Archive for ‘Piano’

septembre 18, 2010

Ibuki Yushi – Retroperspective

Origine du Groupe : Japon
Style : Piano
Sortie : 2010

Creative Commons License

// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('

‘);document.write( »);// ]]>

4 relaxing tunes by Ibushi Yuki. Released on totokoko netlabel. Perfect music for sundays ( I mean for people who spend their sundays lonely – as me)…

by Rajsank

Tracklist :
01 Dreaming Mexico
02 Rural Landscapes
03 Retroperspective  
04 Stollen


Tell a Friend

septembre 16, 2010

Lin Hai – Moonlight Frontier

Origine du Groupe : China
Style : Piano , Ambient
Sortie : 2003

// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('

‘);document.write( »);// ]]>

Music critics call Lin Hai, the most noted pianist both in China and Taiwan, a genius with an eastern right hand and a western left hand. He has also been described as having « the temperament of Chopin as well as the languidness and elegance of Debussy, » and « the affability and strong melodic sense of George Winston and the enriching and imaginative thoughtfulness of Keith Jarrett. » As critics also term it, Lin Hai is a genius whose has « an easternized right hand and a westernized left hand ».

At twenty he was the best in his country and represented China in the Van Cliburn International Piano Competition, becoming the first Chinese ever to enter the semi-finals. In 1992 he graduated from the Central Conservatory of Music. At the same year, he began giving concerts in Taiwan and China and composed movie scores and TV drama scores. Lin Hai was exposed to jazz at the early age of twelve. This early exposure and his solid training in classical music combine to give his music a unique quality, which switches freely between classical, New Age, modern and Jazz music. He plays the piano in a way that makes the notes sound clearcut, warm, and calm. The pieces he composes are uncomplicated and quiet, but are imbued with a sense of humanity that can soothe the listeners.


Tracklist :
01. Colors Of The Rainbow
02. Moonlight Frontier
03. Seabird
04. Leisure Time
05. Life
06. Something
07. Nosatalgia
08. Solitude
09. Dusk
10. You
11. Deep Autumn
12. Starry Night
13. Dream


Tell a Friend

septembre 6, 2010

Iara Behs – Ernesto Nazareth. Tangos, Waltzes and Polkas

Note :

Origine du Groupe : Brazil

Style : World Music , Piano

Sortie : 2005

Along the journey of musical discovery our preoccupations centre not on the well-trodden tourist retreats but on those digressions less known, unspoiled and far from the madding crowd. The music
of Ernesto Nazareth represents one such destination bestowing new and undiscovered delights.

Born in 1863, Nazareth was profoundly affected by two key cultural influences.

During his lifetime Brazilian musical and cultural tastes were based on those prevalent in Europe. This subordination did not, for a long period, allow genuinely Brazilian classical music to
blossom. Prejudice by the “establishment” inhibited the development of indigenous classical music and excluded it from current programmes of institutions such as the National School of Music in
Rio de Janeiro. On one occasion an attempt to include four original compositions by Nazareth in the current programme of the School initiated such violent reaction that police intervention was
necessary. Even until a few years ago very few pianists of serious intention dared to include the music of Nazareth in their repertoire, since he was not reputed to be a ”classical” composer.

Nazareth was not alone in having been strongly influenced by the folk music of his native country. This had in common with fellow countryman Heitor Villa-Lobos who on hearing the original
compositions of Nazareth pronounced them to be the very embodiment of the soul of Brazil. Nazareth’s composition “Tenebroso”(Gloomy) is accompanied by instructions for the player to imitate the
guitar in the lower register. This instruction recurs in one of his most famous compositions “Odeon.” In the composition “Plangente”(Lamenting) one hears echoes of the saudade found in the fado.
This form of music, imported to Portugal from Brazil in the 19th century by members of the king’s consort in exile there, ironically became the national Portuguese music. (To explore the
incredibly beautiful fado listen to Post-Scriptum, Cristina Branco – Empreinte digitale ED 13121).

