Buscar:joy o

Emmet Cohen's time has come, since his debut Mack Avenue release,
'Future Stride', Cohen has toured the world consistently " bringing the joy
of music to people in need during a global pandemic" all while hosting
weekly livestream concerts from his home in Harlem, NY
These livestreams provided a sense of community and a home to the displaced
musicians of New York, reminiscent of the 1920s rent parties. On 'Uptown in
Orbit', his sophomore release for Mack Avenue, Cohen brings the tradition of jazz
to the forefront while providing the modern twist needed for the current times.
Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick
Bartley, bassist Russell Hall and drummer Kyle Poole.

Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark

This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h

experiment in markmarking and sound, as a kind of writing by ear - metallic, brushed, wooden - lines imprinted and pressed circular. The record takes its name from the discarded title of the several-hundred-page draft of Clarice Lispector’s eventual 96-page novel Água Viva. Devoid of characters or plot, Água Viva appears always in suspension between the interior and exterior and impression and expression. Weird and formless (like the jellyfish ‘agua viva’ translates to in Portuguese) Lispector’s text deals less in the cerebral or the knowable realms of words and more in the unknowable moment of experience. Its joy is found in its looseness, its meaning found in its lack of definition. Loud Object began as six sides of violin improvisations, four of them abandoned and the last of them added to or processed using samplers in moments Steiger calls ‘wells’ - gaps or dips in the recording which could be filled or poured into. The process of filling up and taking away, of repeating and multiplying, of building tension between the finite and the lost - all wrestle with actualisation. Which line will be drawn? In the liner notes for the LP, Evie Scarlett Ward writes, “The record holds loss.” Though the lines are fixed, its contents are fluid - forty minutes filled in and manipulated, before time moves on. Steiger’s relentless rearranging of convention means no two of his live shows are the same, and his decade-plus involvement in London’s free improvisation scene constantly surprises. Loud Object is no exception. Recorded on the 12th, 13th and 14th February 2021 by Daniel Blumberg. Produced by Billy Steiger. Mixed by Billy Steiger and Shaun Crook. Mastered by Giuseppe Ielasi. Artwork by Billy Steiger. Layout by Oli Barrett. Liner notes by Evie Scarlett Ward.

Combining elements of indie-pop, punk, emo and just a little bit of 2009 vintage math-rock for good measure, adults are four pals trying to find their way in a disintegrating world. for everything, always reflects on how we look after ourselves, one another and people in our community; it’s a riotous collision reminiscent of Johnny Foreigner, The Beths or Trust Fund, bursting with crunching guitars, speedy drums and yelping dual vocals. The first single all we’ve got // all we need is a song about individual torments: “having a breakdown on the Megabus to Bristol", and about collective support: “mutual aid, building strong networks of community resistance to the hostile environment, to food insecurity, to the homophobia and transphobia by the state and about trying to look after one another”. the secret song to end side one deals with loss, guilt, rejection and anxiety, exploring the travails of a messy breakup and the masculine urge to bury everything deep down despite the fact that that only hurts people more. tfl has a lot to answer for is a “reflection of drinking way too much in yr mid 20s, staying up too late, burning yrself out and how it impacts on yr relationships and mental health”. Recorded and produced by Rich Mandell (Happy Accidents, ME REX) over a couple of weekends in the summer of 2021, for everything, always is the constantly naive, but optimistic, outlook: always striving for a better future in the face of modern society’s bullshit. lts are a noisy pop band desperately clinging on to the ghosts of 2009. Their songs are a silly, joyful, and occasionally sad, look back at the tail end of their 20s, a way to grapple with breakups, parties, alcohol and loneliness, and looking hopefully into the future. They’ve released singles with Art Is Hard and For The Sakes Of Tapes, and self released an EP (The Weekend Was Always Almost Over), which was subsequently released on vinyl by Caballito records. adults are based in south London. Faster, messier and sillier than they have any right to be, adults are hopeful and joyous, fighting through the existential angst of youth to try and find their place in a world on the brink, as grown ups, as adults. Like the octopus on the artwork says: “we're all we've got, we're all we need”. // “a cacophony of clattering drums and belt-it-out choruses Los Campesinos! or Martha would be proud of evidence that adults seem to have stumbled into something rather marvellous” For The Rabbits // “There’s an ample buoyancy from the vocal work, and the guitars are crunchy, though I like how they’re a bit tempered here; think of Martha having to play at your local library…hooks, but just a little more subdued. There’s just something about this that radiates joy” Austin Town Hall // Tracklist: A1) I Had A Little Snooze & Now I Will Probably Never Arrive At Yr House A2) Janine (JG Forever) A3) All We’ve Got // All We Need A4) Tfl Has A Lot To Answer For A5) 2 Sqs A6) The Secret Song To End Side One B1) Things We Achieve B2) The Nod B3) The Pitch And Yaw Of The 6.12 To Brighton (Plain Wrong) B4) Between Buildings B5) Killing & Dying & Something More Positive B6) The High Watermark (Thoughts Of U) B7) Wasn’t Like That

