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Arditti Quartet / Romero / Sosa / Vazquez / Waller - Mexico - Naranjo, Waller, Et Al / Arditti Quartet CD Cover Art
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Mexico - Naranjo, Waller, Et Al / Arditti Quartet CD

 Arditti Quartet / Romero / Sosa / Vazquez / Waller CDS

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Category Classical, 20th Century Period, Orchestral/Symphonic, Quartet
Mexico - Naranjo, Waller, Et Al / Arditti Quartet Music


Detailed Mexico - Naranjo, Waller, Et Al / Arditti Quartet Music Information



List Price $17.97 (You save $3.22)
Label Mode Records
Orig Year 7/25/2006
All Time Sales Rank   35794  
CD Universe Part number 7111835
Catalog number 165
Discs 1
Release Date Jul 25, 2006
Recording Time 1 19
Mexico - Naranjo, Waller, Et Al / Arditti Quartet Review


Mexico - Naranjo, Waller, Et Al / Arditti Quartet Classical Reviews



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Mexico - Naranjo, Waller, Et Al / Arditti Quartet Music


Elements featured on Mexico - Naranjo, Waller, Et Al / Arditti Quartet CD



Composers on Mexico - Naranjo, Waller, Et Al / Arditti Quartet CD : German Romero, Hebert Vazquez, Hilda Paredes, Ivan Naranjo, Juan Felipe Waller, Rogelio Sosa

Performers on Mexico - Naranjo, Waller, Et Al / Arditti Quartet CD : Irvine Arditti

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Claudia Heurermann directs this fascinating documentary that examines the work of experimental composer John Zorn, including live footage of Zorn's projects Masada, Naked City, and Cobra as well as improvisations, classical works, and rare interviews. Features appearances by fellow musicians Mark Feldman, Bill Frisell, Fred Frith, Anthony Coleman, Susie Ibarra, and many more. A  prize winner at European festivals, Claudia Heuerman's  very personal, 15 year odyssey with the music of John Zorn includes rare live footage of Masada, Naked City, Cobra, improvisations, classical work and more.
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In general, flamenco music has not readily lent itself to fusion experiments, but that clearly didn't stop multi-instrumentalist Jerry Gonzalez from trying. With Gonzalez's percussion and breathy, Miles Davis-inspired trumpet phrases intertwining with flamenco guitarist Nino Josele's tasteful lines, JERRY GONZALEZ Y LOS PIRATAS DE FLAMENCO blends Spain's traditional form with bop-inflected jazz, meditative balladry, and Latin-charged grooves. For the most part, the music is wonderfully spare and calming, evoking dim, smoky Spanish cafes and dusty Andalusian landscapes. Takes on two bebop tunes, Charlie Parker's "Donna Lee" ("Donnali") and Thelonious Monk's "Monk's Dream" ("Monk Soniquete"), pick up the tempo a bit, with Josele's guitar suddenly sounding like Charlie Christian performing at a classical recital. "Gitanos de la Cava" and "Obsesion" feature the singing of Diego "El Cigala", which, with its Middle Eastern inflections, keeps the program varied and fresh. This is unique, accessible fusion music that proves Gonzalez's skill for bridging multiple cultures with jazz. Photographer: Christopher Drukker. Personnel: Jerry Gonzalez (trumpet, congas, percussion); Diego el Cigala (vocals); Israel Sandoval (guitar, electric guitar); Israel Sandoval (electric guitar); Juan José Suarez Paquete (flamenco guitar); Israel "Pirańa" Suarez (tabla); Israel Suarez (percussion); Nińo Josele (flamenco guitar). Recording information: Music & Media, NY (02/2001); Musiquina, Madrid, Spain (02/2001).
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Previously available only as a limited edition, Japanese import. Herbie Hancock never really focused on solo piano. However, this 1978 release, which was previously only available in Japan, is a rare gem in the Hancock discography. Thanks to this overdue 2004 reissue, the listener is invited to explore the musical mind of this pianist in an up-close and intimate setting. All 11 tracks on THE PIANO are quite reflective, with Hancock employing many rich chordal textures and winding melodic gestures throughout. On "My Funny Valentine," Hancock combines the harmonic palette of Bill Evans with his own distinctive phrasing and unexpected modal shifts. His own composition "Blue Otani" is the only bluesy piece on this disc, and here Hancock slyly suggests the stride piano tradition without ever really playing in this style. "Harvest Time" is the most atmospheric piece on the album. As Hancock's fingers glide over the keys, one can almost envision the first blush of daybreak on a farm. For anybody seeking to better understand the conceptual and technical wizardry of Hancock, THE PIANO is a priceless find. Recorded after the funky fusion of Head Hunters, Thrust, Sextant, and other electric albums, and before the dawn of "Rockit" and more commercially viable and hip-hop-oriented material, Herbie Hancock took time out in 1978 to touch base again with his piano. Recorded completely solo, and live, direct to disc, where the tape is rolling and the performance is recorded directly to a master acetate without edits or overdubs of any kind (further constraints of the technology permitted performances of only 16 minutes in length per side), this set was issued only in Japan at the time, just as the truly awful Feets, Don't Fail Me Now was issued stateside. This is the very first time this set has been available in the United States, and Legacy has done a fantastic job, lengthening the original album by over 20 minutes with the inclusion of four alternate takes of issued material f
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