In his youth, Nazareth was commissioned to promote the music of publishers, including his own, by playing in their establishments. With the invention of the cinema arose the need to accompany
silent movies. Nazareth was given a contract by the Odeon Theatre. Here his accompaniment with original compositions, including “Odeon,” attracted many musicians who came just to hear him

Nazareth’s output comprises predominantly Brazilian tangos and waltzes of which he wrote more than eighty, and forty respectively. The titles of his work are often humorous and refer to everyday
situations in Brazil, especially to the life of the cariocas or inhabitants of Rio de Janeiro. The influence of Chopin is particularly evident in the waltzes eg. Turbilhão de Beijos [track 7]
brings to mind Op.69/1 “L’adieu” (Naxos 8.554539 – Idil Biret). He studied the composer’s scores in order to teach himself improved methods of composition, and often performed the works of Chopin
on piano.

Nazareth died in 1934, during his lifetime having witnessed the emancipation of the slaves, and establishment of the republic. His charming music remains more powerful than any past debate on to
which particular genre it belongs.

As one of Brazil’s most successful concert pianists, Iara Behs is particularly well qualified to perform the music of Nazareth. She is a fine player with excellent empathy for the rhythms and
nuances of her country’s indigenous classical music. In addition she engenders audience interest and curiosity in the works she is about to play through informative introduction aided by
knowledge of five languages in addition to her native Portuguese.

It may be more than co-incidental that some musicians appear to excel particularly in interpretation of music composed by fellow countrymen. If indeed such a relationship exists, no greater
validation could be provided than that of Nazareth/Behs.

In a “perfect world” of classical music, new releases would contain all new and relatively unknown music; comprise a balanced and enjoyable programme; be exceptionally well performed and exhibit
high levels of technical and sonic excellence. This new recording by Iara Behs fulfils all these criteria. An added bonus is the erudite and unusually informative accompanying notes presented by
the performer. This is a recording that will bring joy to disciples of fine music.

by Zane Turner


Tracklist :

1 Espalhafatoso (Boisterous) [2:30]

2 Brejeiro (Mischievous) [1:57]

3 Confidências (Confidences) [7:05]

4 Escovado (Cunning) [4:11]

5 Nenê (Baby) [3:20]

6 Ameno Resedá [2:35]

7 Turbilhão de Beijos (Whirlwind of Kisses) [6:54]

8 Gaucho [2:45]

9 Plangente (Lamenting) [5:12]

10 Topázio Liquido [3:16]

11 Ouro Sobre Azul (Gold on Blue) [3:16]

12 Sarambeque [2:59]

13 Epônina [5:47]

14 Escorregando (Going down well) [2:37]

15 Tenebroso (Gloomy) [3:19]

16 Odeon [3:09]

17 Apnahei-te Cavaquinho (I have grabbed you, Cavaquinho) [2:33]



Tell a Friend

août 31, 2010

Haruka Nakamura – Twilight

Note :

Origine du Groupe : Japan

Style : Electro Ambient , Piano

Sortie : 2010

Haruka Nakamura is a composer in Tokyo, Japan, and was born in 1982. As a child, Haruka learned to play keyboard and guitar on his own. He has been weaving his soothing acoustical sounds since

An emerging talent on the Japanese independent electro-acoustic scene, haruka nakamura’s second solo outing refines the lyrical, pastoral imagery that inspired his first album « grace ». Recorded in
a studio overlooking the ocean as a tribute to the sight of the expiring sun falling slowly over the horizon at dusk, « twilight » is a sustained reverie that mirrors the dwindling rays of light at
day’s end with its subtle variations in timbre and texture.

