It's almost Christmas and that is why we have made a special Christmas selection of three albums for you.
All three albums with great discount!
We hope you will enjoy our discount prices!
1. J.S. Bach - Christmas Oratorio - Combattimento Consort conducted by Jan Willem de Vriend Normal price € 34,95Now € 19,95 SACD Book English version SACD Book Dutch version This book on Bach’s Christmas Oratorio lends credence to Jan Willem de Vriend’s musical interpretation of the work. It comprises an interview with De Vriend himself, carried out by the musicologist Frits de Haen, a short history of how the work came into being and an article on the liturgical significance of the six cantatas by the internationally renowned musicologist Robin A. Leaver. 2. J.S. Bach - Christmas Cantatas - Amsterdam Baroque Orchestra & Choir conducted by Ton Koopman Normal price € 29,95 Now € 17,95 3-CD BOX This CD box comprises the essential repertoire of the cantatas Bach composed for the Christmas season (BWV 63, 40, 64, 190 and 65).The musical programme was not restricted to cantatas: Latin liturgical works were also included. With the newly designed artwork, this box is the best Christmas gift we could offer. Let’s say: BWV 191! 3. Miranda van Kralingen en Matangi Quartet - Merry Christmas! Normal price € 19,95 Now € 9,95 The repertoire of this very divers Christmas album reaches from the famous Irvin Berlin's "white Christmas" to Praetorius' classic "Es ist ein Ros".
We wish you all a Merry Christmas and a musical year 2017!
Internationally renowned jazz pianist/composer Fred Hersch
In Facebook Live Concert + Q & A with acclaimed journalist Larry Blumenfeld
Tuesday, December 20 at 11 a.m.
Hersch nominated for two 2017 Grammy Awards for Palmetto CD Sunday Night at the Vanguard
Internationally acclaimed jazz pianist and composer Fred Hersch will perform solo for a Facebook Live Concert on Tuesday, December 20 at 11 a.m. The event, which will include questions from renowned music journalist Larry Blumenfeld, will last approximately 30 minutes and will take place in Hersch’s NYC apartment.
Hersch, who will just have returned from a 10-date European tour, has received two 2017 Grammy nominations for the Fred Hersch Trio’s recent Palmetto Records CD Sunday Night at the Vanguard. Hersch has been nominated in the categories of Best Jazz Instrumental Album and Best Improvised Jazz Solo (Monk’s “We See”, Fred Hersch, soloist). The Grammy Awards ceremony will take place in Los Angeles on Sunday, February 12, 2017.
Hersch has now earned a total of ten Grammy nominations since 1993 in the categories of Best Jazz Instrumental Performance, Best Instrumental Composition and Best Improvised Jazz Solo.
A select member of jazz’s piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. A ten-time Grammy Award nominee, he continues to earn jazz’s most prestigious awards, including recent distinctions as a 2016 Doris Duke Artist and 2016 Jazz Pianist of the Year from the Jazz Journalists Association.
Hersch has long defined jazz’s creative edge in a wide variety of settings, from his breathtaking solo recitals and exploratory duos to his extraordinary trios and innovative chamber settings. With some three dozen albums to his credit as a leader or co-leader, he consistently wins an international array of awards and lavish critical praise for his albums. The 2015 Palmetto album Fred Hersch SOLO won a Coup de Coeur from L’Academie Charles Cros – his third such award – as well as the French Grand Prix de L’Académie de Jazz.
The feature documentary The Ballad of Fred Hersch premiered at the prestigious Full Frame Film Festival in March 2016 to a sold-out house and rave reviews. His memoir, Good Things Happen Slowly, will be published in 2017 by Crown Books/Random House.
Sunday Night at the Vanguard featuring Hersch with his trio of bassist John Hébert and drummer Eric McPherson, has earned wide critical acclaim.
