Intakt Sonderangebot Jede CD Nur Fr. 7.50

Total Page:16

File Type:pdf, Size:1020Kb

Intakt Sonderangebot Jede CD Nur Fr. 7.50 Intakt Sonderangebot jede CD nur Fr. 7.50 Intakt Nr. Band Titel Archiv Nr. SJO CD 218 Omri Ziegele / Yves Theiler Inside Innocence 7929 CD 112 Omri Ziegele / Billiger Bauer Edges & Friends 5586 CD 119 Co Streiff Sextet Loops, Holes & Angels 6350 CD 157 Katharina Weber Woven Time 9772 CD 203 Katharina Weber / Barry Guy / Balts Nill Games and Improvisations 10193 CD 153 Jürg Wickihalder Overseas Quartet Furioso 10210 CD 155 Fred Frith and Arte Quartett Still Urban 7329 CD 156 Fred Frith and Arte Quartett The Big Picture 7408 3 Exemplare CD 135 Tommy Meier / Root Down ohne Titel 9399 CD 181 Tommy Meier / Root Down The Master and the Rain 12147 CD 209 Jürg Wickihalder Orchestra Narziss & Echo 7912 CD 061 Saadet Türköz Marmara Sea 10190 CD 049 Pierre Favre Singing Drums Souffles 10428 Pierre Favre and Arte Quartett CD 091 with Michel Godard Saxophones 10188 Objets Trouvés Co Streiff Gabriela Friedli / Jan Schlegel / CD 102 Dieter Ulrich objets trouvés / fragile 4680 CD 202 Maya Homburger / Barry Guy Tales of Enchantment 10191 CD 114 Pierre Favre / Yang Jing Two in One 10199 CD 186 Pierre Favre Ensemble Le Voyage 7571 CD 161 Cosa Brava Ragged Atlas 11104 Fred Frith / Carla Kihlstedt / CD 103 Stevie Wishart The Compass, log and lead 10206 CD 120 Sylvie Courvoisier Lonelyville 10209 CD 210 Sylvie Courvoisier / Mark Feldman Duo Live at Théâtre Vidy-Lausanne 10181 CD 168 Sylvie Courvoisier / Mark Feldman Quartet To Fly to Steal 9773 2 Exemplare CD 018 Martin Schütz & Hans Koch Approximations 10421 Schweizer / Nicols / Lewis / Léandre / The Storming of the CD 003 Sommer Winter Palace 4160 Barry Gy London Jazz Schaffhausen Concert CD 158 Composers Orchestra Irène Schweizer 10205 First Choice - Piano Solo CD 108 Irène Schweizer KKL Luzern 10192 Jacques Demierre / Barry Guy / CD 107 Lucas Niggli Brainforest 8805 CD 280 Silke Eberhard Trio The Being Inn 12526 CD 080 Barry Guy / Evan Parker Birds and Blades 7982 Bauer Gumpert Petrowsky Sommer CD 113 Zentralquartett 11 Songs - aus teutschen Landen 12361 2 Exemplare Sarah Buechi with Stefan Aeby, André CD 229 Pousaz and Lionel Friedli Flying Letters 8886 CD 162 Trio 3 + Geri Allen At this Time 10198 Squakk CD 231 Griener / Mahall / Roder / Thewes Willisau & Berlin 10189 CD 173 Ingrid Laubrock Anti-House 10187 2 Exemplare CD 198 Ulrich Gumpert / Günter Baby Sommer La Paloma 12873 Trio 3 Oliver Lake / Reggie Workman / CD 106 Andrew Cyrille Time Being 10203 CD 233 Trio 3 + Vijay Iyer Wiring 10194 CD 136 Doppelmoppel Outside This Area 10204 CD 169 Ulrich Gumpert / Günter Baby Sommer Das donnernde Leben 10200 CD 113 Zentralquartett 11 Songs - aus teutschen Landen 12361 Gabriela Friedli Trio CD 214 Daniel Studer & Dieter Ulrich Started 9770 2 Exemplare CD 195 Co Streiff - Russ Johnson Quartet In Circles 11492 2 Exemplare CD 119 Co Streiff Sextet Loops, Holes & Angels 6350 CD 115 Alexander von Schlippenbach Twelve Tone Tales, Vol. 1 10201 CD 172 Lake / Weber / Ulrich For a little Dancin' 10186 2 Exemplare CD 222 Lake / Weber / Ulrich Feat. Nils Wogram All Decks 8597 3 Exemplare CD 134 Jürg Wickihalder / Chris Wiesendanger A Feeling for Someone 7052 CD 184 Stephan Crump / Steve Lehman Kaleidoscope & Collage 10182 CD 170 Leimgruber / Doran / Burri / Studer Willisau 7480 CD 118 Lucas Niggli Big Zoom Celebrate Diversity 11097 CD 130 Lucas Niggli Zoom Meets Arte Quartett Crash Cruise 6526 CD 082 Lucas Niggli / Zoom Rough Ride 3142 CD 083 Lucas Niggli / Big Zoom Big Ball 3143 CD 093 Lucas Niggli / Zoom Ensemble Sweat 10385 CD 175 Michael Jaeger Kerouac Outdoors 7525 3 Exemplare CD 223 Christop Irniger Trio Gowanus Canal 12700 2 Exemplare CD 056 Koch-Schütz-Studer & Musicos Cubanos Fidel 11906 CD 171 Steve Lacy November 10430 CD 067 Lucas Niggli Zoom Meets Arte Quartett Spawn of Speed 3144 CD 092 Ochs / Jeanrenaud / Masaoka Fly, fly, fly 10207.
