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Our Price: $7.69  CDFor Sale Usually ships in 1-2 days
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Adam: Giselle / Thomas, Lso Music | List Price | $7.99 (You save $0.30) | | Label | Sony Classical | | Orig Year | 12/5/1991 | | All Time Sales Rank |  33127  | | CD Universe Part number | 1238124 | | Catalog number | 42450 | | Discs | 1 | | Release Date | Dec 05, 1991 | | Recording Time | 1 17 |
Adam: Giselle / Thomas, Lso Review
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Purchase Adam: Giselle / Thomas, Lso To buy, Click on price to add to cart | Bill Evans Intuition CD (1974)
Adam: Giselle / Thomas, Lso
 $8.69 
Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California.
The fullness of this duet album's sound suffers only slightly from the lack of a drummer, compensating with deeply satisfying intuitive interplay between pianist Evans and longtime collaborator Gomez. Evans experiments on INTUITION with the electric Fender-Rhodes piano for his original tunes, "Show-Type Tune" and "Are You All the Things," but he is at his most assertive and polished when playing acoustic piano. Particular standouts are the two songs by Bronislau Kaper, the romantic ballad "Invitation," and, with particular care and expression, the theme "Hi Lili, Hi Lo," from the musical "Lili." Gomez is a full participant, using the bass the way he did as a member of the Bill Evans Trio, making himself an indispensable part of the equation. INTUITION is a strongly empathetic album which memorializes a deep musical connection between two jazz greats.
Recorded at Fantasy Studios, Berkeley, California from November 7-10, 1974. Originally released on Fantasy (9475). Includes liner notes by George Cleve.
Composer: Claus Ogerman.
Personnel: Bill Evans (piano).
Liner Note Author: George Cleve.
Recording information: Fantasy Studios, Berkeley, CA (11/07/1974-11/10/1974).
Unknown Contributor Role: Bill Evans .
Personnel: Bill Evans (piano); Eddie Gomez (bass).
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie Freeloader." Often credited to Davis, "Blue In Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Miles fascination with the earthy melodies and brooding metaphors of the Iberian peninsula...a harbinger of his next masterpiece, SKETCHES OF SPAIN. KIND OF BLUE remains M
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Live Recording
Recorded at Estudios Infinity, Madrid, Spain in March-May 1999.
Personnel: Martirio (vocals); Raul Rodriguez (guitar, tres, percussion); Paco De Amparo (guitar); Jorge ...
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Nominated ADAMI Classical Revelation 2004, Jérôme Laran was quickly established as one of the most talented saxophonists of his generation. From the baroque period to the contemporary through improvised musics, he develops a personal and creative playing, not hesitating to repel the limits of the instrument.Formed at the Paris Conservatory, he obtains unanimously in 2002 the first price of saxophone (class of Claude Delangle) and in the “improvisation generative†class before being admitted in perfection cycle.Supported by the Sasakawa and Meyer Foundations, he becames successively winner of the founding Cziffra and of the Société Générale Musical sponsorship. He won the first prize unanimously in the international saxophone contest of Luxembourg (2000) and stands out, among others, at international competitions such as the ARD Munich (2001), Adolphe Sax Dinant (2002) ... At the same time, he performs throughout Europe (Berlin Philharmonic, Cité de la Musique, Salle Gaveau, Auditorium of the Orsay Museum, Victoria Hall in Geneva), China, Canada and Japan (Tokyo Bunka Kaikan, Kagoshima Prefecture Hall). As a soloist, Jérôme Laran has worked with the National Chamber Orchestra of Toulouse, the Ensemble Itinéraire, the Royal Chamber Orchestra of Wallonia, the Orchestra of the winners of the Conservatory and more recently the Filarmonie Boruslav Martinu Zlin (Czech Republic). He has participated in many festivals: Pablo Casals in Prades, Autumn Festival in Paris, the Transclassiques, Voix Nouvelles in Royaumont, Musica, Why Note in Dijon, Ars Musica in Brussels, Tokyo Summer Festival ...Member of the ensemble Cairn, its commitment to the music of our time permits him to create many works and play several times the "Dialogue de l'ombre double" of Pierre Boulez. Since 2004, he was artistic director of "The Musical Meetings ...
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