Bugge recommends http://www.gubemusic.com/ Gubemusic online store. en-us 2010 Gubemusic Michael Wollny - Wunderkammer http://www.gubemusic.com/album_14161 <p>Michael Wollny is a musical adventurer, someone who always seeks out new sounds and sends his audience on exciting journeys of sonic discovery. Consequently, the critical response to his music has been appropriately enthusiastic. In 2009 he won both the jury and the audience prizes of the prestigious inaugural BMW Jazz Award in Munich, with his trio [em]. The industry’s critics have also been raving about his music for years, whether solo or performing with other musicians. The French publication Jazz Magazine described Wollny as, “the spearhead of a new generation of European jazz musicians”; Fono Forum described his “magical sounds”, and Jazzthing magazine wrote: “Piano music which has probably never been heard before in this form.” It is as if the critics all already knew Wollny’s lastest CD, Wunderkammer. Together with harpsichordist Tamar Halperin, and producer Guy Sternberg, Wollny again searches for that which hasn’t been heard before. This CD is a sound trip into the wonderful worlds which are created when all the historic and modern keyboard instruments of an entire museum are combined.<br /> <br /> Keyboard instruments which for a long time didn’t appear to go hand in hand: here you have it all on one CD. Harpsichord, celesta, harmonium, rhodes piano, concert grand: a kaleidoscope of palpable possibilities - the hard, “quill” sound of the harpsichord, the heavenly sound of the ringing celesta and the warm, sacral musical air of the harmonium sit beautifully next to the captivating, oscillating, metal reed sound of a Rhodes E piano and the dependable brilliance of a concert grand. The title Wunderkammer (“chamber of curiosities”) is therefore spot on. These Wunderkammer were the secret rooms in castles and monasteries in which rulers and bishops stored all their curious treasures in Late Renaissance and Baroque times. These may have included anything from a narwhal’s tusk to porcelain from Eastern Asia, obscure gaming machines, globes and surgical instruments – many bizarre and wonderful things that would amaze onlookers. It is these chambers of curiosities which fascinate Michael Wollny; “They should also always be a miniature portrayal of the world, a microcosm. Many moments come together to form the whole.”<br /> <br /> Just like on this CD; the music of the twelve tracks unfolds itself to be both exotic and beautiful. In the first piece, for example, different key tones approach each other from sparse motifs – it sounds as if there is a ticking clock over which time strides leisurely through different moods. In other pieces, nervous sounds whirr over hard harpsichord tones, soft rhythms pulsate under clanging chords, swirling tremolos diffuse under thunderous bass and cyclical motifs race manically along whilst heavy strokes on the piano and jazzy phrases drive the piece forward, captivating the ear whilst the continually changing melodies get caught up in each other in a enchanting rhythmic maelstrom. In contrast, there are mild piano chords which sound so ostensibly ‘normal’ that they have something almost exotic about them in-between the other pieces. <br /> <br /> This music possesses a quality which really sharpens the perception: the sounds are unsettling, hypnotic, minimalistic, disquieting, dazzling, and certainly not of the everyday. And that is how they are meant – this can in part be deduced from the titles. The tracks entitled “Kabinett” are simply “rooms in which different things happen,” says Wollny. “Chur” is a homage to the writer Thomas Bernhard and a place in the novel “Der Untergeher”, which tells the story of the piano virtuoso Glenn Gould. “Mesmer” is dedicated to Franz Anton Mesmer, a doctor and pioneer of hypnosis – similar mesmeric qualities can clearly be heard in the music. “Sagée” is inspired by Emilie Sagée, a teacher and famous doppelgänger figure of the 19th century. Witnesses reported seeing this person in two places at the same time whereby the doppelgänger imitated the movements of the other exactly. In this piece the harpsichord imitates the melody of the piano and is, so to speak, the shadow of the piano.<br /> <br /> This CD is a sensual and intellectual adventure, and it is most certainly also a musical one. Michael Wollny’s pieces are here not only set compositions. Some were also composed as totally (or almost totally) free improvisations whilst others have small improvisation sections, adding to the sense of the unexpected and the unveiling of hitherto undiscovered musical gems. <br /> <br /> Wollny was fascinated by recording a CD which was only possible as a studio production – not least because he can be personally heard playing simultaneously on different channels. The result is a Wunderkammer which, after a few minutes of becoming accustomed to the sounds, offers a highly captivating portrayal of the acoustic worlds of the present and the past. It is also a voyage to the inner worlds of the music that the listener, guided on in amazement, can explore from one association to the next.</p> http://www.gubemusic.com/album_14161 YaronHerman - Follow The White Rabbit http://www.gubemusic.com/album_17729 Yaron Hermans Debutalbum for Act Music. Follow the white Rabbit, a reference to the mischievous character from Lewis Carroll’s story, who leads Alice on an amazing journey down the rabbit hole into Wonderland. Yaron's Wonderland is all about music and piano. Without conceding to any particular facility, he knows how to abolish the conventions of musical genres, blurring the tracks and the boundaries of jazz improvisation, pop and classical counterpoint, all with an impish glee. Yaron's wonderland is an uninhibited novelty world, full of freshness, which seems to flow with an inexhaustible energy. http://www.gubemusic.com/album_17729 CæcilieNorby - Arabesque(24BIT96KHZ) http://www.gubemusic.com/album_16764 <p>Stunning new Album from Danish Cæcilie Norby. Queen of Jazzvocalists in Scandinavia. Out on Act Music!