The brassy shimmer of ARAKI Shin’s sax opens the first track « Yuube no Inori » (Evening Prayer, M1), swelling languidly as the orchestra slowly unfurls around it like a resplendent sunset.
Throughout the album, haruka nakamura coaxes a startling range of tonal color out of piano phrases that twinkle, patter and shuffle through a variety of compositions and tempos – the gentle march
of « harmonie du soir » (M2); the somnolent haze of « On the Verandah » (M6) punctuated by drowsy stutters and cicadas muttering all around you; the reverberations of your languishing pulse as night
starts to fall in « faraway » (M7). isao saito’s sensitive percussion offers subdued but confident support throughout – dwindling to a hush as the fading rays of the sun dissipate in the crisp night

The middle of the album – « Koukei » (Sight, M8) and « dialogo » (M9), in particular – wanders off on a short jaunt into looser, ethereal territory. The furtive meandering of the soprano saxophone by
akira uchida, roving itinerant chords, airy percussion and carefully-spaced sustain and release of the pedal are reminiscent of acoustic ambient jazz of ECM. Closing the album, however, are two
melody-driven vocal tracks: « twilight », a gentle flicker of a ballad that rises and ebbs with April Lee’s (aspidistrafly) fluttering, half-whispered vocals, and Janis crunch’s acoustic
arpeggio-driven elegy in tribute to the dwindling of « The Light ».  

by Beautiful Noise


Tracklist :

01 夕べの祈り

02 harmonie du so

03 彼方

04 窓辺

05 memoria

06 ベランダにて

07 faraway

08 光景

09 dialogo

10 音楽のある風景

11 twilight

12 カーテンコール

13 The Light



Tell a Friend

août 29, 2010

Akira Kosemura – Grassland

Note :

Origine du Groupe : Japan

Style : Electro , Electro Piano

Sortie : 2010

Just to confuse matters there’s two different versions of the new Akira Kosemura album. There’s a regular single CD version which contains all the kinds of things you’d find in that kind of
package (ie cardboard sleeve and shiny musical face mirror thing). There’s also a CD/DVD version which is six quid more and features the aforementioned goodness plus an extra DVD which I’ve not
seen yet. So I’m not sure if it’s worth the extra quid for the seven track DVD. Maybe if I get some time soon I’ll watch it and let you know somehow through some modern medium like Twitter or
something else equally as stupid. Here Akira creates a more organic sound featuring the likes of Paniyolo, Haruka Nakemura, Aspidistrafly etc. It still features all the twinkles and the like…
the things you come to expect from a new CD on Schole. It seems less electronic that previous releases I’ve heard from him. There’s still lots of micro electronics and piano but there’s plenty of
acoustic guitar poking it’s head around pastoral corners. It’s all very pretty and nice, perhaps too nice but I’m not sure if anything can really be too nice. The vocals that pop up on the odd
track are also refreshing and the collaborative efforts here make this an interesting (yet nice) release. Lovely

by Phil


Tracklist :

01. Grassland

02. Petrarca

03. Light

04. Marriage

05. Xiao Ge Er

06. Little Dipper

07. Ballet

08. Over The Horizon

09. Just A Few Minutes

10. Amour

11. Ensemble



Tell a Friend

juin 20, 2010

Stefano Bollani – Stone in the water

Note : ++

Origine du Groupe : Italia

Style : Piano , Jazz

Sortie : 2009

Tracklist :

1 – Dom de iludir

2 – Orvieto

3 – Edith

4 – Brigas nunca mais

5 – Il cervello del pavone

6 – Un sasso nello stagno

7 – Improvisation 13 en la mineur

8 – Asuda

9 – Joker in the village


On a parfois tracé une analogie entre le jeu du pianiste Stefano Bollani et celui du comédien Roberto Benigni : même pro-pension au comique du funambule qui en fait des tonnes sur son fil. Tout
change avec le trio que Bollani forme avec deux musiciens danois, Jesper Bodilsen et Morten Lund. C’est un trio qui a sept ans de complicité derrière lui, les ego restés au vestiaire et la
musique seule en tête. On est dans la tradition du trio de Bill Evans, la contrebasse qui dialogue sans cesse avec le piano, la batterie qui commente à mi-voix. Subtilité harmonique,
demi-teintes, minimalisme mélodique, quête constante de la beauté, sobriété émue. Le toucher de Bollani, on le sait, est magique : on le dirait aérien s’il n’était en même temps tellurique. Le
choix des thèmes aussi répond à ce seul souci de la beauté qui réconforte, berce, gratifie. La beauté lumineuse de la nuit.