Recommended publications
  • Acclaimed Drummer-Composer John
    Bio information: THE CLAUDIA QUINTET Title: SUPER PETITE (Cuneiform Rune 427) Format: CD / DIGITAL RELEASE DATE: JUNE 24, 2016 Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / POST-JAZZ Acclaimed Drummer-Composer John Hollenbeck Pens Rich, Complex Tunes for an Era of Short Attention Spans on The Claudia Quintet's 8th album – Super Petite – a Potent Package that Condenses Virtuoso Playing and a Wealth of Ideas into Ten Compact Songs Short doesn’t necessarily mean simple. Drummer-composer John Hollenbeck acrobatically explores the dichotomy between brevity and complexity on Super Petite, the eighth release by the critically acclaimed, proudly eccentric Claudia Quintet. The oxymoronic title of the band’s newest album on Cuneiform Records captures the essence of its ten new compositions, which pack all of the wit and virtuosity that listeners have come to expect from the Claudia Quintet into the time frame of radio-friendly pop songs. As always, Hollenbeck’s uncategorizable music – which bridges the worlds of modern jazz and new music in surprising and inventive ways - is realized by Claudia’s longstanding line-up: clarinetist/tenor saxophonist Chris Speed, vibraphonist Matt Moran, bassist Drew Gress, and accordionist Red Wierenga. Over the course of 19 years and 8 albums, the band has forged an astounding chemistry and become expert at juggling mind-boggling dexterity with inviting emotion and spirit. Like the band’s name, the title Super Petite originated as an affectionate nickname for one of the band’s fans.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Jazz-Fest-2017-Program-Guide.Pdf
    JUNE 22 – JULY 2 | 2017 /coastaljazz | #VanJazzFest | COASTALJAZZ.CA 20TH ANNIVERSARY SEASON 2017 181 CHAN CENTRE PRESENTS SERIES The Blind Boys of Alabama with Ben Heppner I SEP 23 The Gloaming I OCT 15 Zakir Hussain and Dave Holland: Crosscurrents I OCT 28 Ruthie Foster, Jimmie Dale Gilmore and Carrie Rodriguez I NOV 8 The Jazz Epistles: Abdullah Ibrahim and Hugh Masekela I FEB 18 Lila Downs I MAR 10 Daymé Arocena and Roberto Fonseca I APR 15 Circa: Opus I APR 28 BEYOND WORDS SERIES Kate Evans: Threads I SEP 29 Tanya Tagaq and Laakkuluk Williamson Bathory I MAR 16+17 SUBSCRIPTIONS ON SALE MAY 2 DAYMÉ AROCENA THE BLIND BOYS OF ALABAMA HUGH MASEKELA TANYA TAGAQ chancentre.com Welcome to the 32nd Annual TD Vancouver International Jazz Festival TD is pleased to bring you the 2017 TD Vancouver International Jazz Festival, a widely loved and cherished world-class event celebrating talented and culturally diverse artists from Canada and around the world. In Vancouver, we share a love of music — it is a passion that brings us together and enriches our lives. Music is powerful. It can transport us to faraway places or trigger a pleasant memory. Music is also one of many ways that TD connects with customers and communities across the country. And what better way to come together than to celebrate music at several major music festivals from Victoria to Halifax. ousands of fans across British Columbia — including me — look forward to this event every year. I’m excited to take in the music by local and international talent and enjoy the great celebration this festival has to o er.
    [Show full text]
  • Blabla Bio Fred Frith
    BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin.