</p> http://www.gubemusic.com/album_16764 VijayIyer - Solo http://www.gubemusic.com/album_17716 In August 2010 he released Solo, his most personal statement yet, a kaleidoscopic piano album on the German label ACT http://www.gubemusic.com/album_17716 Lars Danielsson - Tarantella(24BIT96KHZ) http://www.gubemusic.com/album_16795 <p>Over the past few years Swedish bassist, cellist, composer, and arranger Lars Danielsson has matured into one of the most important voices in European jazz. He has played alongside such international stars as Michael Brecker and Randy Brecker, John Scofield, and Charles Lloyd, led his own quartet, worked as musical producer for Caecilie Norby, Viktoria Tolstoy and the Danish Radio Orchestra, and, most importantly, recorded three CDs under his own name for ACT. These recordings reveal Danielsson’s unmistakeable originality, his music’s amazing openness, and his wide-ranging creativity. <br /> <br /> On his ACT debut Libera Me (ACTSACD 9800-2) Danielsson proved to be a master of orchestral jazz; on the follow-up Mélange Bleu (ACT 9604-2) he surprised his audience with a modern, scrupulously applied electronic framework for his expansive, richly textured compositions; and on the duo album Pasodoble (ACT 9458-2) he and his Polish peer, pianist Leszek Możdżer, executed a beautiful and breathtaking manifesto of melody and harmony that mediated between classic and jazz. <br /> <br /> All of these previous concepts form the basis of Danielsson’s new CD, Tarantella (ACT 9477-2). For instance, some of the duo pieces and passages on Tarantella, such as “Melody on Wood” and “Fiojo”, are built directly upon passages from Pasodoble, and on listening, it’s no wonder that Danielsson calls Możdżer “the perfect pianist for me”. It is simply amazing how Danielsson consistently refines his work, how he continues to open up new areas of sound and place them in new contexts and combinations. “I have taken the character of my music as the starting point, and have looked for the people who will best fit to it.” He found Norwegian trumpeter Mathias Eick, British guitarist John Parricelli, and the American drummer Eric Harland. <br /> <br /> This assembled international line-up is ideal for pieces that, with their controlled sense of arching suspense, seem so classically oriented on the one hand, and on the other hand are wide-open for improvisation and intimate musical dialogue. Those who know Mathias Eick can confirm that his lyrical trumpet playing, saturated with its bold sense of space, is a perfect accompaniment. More surprising is how John Parricelli, who is best known for his fusion-sound, and who has worked with the likes of Colin Towns and Django Bates, obtains such delicately shaded sounds on the guitar. And it’s even more amazing as to how the young drummer Eric Harland – sideman with Charles Lloyd, McCoy Tyner, and also with ACT on two Rigmor Gustafsson productions – has traded in the hard-edged, energy-loaded US school of drumming in favour of a more laid-back, melodically innovative percussion style. <br /> <br /> Lars Danielsson also breaks the mould on this production. First, he invited his musical cohorts to his home and straight away recorded several of the pieces with them. This is how the band transformed “Traveller’s Wife”, a classical-sounding cello solo, into “Traveller’s Defense”: “At the sound check we recorded it ‘accidentally’, and that was it. After that I made at least ten regular takes, but the first ‘accidental’ take was simply the best one. Such a situation within one’s own four walls is something special. You don’t think, you simply play.” <br /> <br /> Contrary to how he usually does it, Danielsson composed several of the pieces on guitar. “Normally I compose on the piano, mostly in the morning. While improvising I find something and make a song out of it - try to create a particular ambiance. Generally the compositions are pretty structured when it comes to recording. But of course, when you compose on the guitar you work very differently: much more freely.” <br /> <br /> Accordingly, Tarantella is more multi-layered than Danielsson’s previous projects. Whether they are atmospheric, suspended musical images full of movement (this is already implied in the names of the title piece, along with “Ballet”, and Ballerina”), spherical hymns reminiscent of Swedish church music (“Introitus and “Postludium”), or chamber jazz – ultra-modern, fast miniatures (“1000 Ways”) – Danielsson has found his own fascinating musical expression for it all and in so doing has affirmed his place as a crucially important composer and musician.</p> <p> </p> <p>Download FREE Flac Audio Software Here</p> <p><b>Switch</b> Audio File Converter Software:</p> <p>For Mac Users<a href="http://www.nch.com.au/switch/index.html"> Download Free Software Here</a></p> <p>For PC Users <a href="http://switch.softonic.de/">Download Free Software Here</a></p> <p><b>Gubemusic </b>recommends <b>Songbird</b> Multi Audio Player. Great Layout. Easy to use!</p> <p><a href="http://getsongbird.com/">Download Here</a></p> http://www.gubemusic.com/album_16795 Heinz Sauer, Michael Wollny - Melancholia http://www.gubemusic.com/album_14126 <p>It’s a very special kind of meeting, a leap across the generation divide: Melancholia documents the creative collaboration between one of the most important influences on post-war jazz and one of the greatest talents of the new breed of jazzers in Germany: Heinz Sauer and Michael Wollny.