at night, while sonw is silently falling.

  • Shop: odax
  • Price: 32.45 EUR excl. shipping
• 

  Felt Hammer Improvisations, Vol. 1

  Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.

  • Shop: odax
  • Price: 26.32 EUR excl. shipping
• 

  Think Melodically Feel Rhythmically Live Musically

  No description.

  • Shop: odax
  • Price: 21.59 EUR excl. shipping
• 

  Mosaic

  Max Stern: Mosaic (62:12) Conceived as a mosaic, this colorful disc fits together works of varied dimensions and textures. It was recorded by artists and ensembles who collaborated with the composer in their realization. It combines modern vision with desert inspiration and traditional folklore East and West. Bedouin Impressions (1989) (11:08) for solo violoncello 1. Pastoral (3:47) 2. Lament (3:17) 3. Goat Dance (4:04) Musical sketches of a nomadic neighbor, these are virtuoso pieces for solo cello. Through the window of my home on the edge of the desert I saw Bedouin herdsmen and women taking their herds of sheep, goats, and camels to pasture. I then encountered them in a strange but profoundly human way in a wadi. We offered them a waffle and they offered us a ride on their donkey. A popular work, they have been arranged and performed in multiple versions for solo violin, solo viola, string quartet, and string orchestra. Inbal Segev is one of the outstanding Israeli cellists of her generation. She has won numerous prizes and performed with the Israel Philharmonic Orchestra and other international ensembles as soloist. Terezin Songs (1969/2000)(12:32) for soprano, flute, oboe, guitar, and cello 1. From Tomorrow On (4:49) 'From Tomorrow on I will be sad, not today.' 2. Birdsong (4:00) 'He doesn't know the world at all who stays in his nest and doesn't go out.' 3. I Want to Go Away Alone (3:41) 'I want to go away where there are other nicer people.' These are profoundly moving songs are settings of poems by children of the Terezin concentration camp. 'At times when speech is stifled by darkness, song live on. In the imaginations of little children we celebrate the vision of man's goodness in an age of evil' (Albert H. Friedlander). Kristyna Valouskova is the foremost interpreter of contemporary music in the Czech Republic. Her exacting musicianship has been heard in international festivals and recordings. Musica Gaudeans (Katerina Kopecka-flute, Jiri Zelba-oboe, Pavel Ciboch-guitar, Jakub Dvorak-cello) are an innovative ensemble of Prague based soloists. Mosaic: Six Synagogue Tesserae (1999) (10:18) for flute, English horn, violin, cello, and synthesizer 1.North Africa (High Holiday liturgy)(0:47) 2. Morocco (study mode)(2:15) 3. Italy (litugical poem)(1:30) 4. Jerusalem (Sephardic song of rejoicing)(1:52) 5. Hassidic (Eastern European liturgy)(2:22) 6. Tunis (Song at the Sea)(1:30) Unisonal in color, heterophonic in texture, these archaic-like miniatures are based on Jewish ethnic sources. To Mean Electric is one of Italy's most exciting new music groups, blending acoustic and electric instruments. (Claudio Mordbo-is an outstanding conductor, opera director, organizer, and professor active in Northern Italy./ Francesca Lanza-flute, Andrea Chenna-English horn, Efix Pulco-violin, Margherita Monnet-cello, Paola Poncet-synthesizer) A traditional shofar blast (0:20) is source for and introduces ---- Yobel: Jubilee for Orchestra (1989)(13:08) Flowing in exultant euphony, Yobel is a rhythmically animated expression of freedom 'Thou shalt make proclamation with the blast of the horn and proclaim liberty throughout the land unto all the inhabitants thereof' (Lev. 25:9-10). It has been performed in Europe and Israel. Uri Mayer is the internationally celebrated conductor of the Toronto Philharmonic, who recorded this work as music director of one of Israel's finest chamber orchestra, the Negev based Israel Sinfonietta of Beer-Sheva. Three Pastorals (1984)(7:29) for flute, basson and piano Allegretto(3:14) Lento (2:18) Grazioso (1:57) Conversational, playful, inward, and jocund. This lyric trio projects a melodiocall pointillistic yet urban character. Trio Seneca ( Kaspar Zender-flute (Switzerland), Florin Carlejan-bassoon, Marta Nemes-piano) are prize winning soloists based in Cluj, Romania. They have recorded extensively in Western Europe. Motets on Chanukah Songs (1971)(6:30) for 3-part acappella women's or children's choir 1. Chanukah (1:49) 'Chanukah O' Chanukah, let's light the menorah.' 2. Maoz Tzur (3:26) 'Rock of Ages let our song praise thy saving power.' 3. Dreydl (1:14) 'I have a littler dreydl. I made it out of clay. When it's dry and ready, then dreydl I shall play.' Motets are based on tradional holidays songs for Chanukah the Jewish Festival of Lights. 'Chanukah O' Chanukah' celebrates the lighting of the 8-branched candelabrum. 'Maoz Tzur' or Rock of Ages is a classic hymn of thanksgiving. 'Dreydl' about the spinning top, is a children's game song. The Hebrew Union College Chorale are cantorial students from the USA studying at the Jerusalem campus of the HUC.

  • Shop: odax
  • Price: 26.15 EUR excl. shipping

---

---