Ce disque est une grande réussite de l’esthétique moderne pour le trio. Il s’ouvre par un morceau de Caetano Veloso qui annonce les couleurs sépia, bleu tendre, doucement orangées ou noir et
blanc contrastés de compositions tantôt rêveuses, tantôt joueuses. Sur un thème d’Antonio Carlos Jobim et de Vinicius de Moraes, Brigas nuncas mais et sur l’Improvisation 13 en la mineur de
Francis Poulenc, le trio révèle une culture qui dépasse le jazz. ECM, pour son quarantième anniversaire, a trouvé en Stefano Bollani le pianiste qui se montre le mieux à la hauteur de ses
prédécesseurs, Keith Jarrett et Bobo Stenson.

Par Michel Contat



mai 17, 2010

Ryuichi Sakamoto – Out Of Noise

Note : ++

Origine du Groupe : Japan

Style : Piano , Electro , Ambient , Experimental

Sortie : 2009

Tracklist :

01. Hibari
02. Hwit
03. Still Life
04. In the Red
05. Tama
06. Nostalgia
07. Firewater
08. Disko
09. Ice
10. Glacier
11. To Stanford
12. Composition 0919


As a solo musician for 30 plus years, contributor to the groundbreaking Yellow Magic Orchestra, film composer, and relentless activist, Ryuichi Sakamoto’s body of work embodies a spirit more than it demonstrates an auteurism or trajectory of vision.  Sakamoto started at the peak of technology in the latter half of the 1970s experimenting with synthesizers and sequencers and starting a mini eastern hemispheric revolution by looking at traditional Japanese tonalities through electronics.  In 2009, he’s still on the forward-front of digital development, not only through his latest prolific phase of scores and collaborations with modernists like Alva Noto, Christian Fennesz, and Christopher Willits, but also through his latest deal with iTunes that will see him releasing every single show of his 2009 tour, downloadable online within 24 hours of the event.


The album that the tour is in support of, Out of Noise, Sakamoto’s first full-length solo work in 5 years, is aptly diverse and prescient, yet austere and sullen.  The title is a mystery as the album seems neither carved out of noise nor does it seem to be devoid of it.  Its technology is obscured by the subtlety of its implementation amidst traditional instrumentation and field recordings.  The only exception to this rule is the blissful droning of the wall-of-sound “Firewater”, which show Sakamoto learning a few tricks from his recent Austrian laptop composer partner Fennesz.  Unlike many aging musicians who grow out of touch and out of focus with modern music, Sakamoto’s latest is vibrantly in touch with the sounds of now, particularly the interstition between 20th or 21st century classical and the various post-Eno explorations of non-beat oriented atmospherics.


The album is unexpectedly bookended by what are Out of Noise’s most seemingly extrinsic pieces.  Commencement piece “Hibari” is 9 minutes of a single theme on a piano.  A world apart from minimalism though, the work transposes from a tempered slipknot to an elegant fumble that threatens to, though never succeeds in tripping itself up.  Instead the theme begins looping in odd spots and the tempos of each hand at the keyboard begin to slip away from each other.  The result is familiar sound made unfamiliar by it reconnections and collisions with other familiar sound.  The song’s space becomes hard to track as Sakamoto continues to fill them unexpectedly.


On the opposite end of the album is “Composition 0919”, a piece of Reichian simplicity also confined to the piano that, by contrast, locks both playing hands together in staccato spurts.  The notes ping pong between the left and right speakers and in aggressive movement with practically no low-end variation.  It’s also all-rhythm on an album that seems to repel or discourage said element in the rest of its numbers.


The remainder of the album mostly floats on waves of gentle and often gorgeous liquid ambience.  In fact, the back-to-back duo of “Ice” and “Glacier” are damp and drizzly slow-melting rocks.  Knowing Sakamoto, the leaking throughout “Glacier” is likely a comment on global warming, but beyond the insinuations lies a beautiful polar monolith carved from faint melody, feedback, and incidental noises reverberated sparsely across the icescape.  It’s a bleak loneliness, captured in long-shot as a splendid tragedy.  In its simplicity rests much of its appeal. 


