Heidelberger Jazz Tage 72 (The Authentic Live Recording) Various Artists

Album Info

Album Veröffentlichung:


Label: MPS Classical

Genre: Jazz

Subgenre: Compilations

Das Album enthält Albumcover


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FLAC 88.2 $ 15,00
  • 1Kindly Leave the Stage05:14
  • 2Frau Theunissen06:13
  • 3Faun08:09
  • 4Rotor Rooter05:46
  • 5From Now On08:26
  • 6Isus Mirror06:52
  • 7At the Jazz Band Ball05:32
  • 8Cascavelo07:46
  • 9Let's Boom Chitty Boom07:57
  • 10Miriam11:10
  • 11Anima11:09
  • Total Runtime01:24:14

Info zu Heidelberger Jazz Tage 72 (The Authentic Live Recording)

This live festival double album highlights 11 European groups representing a potpourri of musical styles and directions. Kurt Edelhagen led one of Europe’s major big bands. This edition included American stars Benny Bailey (trp), Jiggs Wigham (trb), European stalwarts Ferdinand Povel (sax), Dieter Reith (p) and Günter Lenz (b). Their Kindly Leave the Stage flashes by in a blistering bop-inflected escapade. The fusion quartet Association P. C. gained international fame in the early 70’s. With star Dutch keyboardist Jasper van’t Hof in the forefront, Frau Theunissen is an electric tour de force. On Faun, the Brassy Brew quintet offers up a hodgepodge of musical colors. One of the most influential swing bands in post-war Germany, the Erwin Lehn Big Band, performs Roto Rooter, a funky blues with an infectious rock rhythm and driving solos by trumpet masters, Ack van Rooyen and Rolf Erikson. On the arousing From Now On, world music vibraphonist Karl Berger teams up with renowned avant-gardists Peter Kowald (b) and Alan Blairman (drs). Saxophonist Hans Koller lifted Austrian jazz onto the international scene. Isus Mirror is an intensely passionate reflection of his group’s name: Free Sound. Oscar Klein’s Tremble Kids was famous for its hard-driving ‘Chicago’ traditional jazz sound. With At the Jazz Band Ball, the band revisits the music of the 20’s Chicago speakeasies. Next, American trumpet great Art Farmer dances his group through the upbeat bossa Cascavelo. The iconic German big band Rhythm Combination & Brass let loose with Let’s Boom Chitty Boom, an up-tempo blues riding on a solid rock beat and outstanding solos. Pianist Michael Naura’s quartet play his moving, fusion-inflected piece Miriam, with Michael on fender piano joined by vibraphonist Wolfgang Schlüter. Iconoclastic pianist Fredrich Gulda was known as much for his experiments in jazz as for his defining interpretations of Mozart. On Anima Gulda and co. venture into the fantastic realm of the Dadaistic avant-garde. Recordings that adhere to the adage ‘variety is the spice of life’

Kurt Edelhagen Big Band
Association P.C.
Brassy Brew
Erwin Lehn Big Band
Hans Koller Free Sound
Tremble Kids
Art Farmer Quartet
Rhythm Combination & Brass
Michael Naura Quartet

Digitally remastered

A compilation dedicated to funk and pre – zouk period, which has never been documented before. It is compilated by specialists of the genre: Julien Achard (Digger's Digest) and Nicolas SKLIRIS (ex-Superfly Records).

After the success of Kouté Jazz, Heavenly Sweetness comes back with a dancefloor but not jazz compilation, enough to move your feet at through the whole summer ! 13 disco, boogie and Zouk tracks recorded in the 80’s in the West Indies.

The advantage of this selection is precisely that it reveals a broader spectrum than the zouk music style that are badly defined. Most of the tracks, were not much broadcasted even if interpreted by some big names in Caribbean music (Pierre-Edouard Decimus / Patrick St. Eloi / Eddy La Viny). They were too fast classified as Zouk. These Tracks reveal this will of singularity, this merger between traditional and other rhythms genres (funk, disco, afro-beat, Latin Brazilian ...), with the addition of new instruments such as synthesizers and drums machine in the creative process.

In many zouk’s albums, this period often included one or even several, tracks that were qualified as "proto-zouk" and "funky-zouk" or the "boogie-zouk" to emphasize the fusion of genres . But these tracks have remained unknown to the general public because only the "hits" were played on the radio, dance floors (the famous "tan" or “zouk”), clubs and bus.

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