“The resulting album…confirms that he’s still one of the most insightfully lyrical searchers in his field. It also underscores how his bond with the bassist John Hebert and the drummer Eric McPherson, while never less than strong, reaches a rarefied plane in this particular room.”– Nate Chinen, New York Times
“His sparkling tone, harmonic inventiveness, dynamic control, and mastery of rubato are striking from the opening seconds of the first track.”– Fred Kaplan, Stereophile
“It is, perhaps, his trio work that will be his legacy to the jazz pantheon. He is Hersch. A combination of fearless determination and sensitive interpretation. *****”– Mark Corroto, All About Jazz
“…’Sunday Night At The Vanguard’ takes the trio’s propensity for dramatic lyricism, harmonic exploration and rhythmic experimentation to new levels of poise and audacity.”– Ed Enright, DownBeat Magazine (Editor’s Pick)
“Like the Modern Jazz Quartet, the Fred Hersch Trio is an entity where the indiidual parts coalesce into a greater whole. Sunday Night at the Vanguard is an instant classic, and the best piano trio album I have heard in years.”– Thomas Cunniffe, Jazz History Online
“This is as good as it gets.” *****– Cormac Larkin, The Irish Times
“You’ll hear a Monk tune that sounds nothing like Monk, and you’ll hear originals that sound like standards and standards that sound like originals.”– Rick Anderson, CD Hotlist (Rick’s Pick)
“Fred Hersch chose to give listeners what he thought was the ‘lightning in a bottle’ of a night when the band was ‘in the zone’ - this glorious album should make you want to see the band live. And, do go see and hear them, as the Fred Hersch Trio is among the best ensembles of any size playing in this day and age.”– Richard Kamins, Step Tempest
“Hersch is one of the major living jazz pianists but he has never quite become a star. Perhaps because he is so technically refined, so comprehensive in his coverage of the maistream piano universe, he evades categorization. In a perfect world where you were king, you would sit Fred Hersch down and make him play every song you ever loved.”– Thomas Conrad, New York City Jazz Record
“.... their empathetic interplay makes them the natural heirs to the Evans/LaFaro/Motian unit the revoloutionized the jazz-piano trio on the Village Vanguard stage.”– Matt R Lohr, Jazz Times
“A pianist of uncommen senitivity combined with sn infinite capacity to swing, Hersch benfits greatly from a remkable intective, elastic rhythm section in bassist John Hébert and drummer Eric McPherson.”– Bill Milkowski, Absolulte Sound
“Pianist Fred Hersch is a painter of musical portraits that are infused with tonal color and harmonic depth, all presented within a frame of originality, sophistication, and virtuosity. His latest trio recording, Sunday Night At The Vanguard continues to demonstrate his commitment to these traits.”– Pierre Giroux, Audiophile Audition
“Few pianists have possessed a more comprehensive, magisterial technique or musical integrity.... Fred Hersch is both the grandest and most lyric of virtuosos.”– Raul Da Gama, Jazz DaGama
“It’s a good thing then that Hersch’s disc is filled with so much lyricism, creative sparkle and personality. We’ll leave it to a later date to figure out where Sunday Night at the Vanguard fits in the jazz pantheon, but for now, let’s call it a richly satisfying listen that represents this latest edition of Hersch’s trio, which has already recorded once at the Vanguard, in full bloom, striving and succeeding in many musical directions.”– Peter Hum, The Ottawa Citizen
“After all their years together, take it for granted that pianist Hersch, bassist John Hébert and drummer Eric McPherson listen intently to one another and mesh with elegance on every level. However, taking for granted anything about the Hersch trio can only open you up to surprises. Close listening to this album brings great rewards.”– Doug Ramsey, Rifftides
Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He’s collaborated with an astonishing range of artists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical (Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile McLorin Salvant, Norma Winstone and Kurt Elling.
“The Nada" surge com o intuito de constituir uma plataforma para o experimentalismo sonoro, para a improvisação livre, para a exploração de formas e estéticas menos convencionais.
O quarteto será, assim, o propulsor do que se espera uma experiência singular."
Este projecto tem a sua génese na assunção de claras empatias musicais entre os seus membros, tendo sido a vinda de Simon Jermyn a Portugal um factor decisivo para a sua consolidação. A procura de novas formas de expressão subsidiárias do jazz, de novos cenários de onde a improvisação também pudesse emanar, levaram a que estes quatro músicos se congregassem no ímpeto de partilhar essas experiências.
O Natal... À Porta! é uma iniciativa conjunta da Porta-Jazz e da Porto Lazer. Nos primeiros três sábados de dezembro levaremos concertos de música original até à porta de edifícios emblemáticos da cidade.
Se estiverem pela Baixa do Porto a passear, ou a antecipar as compras na azáfama natalícia, venham ter connosco!