Since first forming in 2014, New York trio THICK have triumphed at
turning the harshest truths into wildly exhilarating punk songs
On their second album Happy Now, vocalist/guitarist Nikki Sisti, vocalist/bassist
Kate Black, and vocalist/ drummer Shari Page deliver their most complex and
confessional work yet, exploring everything from self-sabotage and insecurity to
victim-blaming and destructive relationships. Raw, irreverent, and brutally honest,
Happy Now ultimately offers both joyful catharsis and much-needed instruction
for living well in turbulent times.The follow-up to 5 Years Behind (a 2020 release
praised by Under the Rader as a "dazzling debut album…laced with anger, humor,
killer guitar riffs, and soaring punk melodies"), Happy Now finds THICK working
again with producer Joel Hamilton (Iggy Pop, Juiceboxxx) and recording at Studio
G Brooklyn. In a profound evolution of their previous work, the 11- track album
encompasses sharper arrangements and stickier hooks and a more explosive
energy — an effect often achieved through the sheer force of their three voices
singing in unstoppable unison.

Watford born indie rock goddess Connie Constance announces
her new album, ‘Miss Power’, a bold collection of songs imbued
with high voltage drums, snarling guitar riffs, and anthemic feminist
rage.
 On ‘Miss Power’, Connie takes us on a joyride through dramatic,
passionate and empowering scenes with hooks aplenty and lyrics
that excitedly unpick heartbreak, Connie’s strained relationship
with her father and her struggles with mental health.
 Connie’s titular and much acclaimed first single from her new
album, ‘Miss Power’ earned itself a spot on the BBC Radio 1 C list,
as well as being named Hottest Record by Radio 1’s Clara Amfo,
with plays from Jack Saunders, Ricky, Melvin and Charlie and Vick
and Jordan.
 The album announcement comes alongside the release of a new
single, ‘Till the World’s Awake’, a life affirming indie dance track
that twinkles with bright, layered guitars atop driving basslines and
powerful drums. Connie Constance’s dynamic yet delicate vocals
swell to a thrilling, cathartic chorus: “When we are young and
when we get older / I want to feel like loving, feel like loving you.”
Connie’s venture into the world as her authentic self is palpable.
 “A strikingly effective combination of disparate strains of British
pop: the quasi spoken verses bristle with the barked beauty of
Paul Weller; the cathartic chorus reaches Florence worthy heights”
- The Guardian
 “Brand new music from the brilliant Connie Constance. She’s real
fun, I rinsed ‘Kids Like Us’ on this show, and I love this one. Just
instantly catchy and empowering. empowering.” - Clara Amfo
 “She is one of the most exciting artists around at the moment. I
saw her live and just knew she was going to be special” - Arielle
Free
 “This indie pop banger ‘Miss Power’ is an instant confidence
booster” - The Fader