<br /> <br /> In the eternal discussion about how much virtuosity is required before it becomes an end in itself and overpowers expression, Heinz Sauer is certainly not a participant. The Frankfurt saxophonist is so obviously one of the major expressive players of the current scene that it would be wrong even to start considering such questions. Technique is there and will clearly be demonstrated in his approach – you need just to hear his overtone playing to confirm that – but it is not just treated in its own right, and rather is used to celebrate the sound and the dramatic development. Every tone is a painting and even the smallest phrase a sculpture. Sauer has always been a master of the terse miniature, but not in the way that it is shown in this CD. The music can be contrasted with his compositions for the Jazz Ensemble of Jazz Ensemble of the Frankfurt Radio where he brings together strange themes in amazing elaborate arrangements. Here then, in the smallest of combinations, the duo, the concept of the short piece piece (most of them no longer than three minutes) is taken in a different direction: The aim is the concentration of the individual on each detail of the sounds of improvisation as well as the interplay between the partners. It often then evolves into the rhythmically free shaping of the themes.<br /> <br /> Sauer has taken for this release the 26 year old pianist Michael Wollny, with whom he has frequently worked in a variety of line-ups. Wollny is one of the great hopes of the generation of the Under-30s: with a broad range of experience, well-travelled, the winner of a number of prizes, a member of numerous large and small bands, appearances in the company of American stars and a theatre musician who as such has confronted other worlds. On this CD he comments and supports with a fascinating mixture of wisdom and playfulness. In the discipline of touch and in the harmonic understanding his experiences in classical music are evident, from chorales to punctualism and even a slight hunch of atonality.<br /> <br /> In particular with the most well-known standards, and most notably in Round Midnight and Don’t Explain Sauer plays freely around on the melodic elements, while Wollny knowledgably creates unpredictable harmonies askew from the original changes – technical details in the service of the creation of a compelling atmosphere for each piece: bright and dark, the clamour and the aesthetic play with beauty, the associations which are different for each hearer, as clearly understood by Heinz Sauer in the title of his piece "Welcome To What You Think You Hear".<br /> <br /> Heinz Sauer – saxophone legend and cornerstone of German jazz – was born in 1932 in Merseburg. Since 1960 he has been saxophonist and composer for the Jazz Ensemble of Hessicher Rundfunk in Frankfurt. From 1960 to 1978 he was a member of the Albert Mangelsdorff Quartet and Quintet, and in 1968 was a member of the German All Stars. In 1974 he formed his first own line-up, Voices. The obvious individuality and artistic intensity of his saxophone playing and his compositions have allowed Sauer to go his own individual way. For this he was recognized by the award of the Jazz Prize of the region of Hessen and in 1999 by the Albert Mangelssdorf Prize.<br /> <br /> Michael Wollny was born in Schweinfurt in 1978 and began at the age of 16 jazz piano studies at the music school in Würzburg, which he completed in 2004 with a master class diploma. He has a wide range of concert, touring and radio production experience with, among others, the BuJazzO, the Summit Jazz Orchestra, Bob Brookmeyer/New Art Orchestra or the Jazz Ensemble of Hessischer Rundfunk and has also taken part in recordings by the likes of Hubert Winter and Hans-Peter Salentin. In addition he is also pianist and musical collaborator at the Schauspielhaus Nürnberg. Wollny has received a number of prizes and scholarships, most recently the Cultural Prize of the City of Schweinfurt in 2003. Together with Eva Kruse and Eric Schaefer he formed the trio [em] 18 months ago which releases its first CD on ACT in early 2005, Call it [em] (ACT 9650-2). Since 2001 Wollny has worked together with Heinz Sauer in a number of different line-ups.</p> http://www.gubemusic.com/album_14126 Sidsel Endresen & Bugge Wesseltoft - Out Here. In There. http://www.gubemusic.com/album_49 <p>"Out here. In there." is the culmination of a ten years shared musical relationship that has continued to evolve year after year. The musical path they have chosen together, mixing the known and the unknown, has broadened and grown richer through deep mutual understanding. 'Both of us have our solo-projects outside of the duo so we naturally bring with us our "points of interest" and different "angles" into the duo,' says Sidsel, 'This might be the reason the duo is still are developing.' It's music making on the edge and by tapping into the intuitive and leaving the limits of rationality far behind, Sidsel and Bugge are truly a duo of the present and of the future. ///// Released 2002 ///// Personnel: Sidsel Endresen - Vocals / Bugge Wesseltoft - Keys, Percussion & Programming </p> http://www.gubemusic.com/album_49 Helge Sunde, Ensemble Denada - Finding Nymo http://www.gubemusic.com/album_13963 <p>Compared with the innovations and explorations seen amongst small groups, there have been surprisingly few changes in the big jazz orchestras since the end of the big band era. If you look for new approaches you automatically end up in the far North: Norway has established itself as a stronghold of big ensembles promoted by leaders such as Trygve Seim, Geir Lynse and, of course, Helge Sunde. The 44-year old from the small town of Stryn is, to a certain extent, the “universal soldier” of Norway’s orchestral scene, adept in all areas of playing, composition and performance. A lecturer at the state music academy and other universities, Sunde has made a name for himself as a composer for classic symphony orchestras and modern ensembles. He is proficient on several instruments, particularly the trombone, and can be witnessed live in groups such as the Norwegian Radio Orchestra, Geir Lysnes’ Listening Ensemble and the Ophelia Orchestra as well as fronting his own bands.