El trío del guitarrista Nicolás Vera, el bajista Pablo Menares y el baterista Félix Lecaros han estado tocando juntos en varias formaciones por más de 15 años, comenzando cuando eran adolescentes y llegaban a las jam sessions en el Club de Jazz de Santiago. Desde entonces, han completado la sección rítmica en innumerables proyectos, tanto en Santiago como en el extranjero, incluso después de que Menares y Lecaros se trasladaran a la ciudad de Nueva York en 2009 y 2012. La rueda del tiempo, sin embargo, es su primer álbum como un trío. Durante años tuvieron la intención de grabar juntos, y cuando Vera visitó Nueva York en mayo de 2016, aprovecharon la oportunidad para grabar en Acoustic Recording en Brooklyn. El resultado es una mezcla de standards de jazz que han estado tocando juntos durante años, escritos por los grandes del jazz como Thelonious Monk y J.J. Johnson, así como piezas originales de Vera. Este registro es un inusual documento de fraternidad transcontinental, tres compatriotas de jazz que han crecido escuchando, tocando y estudiando juntos en sus diferentes viajes a través del continente americano. (Alex W. Rodriguez)
El disco
Grabado el 4 de mayo de 2016 por Michael Brorby en Acoustic Recording, Brooklyn, New York
Mezclado y masterizado por Katsuhiko Naito en Avatar Studios, New York City
Fotografía exterior: Gonzalo Cisterna Sandoval
Diseño: Cristián González S.
Video y fotografía estudio: Pablo Valle
La rueda del tiempo
DPCD43
2016 Discos Pendiente
Nicolás Vera, guitarra
Pablo Menares, contrabajo
Félix Lecaros, batería
Producido por Nicolás Vera, Pablo Menares y Félix Lecaros
Producción Ejecutiva: Pablo Menares, Nicolás Vera y Roberto Barahona
Con el apoyo de Red Educacional Camilo Henríquez
1. La rueda del tiempo (Nicolás Vera)
2. Eronel (Thelonious Monk)
3. Lament (J.J. Johnson)
4. Pasajero (Nicolás Vera)
5. Ugly beauty (Thelonious Monk)
6. El maravilloso mundo del silencio (Nicolás Vera
7. You've changed (Bill Carey / Carl Fischer)
8. Nobody else but me (Jerome Kern)
9. El silencio (Nicolás Vera / Pablo Menares / Félix Lecaros)
Presentación del disco:
9, 10 de enero 2017 @Thelonious - 9pm
12 de enero 2017 @Foro UDEC - Escuela de verano - 9.30pm
Daymé Arocena releases Mambo Na'má, first Single from Upcoming Album Cubafonía
With Cuba poised to become more connected to the rest of the world, the Cuban people’s pride in a unique musical heritage has never felt more vital. Arising from that lineage, Daymé Arocena has returned to deliver an ambitious second long player; rooting her compositions in Cuba’s classic rhythms, Daymé encompasses the rich, diverse musical make-up of her home whilst looking outward too – to the world she has spent the last two years traveling. It’s her most polished, fully realised project since meeting her mentor (and record label head), Gilles Peterson, in 2012. Benefiting from Gilles’ expansive vision as a DJ, broadcaster and promoter, Daymé has been nurtured to this point by the Havana Cultura project – a platform for contemporary Cuban creativity driven by Havana Club rum. First, there was 2014’s Havana Cultura Mix album, which introduced her to working with electronic producers for the first time. She then accompanied Gilles in his journey through rumba culture for the expansive Havana Club Rumba Sessions project, which produced a feature-length documentary along with an album – using her distinctive vocals – of rumba reimaginings and sample pack. As a solo artist, she released her debut album Nueva Era to critical and popular acclaim in 2015, with an EP of cover versions, titled One Takes, released in early 2016. The reception to her music has spurred a whirlwind of opportunities: she shared an off-the-cuff live moment with Roy Ayers and Brazilian superstar Ed Motta to leave Worldwide Festival in tears of joy, jumped on stage with Miguel Atwood-Ferguson at his triumphant Suite for Ma Dukes show at the Barbican, and rung the opening bell of the New York Stock Exchange with a delegation from Women of the World. She has played shows from LA to Tokyo, charming audiences with her mesmerising vocal range and earthy sense of humour. She name-checks Kendrick Lamar and Anderson .Paak as artists she would love to work with.