An Indie-pop daydream desperate melody with true love's aim. A voice subtle in its delivery and powerful in its affect. Hooks, lyrics, melody, tears. I'd call it a teen tragedy but everyone's getting older, Hearts are getting bigger but head and heart can't ever line up. 11 tracks 45RPM. Ribbon Stage are a trio from NYC with no small amount of love for the noise pop days of Dolly Mixture and the Shop Assistants. The group does perfectly what only punks playing pop music can do–create chaotic noise in tandem with the sweetest hooks and most sophisticated nihilism. Ribbon Stage makes noise pop so catchy you swear you've heard before. Forever trapped in the space between your ears. Featuring Mari Softie (Ratas del Vaticano, Tercer Mundo, Exotica, and Pobreza Mental) as well as scene stalwart Jolie M-A (Juicy II, Boys Online) and vocalist Anni Hilator. Recorded by Hayes Waring on 1/2” 8 track tape in Olympia WA. Mixed by Capt. Tripps Ballsington. Mastered by Amy Dragon. Look for the video for singles “Playing Possum”, “Stone Heart Blue”, and “Dead End Descent” as well as a Fall West Coast tour, if touring is at all still possible in the new future. Whatever happens it is quite assuring that whatever these times may bring bands can still put out music as good as this EP. 2500 vinyl copies. “It’s an indie-pop joy ride” -SVL (Rollingstone) // Tracklist: 1. Playing Possum 2. Nothing Left 3. No Alternative 4. Nowhere Fast 5. Sulfate 6. Stone Heart Blue 7. Clock Tower 8. Hearst 9. Exaltation 10. It's Apathy 11. Dead End Descent

While she might be best known as an improviser (most notably in the Spontaneous Music Ensemble, the Feminist Improvising Group and more recently with the likes of Les Diaboliques), Maggie Nicols’ talents stretch into song, dance, poetry, performance and composition. When Cafe OTO was shut over lockdown we invited her to follow up the wonderful solo ‘Creative Contradiction’ with some time spent singing alone at the piano. ‘Are You Ready?’ comprises an LP of songs and a 2CD edition which includes a companion disk of freely improvised meditations entitled, ‘Whatever Arises.’ Songs - seemingly contradictory to the practices of free improvisation - have been a vital part in Nicols’ relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards sung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent gig with pianist Steve Lodder played out ‘The Maggie Nicols Songbook.’ Are You Ready? recalls Nicols’ own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's “ability to find the ‘rhythmelodic’” meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however - “Sans Papiers” sets the words of poet Vicky Scrivener to tune; a story of migration and struggle which is as important to Nicols as the songs her mother wrote. Such an intimate recording of her own compositions came with a certain amount of reflection and anxiety - best confronted with time spent freely improvising. ‘Whatever Arises’ - a companion disk to the ‘Songs’ - is a meditation of sorts, a process of ‘following the energy’ which has its roots in John Stevens’ work. “Improvisation gives the confidence to compose,” Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, ‘Whatever Arises’ allows Nicols’ to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens’ work, Nicols’ improvisational techniques also remind us of Pauline Oliveros’ Sonic Meditations. They are what has allowed Nicols to find her own sound, to ‘teach herself to fly.’ They have allowed Nicols to grow and share and to be able to keep close the songs that mean so much to her, now shared with us. Recorded at Cafe OTO on July 15th, 16th and 17th 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson. ‘Slow Within The Urgency’ inspired by mindfulness teacher Jeff Warren. Original poem ‘Sans Papiers’ by Vicky Scrivener. Original poem ‘You Darkness’ by Rainer Maria Rilke. Music and lyrics to ‘Music Is The Healing Force of The Universe’ by Mary Maria Parks.