“In the Red” similarly strips down tension and misfortune to a concise communication.  Tremoloed piano chords play in repetition as warm pads swarm in the backdrop and Kranky-style guitars plink scarcely while samples of a small bit of dialogue from an old man are looped and dragged across five minutes.  “I just feel like/ I’m a little lost but/  I’ll be alright”, he says in much slower succession, the final phrase repeating even as the song’s harmonies, a bit like a less ethereal version of recent Harold Budd and Robin Guthrie collaborations, disagree with the assessment of the speaker’s condition.  He finally concludes, at song’s end, “Yeah, I’m alive” with what seems like a sigh of resignation.


Resignation, but not surrender.  When Yellow Magic Orchestra made their comeback album Technodon in 1993, it boldly sounded nothing like the band who put their last album out ten years prior.  At Sakamoto’s age, he could easily surrender to the temptations of churning out just about any kind of retread for drooling fans to swallow, but instead he has put out a thoughtful, quiet album.  Sure, it’s not all as stoically graceful as the tracks described above.  “To Stanford” is hotel jazz probably cropped from a film score Sakamoto was working on and “Nostalgia” is just kind of boring and ineffectual.  Yet, Sakamoto’s aesthetic is such that he remains a towering figure even as the music industry falls and the ice caps melt.  Out of Noise fits neatly into that uncompromising legacy.

By Timothy Gabriele

mai 17, 2010

Rodrigo Leão – Cinema

Note : +

Origine du Groupe : Portugal

Style : Ambient, Down-tempo, Chillout, Mod-folk, Contemporary, Piano, Experimental

Sortie : 2004

Tracklist :

01 Cinema 2:41
02 Rosa 4:05
03 Lonely Carousel (feat. Beth Gibbons) 3:34
04 A Comédia de Deus 3:24
05 Jeux D’amour 4:13
06 Memórias 3:36
07 A Cidade Queimada 1:20
08 Deep Blue 4:10
09 Uma História Simples 1:53
10 Happiness 3:12
11 O Último Adeus 1:36
12 La Fête 3:19
13 A Estrada 2:59
14 L’Inspecteur 4:11
15 António 4:19


Rodrigo Leão is a Portuguese musician and composer. He was born in Lisbon in 1964. He became known for his musical compositions and participation in Portuguese bands such as Madredeus and Sétima Legião. He co-founded the band Sétima Legião in 1982 and Madredeus in 1985. As his solo career began to take shape, he chose to suspend his participation with the respective bands in 1993 and 1994. His solo work explores a combination of modern-classic compositions with more traditional song format and instrumentation. Several artists have participated in both his records and tours, such as Lula Pena or Adriana Calcanhotto in Alma Mater and Beth Gibbons and Ryuichi Sakamoto in Cinema. His album, Cinema, was very successful in the Portuguese market, reaching #1 in sales and its promotion concerts in Portugal and Spain were frequently sold-out. In this album, the eclectic roots of his music and the influence of cinema can be appreciated. Ana Vieira is the new member of the group providing the vocals.Neil Hannon participated in the album A Mãe of Rodrigo Leão and Cinema Ensemble..


mars 7, 2010

Ethiopiques Vol. 21 – Tsegué-Maryam guèbrou – Ethiopia song , piano solo :

Sortie : 2006
Style : Jazz World , Piano

Tracklist :
01 The Homeless Wanderer
02 The Last Tears of a Deceased
03 A Young Girl’s Complaint
04 The Mad Man’s Laughter
05 Presentiment
06 Mother’s Love
07 Ballad of the Spirits
08 The Song of the Sea
09 Homesickness
10 Golgotha
11 The Jordan River Song
12 The Garden of Gethesemanie
13 The Song of Abayi
14 The Story of the Wind
15 Evening Breeze
16 Tenkou! Why Feel Sorry?