<br /> <br /> Helge Sunde makes “lateral thinking vital and passionate fun” (Jazzthing). “The orchestral performances of the composer and brass musician, Helge Sunde, are complex and furious with a great awareness of detail and sounds,” writes Fono Forum, describing the sophisticated arrangements and accomplished sounds on the artist’s 2007 ACT debut Denada. Together with the Norske Store Orchestra, “a grooving and rousing music experience” (Jazzpodium) has been created here.<br /> <br /> With the subsequent album, Finding Nymo, the ensemble has now inherited the name Denada, derived from the Spanish and with several meanings: “coming from nothing” as well as “you’re welcome” - it is an open-ended call for spontaneity.<br /> <br /> Once again, Sunde invites listeners to enter a musical kingdom which has offered up its riches like a horn of plenty, in which his diverse preferences and creative areas of work kaleidoscopically unfold themselves. In Finding Nymo, Sunde is primarily interested in rhythmic and dynamic processes and creating classical jazz music. Despite the fully independent sound structure, his Ensemble Denada remains very close to the big band tradition. Virtuoso guests such as Marilyn Mazur (who has also worked with Jan Garbarek) on percussion, pianist Olga Konkova as well as numerous regular experienced Norwegian orchestra musicians and several band members from Geir Lynse, all make Sunde’s ideas, sometimes light as a feather and at other times much more profound, come to life in a truly masterful way.<br /> <br /> The closing “Lullaby Of Broltesia” is almost like an epilogue on the history of big jazz ensembles: a dreamlike (and, ironically, derived from a sleeping person’s breathing) musical wonderland arises from the irresistible melody which sounds as if it could come from both Grieg and Ellington. Sunde outlines his ideals behind this composition with a wink and a wry smile: “In this world everyone listens to big band jazz, musicians receive free flight tickets and artists don’t have to pay taxes.”<br /> <br /> Before we get to Sunde’s fantasy world, we are presented with the brief poetic score “One Word”, introducing us to the first half of Finding Nymo, which resembles a musical road movie. Sunde ingeniously presents impressions of his European tour of 2007 for the Ensemble Denada whereby the humorous arrangements correspond to the wittiness of titles such as “Molto Alghero” and “Valse Trieste”. A stopover at the “Jazz am Bauernhof” on the Austrian border is reflected in the jaunty, rhythmically pointed “Obstler” which almost appears to take on the legacy of the Vienna Art Orchestra. “When In Rome”, a reflection of the incredible traffic in the Italian capital, picks up on the dynamic of the classic American big bands, illustrated with authentic traffic noise.<br /> <br /> A potpourri of childhood memories: “Bryk”, for example, a Norwegian dialect expression for “noise”, is dedicated to the enthusiasm of his grandmother for his early instrument playing. And also his love of chess, puzzles and anagrams (“MoonCrier”) and dedications to his family define the second half of the album. The title track is dedicated to his outstanding saxophonists, Atle and Frode Nymo, with the wordplay on “Finding Nemo”, and brings be-bop to the present day with fast-paced, abstract improvisation and electronic sounds. <br /> <br /> Finding Nymo is the musical calling card of a magnificent orchestra, but above all it is a brilliant and exciting portrait of one of the most creative talents of the European scene – Helge Sunde.</p> http://www.gubemusic.com/album_13963 FrøyAagre - Cycle of Silence http://www.gubemusic.com/album_14338 Beautiful melodies accompanied by adventurous arrangements, Aagres lyrical Nordic Jazz sounds calm and dream-like. Frøy Aagre’s own sound runs through all twelve tracks of Cycle of Silence. The album is a tale of experiences: “Long Distance” deals with the subject of far-off conversations, as well as Aagre’s love of hikes in nature. She noted her first thoughts on her mini suite “Siberia” on a flight over the Russian landscape. “There were no clouds in the sky for the entire flight and you could see the Siberian landscape transform from rugged mountains into gentle hills and empty tundra. I had never seen anything like it.” With “Steam Train”, at the beginning of the album, Frøy tells of her favourite railway journey from Oslo to Bergen, while she says farewell to listeners with the prospect of a “Neverending Journey”. A journey that should be enjoyed – provided you have Frøy Aagre’s music with you! http://www.gubemusic.com/album_14338 VijayIyer Trio - Historicity http://www.gubemusic.com/album_13839 <p>What does jazz have to do with mathematics? More than one might think, says Vijay Iyer: “Music contains a lot of abstract thought and concepts like rhythm, chords and structures. It deals with numbers and quantities, which is what mathematics does. There was a time when mathematics was associated with traditions that did not differentiate between spirit and intellect, and that is exactly what music is for me. For me it’s all about letting rational structures become intuitive.” The American pianist with Indian roots knows what he is talking about: before becoming a musician he studied mathematics and physics at Yale and UC Berkeley. Only after saxophonist Steve Coleman offered him the position of pianist in his band in the mid 1990s, did Iyer decide to devote himself completely to music.