    [Show full text]
  • By Ken Waxman
    INTERVIEW a whole program for such great musicians. In a solo concert you carry the whole evening on your shoulders, the space belongs to you. When you play with more musicians you share that space; in a way you take a Pierre step back, you just play what has to be played. As a drummer you’re there to give pulse, dynamics, fire and color to the band. TNYCJR: You also at one time played a very extensive kit. Do you still use that set-up? r e l Favre PF: Yes, there were times where I tried to play full h i Z melodies on the drums and I came on stage with all s a e r (CONTINUED ON PAGE 36) d n A y b o JEFF WILLIAMS QUARTET t o John Hébert, Duane Eubanks, John O’Gallagher h P by Ken Waxman Friday March 30th at 9:00 & 10:30 Cornelia Street Cafe 29 Cornelia Street (212) 989-9319 During a career of more than 55 years, drummer Pierre Paiste & Sohn, as your secretary? Favre, who turns 75 in June, has been a constantly innovating musician. One of the first Swiss players to PF: I met Irène Schweizer in Zurich during a concert. embrace free music in the late ’60s, since then he’s explored She told me she was looking for a job, and I asked her a variety of musical concepts: from giving solo percussion to work for me as I needed a secretary. At first we concerts to composing notated works and collaborating with would play together occasionally after work and after folkloric-influenced improvisers.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]
  • Sélection De La Commission Musique Nouvelle 40176 PCDM3 450 and 40177 PCDM3 450 CHA Voir PCDM4 Voir PCDM4 PCDM4 7 and CC PCDM4 7 CHA Gris Gris
    Sélection de la commission Musique nouvelle 40176 PCDM3 450 AND 40177 PCDM3 450 CHA voir PCDM4 voir PCDM4 PCDM4 7 AND CC PCDM4 7 CHA Gris Gris 1CD Elektra WAR 1CD Tzadik ORK Anderson, Laurie Charming Hostess Homeland Bowls project (The) Laurie Anderson : voix, claviers J Eisenberg: voice, dulcimer, harmonium Eyvind Kang, Lou Reed, John Zorn, Antony, etc... Minimaliste Etats-Unis C Taylor: voice / J Ditzian: clarinets / s Ismaily: bass, perc, guit/ C Nouvel album de Laurie Anderson qui résume le spectacle Smith: drums + invités multimédia qu'elle fait tourner et évoluer depuis plusieurs rock chant west coast Amerique années. Elle n'avait pas sorti d'album en studio depuis "Life on a Chant rock décalé d'une charmante hôtesse qui passe de l'ange String" en 2001. au démon sans détour dans le registre vocal qui peut faire Ce nouvel opus est accompagné d'un DVD retraçant la genèse de penser à la chanteuse d'Art Bears. Des violons rock punk fusent, ce projet. les textes s'inspirent des inscriptions anciennes du babylon juif ; La musique et les textes sont quand à eux dignes du talent de les genres s'entremèlent mais restent mystiques sur des airs qui cette grande artiste-performeuse avec les mêmes composantes peuvent faire penser à la tradition celte ou à celle d'Afrique du que sur ses disques précédents : une musique minimaliste nord, on croise même des airs de bluegrass qui décoiffent ou accessible et sophistiquée, des textes mi-parlés mi-chantés, un baladent. Des percussions font envenimer ces univers insensés mélange d'influences qui vont de l'avant-garde new-yorkaise des et poétiques, des troubadours femmes avancent comme des annés 70-80 aux couleurs "world".
    [Show full text]
  • American Buddhists: Enlightenment and Encounter
    CHAPTER FO U R American Buddhists: Enlightenment and Encounter ★ he Buddha’s Birthday is celebrated for weeks on end in Los Angeles. TMore than three hundred Buddhist temples sit in this great city fac- ing the Pacific, and every weekend for most of the month of May the Buddha’s Birthday is observed somewhere, by some group—the Viet- namese at a community college in Orange County, the Japanese at their temples in central Los Angeles, the pan-Buddhist Sangha Council at a Korean temple in downtown L.A. My introduction to the Buddha’s Birthday observance was at Hsi Lai Temple in Hacienda Heights, just east of Los Angeles. It is said to be the largest Buddhist temple in the Western hemisphere, built by Chinese Buddhists hailing originally from Taiwan and advocating a progressive Humanistic Buddhism dedicated to the pos- itive transformation of the world. In an upscale Los Angeles suburb with its malls, doughnut shops, and gas stations, I was about to pull over and ask for directions when the road curved up a hill, and suddenly there it was— an opulent red and gold cluster of sloping tile rooftops like a radiant vision from another world, completely dominating the vista. The ornamental gateway read “International Buddhist Progress Society,” the name under which the temple is incorporated, and I gazed up in amazement. This was in 1991, and I had never seen anything like it in America. The entrance took me first into the Bodhisattva Hall of gilded images and rich lacquerwork, where five of the great bodhisattvas of the Mahayana Buddhist tradition receive the prayers of the faithful.