Découvrez la playlist Ethiopiques, Vol. 21

Une pianiste éthiopienne qui a enregistré des disques dans les années 60, ça vous dit quelque chose ? Si oui, bravo ! Moi, je ne connaissais pas, mais je me réjouis de combler cette ignorance. En 1963, Tsegue Maryam Guebrou avait 40 ans. Elle était issue de la haute société d’Addis-Abeba… La suite de l’histoire est à reconstituer via internet, si vous le souhaitez. Mais vous pouvez aussi laisser votre imagination inventer les choses. Ecoutez le morceau ci-joint, une composition personnelle, “The homeless wonderer”, une petite merveille qui ne ressemble à rien d’autre pour moi. Et dieu sait que je suis fan de piano solo ! Elle a le genre de phrasé qui vous enveloppe les jours où il fait trop gris et trop froid pour faire autre chose que de se draper dans une couverture avec un thé à portée de main. Bien aussi quand le soleil tape si dur que l’on se sent anesthésié. Bref. À écouter sous toutes les latitudes.

The 21st volume in the grand Ethiopiques series (that reflects how deeply the country’s popular music traditions are steeped in American and European colonial sources) is dedicated to the solo piano works of the outstanding composer and performer Emahoy Tsegué-Maryam Guèbrou, a daughter of Ethiopian high society who chucked it all to become a nun in the nation’s Orthodox Church. Tsegué-Maryam Guèbrou was educated in Europe. She played violin (under the tutelage of Polish émigré Alexander Kontorowicz). She took up her piano studies while in the convent and teaching at an orphanage. Her first recordings — two LPs — were issued in 1963, when she was 40. The first nine cuts here come from these two albums. Guèbrou showcased her classical training on much of the first offering. But the opening cut also displays her incredible ability to play an extremely melodic blues piano as read through the great jazz masters of the instrument. One can hear a bit of Albert Ammons, a bit of Count Basie and Oscar Peterson, and even a trace of Art Tatum in « The Homeless Wanderer. » She sticks to her wonderfully haunting classical compositions until « Presentiment » (track five), where she returns to the deep blues, which are nonetheless played light and airy in the middle and upper registers of the piano. Jazz injects itself deeply into her playing on the second recording, beginning with « Mother’s Love. » There is a spaciousness in her playing that is remarkable, and it is very much like song. « Ballad of the Spirits » may be an obvious example, but it is far from the only one. Her sense of phrasing is rhythmically complex; she shape-shifts, straying from standard time signatures into something more mercurial without losing form. On this tune one can hear Beethoven and Teddy Wilson. « The Song of the Sea » is the longest composition here. Clocking in at just under nine and a half minutes, it is complex yet utterly engaging. Here, scalar forms and ostinati assert themselves in the theme, which returns over and over again throughout. But the improvisation on the original changes is remarkable; it feels as if the piece is in three movements, and a different kind of improvisation is featured in each. The harmonic invention and the melodic interplay between her hands are seductive. There are three other tracks here from an album Guèbrou recorded in 1970 while in Jerusalem on pilgrimage. These, « Golgatha, » « The Jordan River Song, » and « The Garden of Gethesemanie, » are among the strongest works here. Even as they engage classical themes, especially on « Golgatha, » the early jazz of Fats Waller and Jelly Roll Morton is whispered into the body of these compositions. The final four cuts here come from an album issued in 1996 while she was living in the convent. These four pieces are evidence of the complete realization of her craft. Guèbrou’s meld of blues, classical, and gospel music filtered through a jazz pianist’s sense of time and voicings is unlike anything anyone has ever heard. It’s ethereal yet rooted in the Ethiopian Orthodox sung tradition; it’s gauzy and fluid, yet worldly in its command of the musical languages she has chosen to display. It’s precise and ordered, yet unfettered and free to drift. It feels like songs of praise, prayer, charming conversation, and partying all rolled into a single exquisite voice that contains many. Fans of Abdullah Ibrahim’s township-informed solo work will find this set intoxicating and irresistible, yet she sounds nothing like him, or anyone else. The Ethiopiques series has unearthed other soloists, but this volume stands out for its lyricism, its mysterious emotional depth, and its utter musical mastery.
Thom Jurek, All Music Guide