<br /> <br /> Since then, thanks to his intelligence and highly original creativity, the 37 year-old who studied violin and taught himself piano has had an impressive career that has made him one of the key figures in the contemporary American jazz scene. Upon arriving in New York a decade ago he quickly accumulated acclaim with his own formations, while also collaborating with some of today’s most innovative artists, such as Amiri Baraka, Butch Morris, Roscoe Mitchell, and underground hip hop artist Mike Ladd. Iyer achieved international fame through years of collaborations with saxophonist Rudresh Mahanthappa, whom he met through Coleman, and who, like himself, is a first-generation American born of Indian parents. No fewer than twelve well-received albums have been recorded under his name thus far, and for several years now he has been the winner of numerous critic’s polls (Iyer was twice voted the #1 Rising Star Jazz Artist and #1 Rising Star Composer in the Downbeat Magazine International Critics' Poll) and remarkable worldwide acclaim. Now the pianist has recorded his first CD exclusively for ACT. With Historicity, accompanied by Stephan Crump on bass and Marcus Gilmore on drums, he spectacularly redefines the classic notion of the piano trio.<br /> <br /> Iyer’s examination of the concept of historicity is the album’s center of focus. It’s about "being placed in the stream of history," he explains in the liner notes. "Without a doubt, it's the past that's setting us in motion." On Historicity, the pianist travels full circle from covers such as “Galang”, by global hip-hop star M.I.A, to Stevie Wonder’s “Big Brother”, back to his own very early pieces (“Trident” and “Sentiment”). Not least due to the fact that the trio almost sounds like a single person, associations here succeed as never heard before. Or as Iyer himself put it: “Music, it seems, also connects -- carrying us smoothly across the tumult of experience, like water over rocks.”<br /> <br /> On Historicity, Iyer masterfully takes themes that have been occupying him throughout his career to new limits. One of these – catchword mathematics – is working with sounds that are infused with ciphers, symbols and codes. From the very outset, the first and title track bristles with mind boggling changes in rhythm and tempo, modal and serial sequences, and all manner of encryptions. Yet with Iyer this never sounds over-experimental; it retains full power and is listenable throughout. An excellent example is the tremendous, at once lyrical and abstract version of Leonard Bernstein and Stephen Sondheim’s “Somewhere” from the musical “West Side Story”.<br /> <br /> The appearance of “West Side Story” which, put in modern terms, deals with the fate of immigrants, is surely not a coincidence. The quest for his own cultural identity and role in jazz, for familial roots and “American-ness”, is another big theme in Iyer’s work – one that led him early on to clear positions that extend beyond music. His last album, Tragicomic can be seen as a commentary on America’s position at the end of the Bush administration. Historicity can also be seen as such a more up-to-the-minute commentary, appropriately more optimistic and future oriented. Iyer’s work has always been steeped in a deep respect for the African-American blues- and jazz tradition (it isn’t hard to recognize Thelonious Monk’s influence in Iyer’s keyboard technique and sense of melody, or the progressive developments of Andrew Hill, who also appears as a composer on Historicity’s “Smoke Stack”); more uniquely his own however, is the alliance of contemporary jazz with the harmonic and rhythmically highly complex music of southern India. The incredible pull that this alliance can create, combined further with influences from contemporary hip hop and rock, is more than evident in the edgy and powerful “Galang”. Iyer and his colleagues deliver a thunderingly percussive take on M.I.A.’s groundbreaking hit, using grand piano, bass, and drums to evoke tablas, synthesizers, and drum machines.</p> http://www.gubemusic.com/album_13839 Michael Wollny - Hexentanz http://www.gubemusic.com/album_14232 <p>The dark side <br /> Hexentanz – the ACT solo album by young piano star Michael Wollny featuring an irresistibly "gothic music". <br /> <br /> What does jazz have in common with Mary Shelley’s “Frankenstein”? Usually not very much, but fascinating parallels between the two emerge on this new release. Alluding to the term “gothic novel”, Michael Wollny describes the music on this album as “gothic music”. He has created a personal and colourful musical language that accommodates films by Ken Russell or Vincent Price just as easily as it embraces the ambivalence of Franz Schubert’s musical universe or the profound pop songs of Björk. Wollny is not concerned with the superficial thrill, but rather with an expanded understanding of the awesome, with goose bumps in the twilight, and first and foremost with enthralling piano music. <br /> <br /> And it is enthralling music that we are entitled to expect from this young