Despite all that, however, it’s not distracted Daymé from a deep sense of seriousness about her art form; born of a uniquely musical culture, she strives to forge a cohesive musical language from Cuba’s distinct musical dialects. Growing up in a two-bed house with 21 other people, every available surface was scuffed from the rumba rhythms which had been played out on them. It’s a childhood typical of a country where children grow up readily exposed to the island’s numerous, particular rhythms. That immersive upbringing forms the record’s starting point. Entering one of Havana’s prestigious, state-funded classical conservatoires at age 9, that rigorous classical training has informed an interconnected vision of Cuban music, where inspiration comes from the Caribbean island’s different rhythms and styles – from Guantánamo’s fast-paced changüí, to ubiquitous guaguancó and ‘70s-style ballada. Sung mainly in Spanish, Daymé drops into English (and even tries out a little French) when the mood takes her. Produced alongside Soundway artist Dexter Story, with string arrangements from Miguel Atwood-Ferguson, this is heritage music for modern-day citizens of the world. Interviewing Daymé at the Sound of Cuba showcase at SXSW last year, NPR wrote, “It is hard to imagine a better voice to open her country’s gates” – and it feels like this statement holds true. Ambitious, hardworking, and hungry for cultural exchange that doesn’t compromise the unique flavour of her home country of which she is so proud, it feels like 2017 could be a monumental year for Daymé. She possesses a clear sense of her music’s intermingling influences: “We don’t have this native culture,” she explains. “We don’t have indigenous people, like Maya or Quechua. They made a country with people from everywhere – that’s what makes Cuban culture so different.”
Listen to Mambo Na’ Nà below and pre-order the album onBandcampandiTunes.
1. Eleggua
2. La Rumba me llamo yo
3. Lo que fue
4. Maybe Tomorrow
5. Negra Caridad
6. Mambo Na’ M à
7. Cómo
8. Todo por Amor*
9. Ángel
10. It’s Not Gonna Be Forever
11. Valentine
Check Daymé’s tour dates for 2017
5th January,Highline Ballroom, New York (US)– Tickets
El Centro Cultural Coreano perteneciente a la Embajada de la República de Corea se suma por segundo año a la II Edición de la Navideña: Feria Internacional de las Culturas(15-23 dic.). En esta ocasión Mosaikorea, talentoso grupo surcoreano que lidera el panorama musical tradicional y del jazz será el representante de Corea del Sur con su `Melodía Dispersa´. Cabe destacar que tres de sus componentes con la banda Blackstring participaron en el mes de septiembre en WOMEX , una de las grandes citas mundiales del mundo de la música. El jueves 15 actuará en el Auditorio Casa del Reloj a las 19.00 hs y el sábado 17 de diciembre en Nave 1 a las 21.00 hs, ambas en Matadero(Paseo Chopera,14)-Plaza de Legazpi,8. Además del 15 al 22 de diciembre tendrá lugar una exposición en nuestro caseta de Matadero sobre los productos K-Ribbon de gastronomía coreana y Talk Talk Corea, contenidos de cultura coreana. K-Ribbon es una iniciativa del gobierno coreano que desde noviembre de 2015 ha seleccionado productos de valor destacado con denominación k-Ribbon divididos en 5 categorías: Productos industriales gastronómicos, menús gastronómicos, Hanbok o vestimenta coreana, arte, y contenidos culturales. Talk Talk KOREA es un concurso internacional de contenidos con motivo de la cultura coreana, organizado por KOCIS (Korean Culture & Information Service), MAE (Ministerio de Asuntos Exteriores de Corea) y KBS World, en el que los concursantes compiten en 6 categorías: video, fotografía, webtoon(comics), postales, caligrafía. Este año bajo el tema, "KOREA In Your Eyes", han participado 151 países con 24.024 obras diversas. De este modo deseamos que Mosaikorea y la muestra de productos que se exhibirá acerque a todas las personas la cultura y artes de Corea del Sur.
The story of the season is on your local PBS station!
The NOLA Players are gaining admiration nation-wide. Catch their full story on your local PBS station. Click below for a complete list of show times...
The festive spirit in New Orleans has always been something special, with the native love for food, music and conviviality never limited to Mardi Gras. Holidays from Thanksgiving to King’s Day have a distinctive feel in the Crescent City, as does Christmas – with Yuletide songs having long been given a magical, one-of-a-kind spin by New Orleans-bred artists from Louis Armstrong and Fats Domino to Dr. John and Harry Connick Jr. Christmastime in New Orleans – a new album featuring some of the Big Easy’s finest jazz musicians in beautiful, custom instrumental arrangements of holiday favorites – provides a freshly swinging soundtrack for the holiday.
Sure to be an evergreen choice when stoking the mood for Noël and Navidad New Orleans having been a multilingual, multicultural place since its founding, after all Christmastime in New Orleans includes such merry classics as “Silver Bells,” “Deck the Halls” and “Jingle Bells,” the latter given a slinky, finger-snapping treatment like none other.