    [Show full text]
  • Variations #6
    Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline.
    [Show full text]
  • Evolving Processes Fredy Studer
    Fredy Studer Evolving Processes by Ken Micallef ollowing in the lineage of European drumming masters Pierre Favre and Han Bennink, Swiss-born Fredy Studer has deftly employed Ftouch, tone, texture, noise, and rhythm in service of highly drum- centric music that, regardless of its avant-garde nature, communicates a rare sense of sincerity and humanity. Active on the European avant-jazz and classical scenes since the late 1960s, Studer was a founding member of the influe tial, freewheeling fusion group OM, and has toured and tracked albums with such iconic musicians as Dave Holland, Miroslav Vitous, Joe Henderson, Rainer Brüninghaus, Markus Stockhausen, Charlie Mariano, George Gruntz, Franco Ambrosetti, and Christy Doran. Along the way, he’s ceaselessly explored out-rock, jazz, folk, psychedelia, blues, fusion, rhythm ’n’ blues, bebop, funk, contemporary classical, and open-improvisation terrain. Among the dozens of albums Studer has recorded are the landmark 1977 ECM release Percussion Profiles with Jack DeJohnette, Dom Um Romão, Pierre Favre, Dave Friedman, and George Gruntz, and Favre’s 1984 release Singing Drums, featuring Paul Motian and Naná Vasconcelos, both of which expanded the then-current rhythmic consciousness. Other projects featuring Studer and Favre are the Four in Time drum quartet, with Daniel Humair and Fritz Hauser, and the long-running Drum Orchestra duo. Along the way Studer has also interpreted the percussive masterworks of 20th-century classical composers Steve Reich, John Cage, and Edgard Varèse. Coinciding with his long-term consultancy with Paiste cymbals, Studer followed his own artistic muse, exploring unusual situations and challenging concepts in music, life, and drumming.
    [Show full text]
  • Intakt Sonderangebot.Xlsx
    Intakt Sonderangebot jede CD nur Fr. 7.50 Intakt Nr. Band Titel Archiv Nr. SJO CD 003 Schweizer / Nicols / Lewis / Léandre The Storming of the Winter CD-04160 / Sommer Palace CD 018 Martin Schütz & Hans Koch Approximations CD-10421 CD 049 Pierre Favre Singing Drums Souffles CD-10428 CD 056 Koch-Schütz-Studer & Musicos Fidel CD-11906 Cubanos CD 061 Saadet Türköz Marmara Sea CD-10190 CD 067 Lucas Niggli Zoom Meets Arte Spawn of Speed CD-03144 Quartett CD 080 Barry Guy / Evan Parker Birds and Blades CD-07982 CD 082 Lucas Niggli / Zoom Rough Ride CD-03142 CD 083 Lucas Niggli / Big Zoom Big Ball CD-03143 CD 091 Pierre Favre and Arte Quartett with Saxophones CD-10188 Michel Godard CD 092 Ochs / Jeanrenaud / Masaoka Fly, fly, fly CD-10207 CD 093 Lucas Niggli / Zoom Ensemble Sweat CD-10385 CD 102 Objets Trouvés Co Streiff Gabriela objets trouvés / fragile CD-04680 Friedli / Jan Schlegel / Dieter Ulrich CD 103 Fred Frith / Carla Kihlstedt / Stevie The Compass, log and lead CD-10206 Wishart CD 106 Trio 3 Oliver Lake / Reggie Workman Time Being CD-10203 / Andrew Cyrille CD 107 Jacques Demierre / Barry Guy / Brainforest CD-08805 Lucas Niggli CD 108 Irène Schweizer First Choice - Piano Solo KKL CD-10192 Luzern CD 112 Omri Ziegele / Billiger Bauer Edges & Friends CD-05586 CD 113 Bauer Gumpert Petrowsky Sommer 11 Songs - aus teutschen Landen CD-12361 2 Ex Zentralquartett CD 113 Zentralquartett 11 Songs - aus teutschen Landen CD-12361 CD 114 Pierre Favre / Yang Jing Two in One CD-10199 CD 115 Alexander von Schlippenbach Twelve Tone Tales, Vol.
    [Show full text]
  • Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
    Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night.
    [Show full text]