German star of the jazz piano. Few jazz musicians of his generation have received comparable recognition in the jazz press over the last two years. The “Financial Times Deutschland” describes him as a “comet of the German jazz scene” and the British magazine "Jazzwise" takes it for granted that "Wollny could well become a major talent in European jazz“. Thus, it was no accident that Call it [em] (ACT 9650-2), the impressive 2005 debut of his trio, set the tone for the successful ACT series “Young German Jazz”. His duo recordings (Melancholia ACT 9433-2 and Certain Beauty ACT 9442-2) with Heinz Sauer, the icon of German jazz saxophone and Wollny’s elder by 46 years both won important prizes not only in Germany. Reviewers were hearing “great European jazz” in his recordings – and all of them agreed that here was a musician who combined a technical brilliance with an extensive and unique musical conception, a musician with a gripping expressiveness. An artist whose fabric resonates with the aesthetical complexity of the contemporary world and who knows, and has assimilated, musical traditions from Bach to Cage and Tatum to (John and Cecil) Taylor. An improviser without inhibitions, who can create from within or without tonality and the world of mainstream jazz. Wollny creates his own musical universe, a language of a kind that only a musician who grew up with Björk, Jarrett and Ligeti simultaneously can create.<br /> <br /> Confronted for the first time with the idea of a solo project, Michael Wollny retreated for a month to the island of Gotland. He listened to Schubert, Steve Reich, Björk and music by Joachim Kühn (much revered by Wollny), read Edgar Allen Poe and studied films by Werner Herzog, David Lynch and not least Ken Russell’s 1986 work “Gothic”; a film that fascinated Wollny as a “grotesque brainstorm on the subject". All these influences came together to provide the thread holding this album together. <br /> <br /> The first track – fittingly entitled “Initiation” – sets the tone for this complex pianistic motion picture. While the individual movements of “Schubertiade”, the next piece, may carry Schubert-titles, they do not use themes by the Austrian composer. Wollny was more interested in Schubert’s fragile musical language, Schubert’s music as an expression of the dark side of German romanticism. Just as his treatment of the three Björk songs is characterized by an empathic toying around with their atmosphere and basic ideas, and not by a jazz reharmonization. <br /> <br /> The heart of the album is the five-part suite “Hexentanz” (“Witch Dance”), that gave the CD its title (the name itself is a reference to a collage by Wollny’s artist-friend Charlotte McGowan-Griffin): Movements from a strange world, mostly quiet, slow, dangerous but also distant, weird, enchanted and in slow motion. Slowness being a motivating principle that infuses the entire album, that almost brings “Enchantment” to a standstill, creating moments in which quiet becomes that split second that produces insight. <br /> <br /> Wild angularity, pianistically beautiful, fragile and cultured sound production, enchantingly tender moments and oppressively spooky moods all come together on this album in a seamlessly organic way. Wollny sends the listener on a highly fascinating trip out into a night of living notes that originate not in Transylvania, but from a musician with an enormous power of imagination. A “gothic music” that opens up an entirely new world.</p> http://www.gubemusic.com/album_14232 Lars Danielsson - Mélange Bleu http://www.gubemusic.com/album_13812 <p>The gentle attraction of beauty<br /> “Mélange Bleu” by bass player, cellist and composer Lars Danielsson - the art of subtly blended colours<br /> <br /> Lars Danielsson ACT-debut “Libera me“ (ACTSACD 9800-2) left no doubts about his creative versatility. And yet: the bass player, cellist and composer continues to surprise. His latest ACT-release “Mélange Bleu” (ACT 9604-2) shows up a completely new dimension to this musician with enormous potential. Danielsson has surrounded himself with partners like pianist Bugge Wesseltoft, trumpeter Nils Petter Molvaer und guitarist Eivind Aarset, all of them specialists for mood music that often develops in before a backdrop of ambient inspired sounds, samples and programmed beats. Danielsson takes the same route on this recording, but adds a very personal touch, blending the electronic parts subtly with acoustic instruments and orchestral arrangements. Each musical ingredient is quietly and subtly integrated into a thoughtful and carefully crafted composition, Danielsson’s “Mélange Bleu” develops a gentle attraction through its lyrical beauty and finely honed details.<br /> <br /> Lars Danielsson has mastered the art of carefully developing even the finest nuances into a coherent whole. Born in 1958 and trained in classical cello at the conservatory of his hometown Gothenburg before he turned to the bass and jazz music, Danielsson is a musician who has developed a new quality of beauty in sound. He has cultivated an uncommonly tangible, mellow and soft tone that is at once round and gentle. No matter which of the little solo parts (Tracks 5,7,8 or 10 on “Mélange Bleu”, just to mention some of the more prominent ones) we listen to: seldom have we heard a bass or cello in jazz played with such subtle strength and roundness. As a composer, Danielsson has a great feel for elegant, soaring melodies. He uses his great versatility almost casually: Alongside the cello and the double bass, he plays fender bass, piano and fender rhodes, yet he never loses his overview, and he contributes meaningful and charmingly understated parts on all these instruments.