And the hip “Christmas in New Orleans” recorded so notably by Louis Armstrong with the Benny Carter Orchestra in 1955 sounds fresher and more inviting than ever, like the musical equivalent of mistletoe.
The sleek yet effervescent sound of Christmastime in New Orleans comes via the 18-piece NOLA Players, a supergroup ensemble convened from the city’s deep well of musicians.
These instrumentalists live and breathe music on a daily basis in the Crescent City, having interacted with each other for years from philharmonic dates to parade lines, from jazz combos to R&B bands.
They have played in orchestra pits and dive bars, for church services and funeral parades, for dance parties and arena shows.
Their talents have taken them far and wide, too, as they have performed with the biggest stars on the most illustrious stages. But for all the ravishing sophistication of the group’s sound, there remains local spice that you can hear in the funky feel of “I Saw Three Ships.” One can also hear echoes of old New Orleans in “I Heard the Bells,” which sparkles like tinsel thanks to the piano intro by Mike Esneault.
As the project’s arranger and music director, Esneault – an Emmy Award-winning composer-arranger who has worked with stars from Allen Toussaint and Dr. John to Terence Blanchard and Elvis Costello – brought the long-held vision of AimHigher executive producers Kevin and Monica Fitzgibbons to resonant life.
The recording sessions for Christmastime in New Orleans – helmed by multiple Grammy Award-winning producer Christopher Alder – were held onstage in studio conditions at the historic Saenger Theatre on Canal Street in downtown New Orleans.
Set up in an intimate circle, the musicians played right to each other as the songs were blessed by the hall’s warm, open acoustics. About the sessions, Esneault says: “It couldn’t help but feel like family. I mean, I’ve known these guys playing around town for ages. The bass player, Roland Guerin, man, I’ve known him for going on 30 years. But, yeah, we’re like musical family, so that made it easy to get the right vibe for this holiday music.
Knowing the players as I do, I could also write the arrangements with their talents in mind. Then we were able to play with spontaneity, so that this tried-and-true music felt brand new.”
The NOLA Players lineup also includes vibraphonist/percussionist Jason Marsalis, a member of the first family of New Orleans jazz, brother to jazz superstars Wynton and Branford and son of the beloved pedagogue Ellis, who taught Esneault and so many of the other players in the band.
About the New Orleans holiday spirit, Jason says: “It’s true that we have our own way of celebrating down here. We have Mardi Gras and our own festive events like Jazz Fest and even Saints games. But when we do Christmas, something people celebrate all over the world, we do it in our own way, with our special food, party atmosphere and things like Christmas in the Oaks, at City Park.
That spirit of the city comes out in the music on Christmastime in New Orleans, the feel of the grooves and tempos.”
To Terrance Taplin, the lead trombonist of the NOLA Players, the secret to the sound of music in Crescent City is daily life. “Yeah, life is the secret, just living here in New Orleans: going out to hear music on Frenchmen Street, taking your place in a Second Line, eating some good gumbo, playing in a dive to a handful of people but having a time. Just the spirit and joy of it and that came out with us playing in the round at the sessions for the album. I don’t think I’ve ever felt anything quite like it when recording, which can be almost like a scientific thing sometimes. But this was fun we were a tight group.
I could look right at Geoff Capp playing his drums you know he’s played on hundreds of records for people – and I can see him getting all excited about playing, and that excited me. Everybody feeds off him, because he’s laughing and smiling he’s really got that spirit and the joy.”
Along with the aforementioned musicians, the NOLA Players include organist Charlie Dennard, guitarist Mike Vila, trumpeters Bobby Campo, Ashlin Parker and Stephen Orejudos, trombonist Matt Wright, bass trombonist B.J. McGibney, and reed players Rex Gregory, Ray Moore, Tony Dagradi, John Reeks and Jason Mingledorff.
For hit acts from around the world, these musicians constitute a who’s who of talent from the Big Easy. And with Christmastime in New Orleans, these native artists of diverse backgrounds, styles and ethnicities came together create something warm and enduring for all of us to enjoy at that special time of year.
Reflecting on what the tunes of Christmastime in New Orleans mean to him, Taplin says: “I love them. Growing up, my Dad got me a holiday songbook, so I learned how to play my instrument with these melodies. To this day, I’ll warm up to these songs as the holidays come up and I’ll play them for my kids.
Christmas is definitely my favorite time of year, so being able to play these tunes in Mike’s awesome arrangements was wonderful. They vary from sophisticated and modern-sounding to down home with some grit, so it felt real good to me. And, you know, that’s what the holidays and music are all about, feeling good.”