<br /> <br /> The ten tracks on this CD form an organic whole. Simple and accessible motivic fragments serve as hooks, but convey a fleeting and airy quality, especially on track 4, “Ironside”. The introverted trumpet and cello melancholia of the almost twenty-minute “Judas Bolero” develops into a delicate orchestral opulence, which condenses more and more as the piece progresses, and hints at the Miles Davis/Gil Evans classic “Sketches Of Spain”. But this is less of a cross reference, than a multi-dimensional continuation. Danielsson creates a tonal universe in which romanticism, ambient echoes and an intense, dramatic, harmonically complex contemporary jazz combine in an excitingly matter-of-fact way.<br /> <br /> Danielsson’s soundscapes are at once succinct and enthralling, at times leaning towards the dark and mysterious (track 6, “Minor People“), toward the light and rhythmic (track 7, “Sketches Of Twelve“), at times angular with lyrical resolutions (track 8, “Naive“) or with an almost mechanical, driving energy (track 9, “Bacchanalia“). And yet the album never feels like a patchwork, because Danielsson’s lyrical strength and his quiet but glorious competence as a soloist draw the tracks together into a coherent and convincing whole. The leader has a commanding presence, and yet he leaves ample room for his all-star cast to shine. Bugge Wesseltoft and Nils Petter Molvaer contribute wonderful solos. Drummer Jon Christensen’s quiet art makes him constantly recognizable as an essential creative partner in this project. This is a CD that takes us on new and astounding musical journeys. And more so, the more we listen. “Mélange Bleu”: an imaginative work of art, subtly blending a myriad of tonal colours.</p> http://www.gubemusic.com/album_13812 Nils Landgren, Esbjørn Svensson - Swedish Folk Modern http://www.gubemusic.com/album_13868 Swedish Folk Modern first appeared in 1998 and was the first duo collaboration between Nils Landgren and Esbjörn Svensson. At the time the well-known German jazz journalist and pianist Michael Naura wrote: "Don’t ignore the CD Swedish Folk Modern, with first class Swedish improvisers Nils Landgren (trombone) and Esbjörn Svensson (piano). At last something beautiful after all the rubbish which is appearing on the market. This CD release became a worldwide success and was followed by the CD Layers Of Light (ACT 9281-2) in 2001.<br /> <br /> In the mean time they have undertaken several extended concert tours, among which was the concert in Prague on 17 February 2001. From this memorable concert the title Lapp-Nils Polka has been added as a bonus track for the reissue of Swedish Folk Modern. A particularly interesting reworking of a classic.<br /> <br /> Jazz is world music in the best spirit of this word. Already at the time of its first appearance during the early part of the last century in the multicultural melting pot of New Orleans, jazz was already a mixture with mainly African and European roots. Today jazz is the way of describing some of the most important musical forms of expression of the Twentieth Century. The social utopia of "liberty, equality, fraternity" is nowhere so convincingly brought into reality than in jazz: the freedom of individuals joined in a grouping of equals. In no other form of music can a musician take up his instrument at any time and with equal spirit start playing spontaneously. This has been regarded in jazz for a long time as a standard practice, before the term "globalisation" entered the vocabulary.<br /> <br /> When Afro-American musicians such as John Coltrane rediscovered their musical heritage and highlighted the importance of their musical vocabulary, in Europe musicians such as Bengt-Arne Wallin were starting to develop their own fascinations with the rich and musically relevant folk music for themselves and for jazz. Quincy Jones, who at that time was living in Sweden, was especially excited by Wallin’s recording "Old Folklore in Swedish Modern" – a release that today is regarded as the birth of a world jazz "Made In Europe".<br /> <br /> For ACT, World Jazz is a central focus of its range of productions.  From "Jazzpaña" Vince Mendoza - Arif Mardin (ACT 9212-2), "The Afro-American Epic Suite" Yusef Lateef (ACT 9214-2), "Europeana" Michael Gibbs - Joachim Kühn (ACT 9220-2) to "Tales From Viêt-Nam" Nguyên Lê (ACT 9225-2) extends a spectrum of a borderless music programme.Almost all well-known Scandinavian jazz musicians regard themselves as part of this tradition, including Nils Landgren and Esbjörn. Svensson. They have unreservedly made this homage to the folk music of their homeland for ACT and thus sustain the vitality of this music.<br /> <br /> Nils Landgren was born in 1956 and grew up surrounded by the music of his father, a jazz cornettist, and the church music of his grandfather, a pastor. At the tender age of six, he began to play drums, discovering the trombone at 13. His teacher at the Swedish Music Conservatoire was none other than Bengt-Arne Wallin. In 1981 Thad Jones invited Nils Landgren to be solo trombonist in his well-known big band. After the dissolution of this band, Nils founded his first jazz-rock band in 1983, and in 1987 recorded "Miles From Duke" with Bengt-Arne Wallin. Nils Landgren’s Funk Unit was founded in 1992 and recorded two internationally successful albums for ACT. But throughout this time, Nils, just like his teacher, never lost his affinity with his musical roots. In 1995 he collaborated with Tomasz Stanko on an album of church music ("Gotland", ACT 9226-2).  In 1997 he recorded "Swedish Folk Modern" with his old friend Esbjörn Svensson.<br /> <br /> Esbjörn Svensson was born in 1964 and grew up in a family where his mother listened to Chopin and his father to Duke Ellington. This musical mix and his first experiments on a small electric organ formed the basis from which Esbjörn has now climbed to the peak of pianists with the highest international reputation. He has played with some of the most famous Swedish musicians, not least the Nils Landgren Funk Unit (ACT 9243-2) and has recorded many albums under his own name, not least "EST Plays Monk" and "Winter In Venice". He has sought challenges and the unexpected. He has resolutely gone beyond the recognized narrow boundaries of jazz. With Nils Landgren on "Swedish Folk Modern" he has constructed an album which is both simultaneously a challenge and a sign of musical unity. http://www.gubemusic.com/album_13868 Phil Parnell - Gumbo Pot http://www.gubemusic.com/album_833 Known as The Musical Ambassador of New Orleans, for the past 25 years Lillian has been capturing the hearts and ears of listeners from the Mississippi Delta to Bondi Beach performing her special brand of R&B, Jazz, and Gospel and hosting singing workshops for kids of all ages. http://www.gubemusic.com/album_833 Elin Rosseland & Fairplay - Fair Play http://www.gubemusic.com/album_801 Elin Rosseland, the lead vocalist of Fairplay is one of the most talented but yet unknown norwegian jazzartists there is. However history wil show her the respect she so definately deserves. A uniqe heartfelt voice so totally free of gimmicks and licks. Listen to this gorgious album. http://www.gubemusic.com/album_801 Knut Reiersrud & Iver Kleive - Blå Koral http://www.gubemusic.com/album_865 One of the most important releases for opening up borders between traditional and contemporary music in Norway. Bluesguitar meets Church organ playing traditional music - A "Must have" in Norwegian music!!(bugge wesseltoft) http://www.gubemusic.com/album_865 AndreasEklöf - NOR http://www.gubemusic.com/album_1589 Contemporary music from Andreas Eklöf and Compunctio. Builded around 3 pianos, vibraphone, gong, clavichord, Zitter and more. 3. release from Compunctio, the eclectic Swedish label http://www.gubemusic.com/album_1589 Masqualero - Masqualero http://www.gubemusic.com/album_1169 Once upon a time back in 1982 Legends Arild Andersen and Jon Christensen decided to form a new group featuring young talented norwegian jazzmusicans. Having performed with pianist Jon Balke for a long time that choice was easy. Looking around for the classic "Miles quintet" sound eyes fell upon young saxophonist Tore Brunborg and trumpeter Nils Petter Molvær. The rest is history.. http://www.gubemusic.com/album_1169 Mahsa & Marjan Vahdat - I am Eve http://www.gubemusic.com/album_1398 Beautiful music from Iran. Have in mind women are not alloved to sing in public in Iran. Hope this will change very soon. Working on presenting more music from this area where all culture once begun. Persia, Senrtalasia, Mid east. bugge http://www.gubemusic.com/album_1398 Emil Strandberg, Sten Sandell, Patrick Thorman - Stockholm Sweden Polyphony http://www.gubemusic.com/album_1017 Emil Strandberg -Trumpet, Sten Sandell - Piano, Patric Thorman - Doublebass http://www.gubemusic.com/album_1017 RadkaToneff - Fairytales http://www.gubemusic.com/album_808 <p><i>The most selling norwegian jazz album ever. The most beautiful jazzalbum I know </i>(b.Wesseltoft)</p> http://www.gubemusic.com/album_808 Mental Overdrive - 083 http://www.gubemusic.com/album_1279 Mental overdrive aka Per Martinsens tribute to Tromsø. His hometown and birthplace for nordic electronic music. Artists like Per, Biosphere, Røyksopp, Bjørn Torske, Frost, Those Norwegians, Rune Lindbæk all have in common their childhood in Tromsø. A must city to visit before you die. http://www.gubemusic.com/album_1279 Punkt - Crime Scenes http://www.gubemusic.com/album_525 <p>The Norwegian musician/producer team Jan Bang and Erik Honoré’s first release under the Punkt logo is the album “Crime Scenes”, featuring guests like David Sylvian, Sidsel Endresen, Nils Petter Molvær, Arve Henriksen, Eivind Aarset and Audun Kleive. The album was launched at this year’s Punkt Festival in Kristiansand (August 24-26), which was curated by Bang/Honoré and featured many of the musicians who appear on the album. </p><p> The starting point for ”Crime Scenes” was a collection of short texts written by Honoré. These lyrics were used in various ways to trigger both vocal and instrumental tracks. The result is 13 “crime scene snapshots” beautifully sketched by means of voices, instruments and electronics. </p><p> Bang/Honoré have worked together for a long time and produced and remixed albums and tracks for a wide range of Norwegian and international artists, including those who appear on “Crime Scenes”. When the duo isn’t collaborating on records or festival projects, Bang is an active live musician performing with Molvær, Endresen and Jan Garbarek, among others, and Honoré works with other projects and productions besides being an author who has published three novels to date. </p><p> ////////// Release 2006 ////////// Personell: Jan Bang - Beats, Programming & Samples / Erik Honoré - Samples, Programming, Synthesizers & Synth Bass / Sidsel Endresen - Voices / Christian Wallumröd - Keyboard sample / Paolo Vinaccia - Drum sample / David Sylvian - Voices / Arve Henriksen - Trumpet /Audun Kleive - Percussion, Beats & Voice / Ingebrigt Håker Flaten - Bass / Nils Petter Molvaer - Trumpet /Eivind Aarset - Guitar samples / David Rothenberg - Voice / Terje Isungset - Percussion samples / Sub-Z - Voice / Jorn Raknes - Guitars / Greta Aagre - Voice sample </p> http://www.gubemusic.com/album_525