Moody Blue Vinyl. RIYL: Codeine, Mazzy Star, Bedhead, Red House Painters, Low & American Music Club. Previously unreleased 16-track recordings that predates Spain’s 1995's landmark “The Blue Moods Of Spain". Includes original studio version of "World Of Blue" featuring Petra Haden on violin. Re-mixed and re-imagined by Kramer for Shimmy-Disc. The LP “World of Blue” features Merlo Podlewski on guitar. I first met Merlo in 1994. My sister Rachel Haden, who had been working with him at the Rhino Records store in Westwood, knew I was looking for a new guitarist for my band, and introduced us. Merlo is one of those guitarists whose playing is so smooth and effortless he makes anyone feel like they can play. He had an instinctual grasp of harmony and theory, which brought a great counterpoint to the technical knowledge and finesse of lead guitarist Ken. Spain played their first official L.A. gig with Merlo at a club called Pan, which shortly thereafter changed its name to Spaceland. We opened for Beck and That Dog. We played at Spaceland a lot and at other small clubs and coffee joints like the Troy Cafe (owned by Beck’s mom), Congo Square Coffee House in Santa Monica, Alligator Lounge, and others. At a certain point that year we were ready to record our first 7” single, and I reserved some time at Poop Alley. Poop Alley didn’t seem like the ideal recording setting. The walls and floors were made of concrete, and there was no soundproofing. The mixing board was in a loft up this steep staircase with no guard rails. But it worked somehow. On the particular day we recorded basics there was a rain storm which you can clearly hear in the background. The ceiling was so high there almost wasn’t a ceiling. A steep curving staircase with no guardrail led up to a loft area where the console was located, and next to it, on a custom-built, guardrail-less ledge, a queen-sized bed where Tom slept. I paid for the session with weed I grew in my closet. We set up and it started raining. Tom put a microphone outside. After tracking was finished, Petra came over and overdubbed violin. There was a cushioned area where I remember sitting during mixdown. We stayed good friends with Tom. We recorded a couple more songs with him the following year. Tom recorded lots of bands at Poop Alley. My sisters’ band That Dog, Beck, the Rentals, Rod Poole, Tom’s band Waldo the Dog Faced Boy, and many others. There were parties in the alley. There would be a keg of beer. Everyone was well-behaved. The most dangerous it got was when Kenny asked Beck if he was a Scientologist. I remember laughter and happiness the most from those parties. Not long afterwards Tom shut down the studio. Luckily for us, the tapes still exist. On those tapes are five songs, all of which are represented here. “I Lied” and “Her Used-To-Been” were released on the 7”, the remaining three have never been released before now. I can’t remember who I sent copies of the 7” to but shortly after it came out I got a call from an A&R executive at Geffen inviting me to their offices to talk. “I love your songs,” I remember him saying to me, “but my boss David Geffen won’t let me sign you because he doesn’t know how to market you.” Eventually a label that did want to sign us got in touch with me. Restless Records, they had decent distribution, so I said to myself, “Why not?”. This eventually led to the recording that produced our debut LP “Blue Moods of Spain”. Track listing: A1. Her Used-To-Been A2. Phone Machine A3. I Lied B1. Dreaming of Love B2. World of Blue

"It's an album that will no doubt inspire the creation of new bands and artists, a collection of songs that record store employees will recommend to unsuspecting kids looking for something out of the mainstream, and who are ready to have their minds warped." – Flood // "Medicine Singers push powwow music into the avant garde" - The Fader // The debut album by Medicine Singers is a genre-smashing kaleidoscope of sound combining traditional powwow music with elements of psychedelic punk, spiritual jazz, and electronics in a stunning blend. Building on years of collaboration between Yonatan Gat and Eastern Algonquin powwow group Eastern Medicine Singers, the album features contributions from an all-star cast including jaimie branch, Laraaji, Ikue Mori, Thor Harris (Swans), Joe Rainey, and Ryan Olson (Gayngs). "I look at it like this, everybody is my brother and sister, no matter where they come from," says Medicine Singers leader Daryl Black Eagle Jamieson. "If their culture or music is different, I want to learn about it, and I want to play with them. I think it's our responsibility as artists to show the world that life is not about war and hate. Life is about music, peace, and culture. We need to communicate with people of different cultures and backgrounds. We need to show people how we can work together and make something beautiful." One Dollar of each Medicine Singers album sale goes to the Pocasset Pocanoket Land Trust. Tracklisting: 1. A Cry 2. Daybreak 3. Hawk Song 4. Sanctuary 5. My Brother 6. Shootingstar Press 7. Sunrise (Rumble) 8. Shapeshifter 9. Sunset 10.Reprise of a Cry

The kaleidoscopic third album from Sean Mulrooney and his Ireland
meets Berlin ensemble Ecstatic folk- psych that full embraces the natural world and living ancestry, through joyful experimentation and deeply rooted sonics.

An inspired soundscape that echoes eclectic and eccentric atmospheres:
traditional Irish folk, outsider pop, global sacred music and drone rock.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album. This 1LP 140g gatefold white vinyl is accompanied by an 8-page booklet and exclusive photos.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

Gondwana Records announces Horizons the debut album from Jasmine Myra, produced by Matthew Halsall, it's an elevating debut record of understated beauty

Jasmine Myra is a Leeds-based saxophonist, composer and band leader Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo and Olafur Arnalds and like Mammal Hands and Hania Rani her music has a special, emotive quality that draws the listener into her world. Matthew Halsall first heard Myra's music in 2019 shortly before the pandemic hit, signing her to Gondwana Records and producing her beautiful debut album, Horizons.

"I was immediately drawn to Jasmine's music. I could hear jazz, electronica in her music but with a deep, honest, emotional quality. I was really impressed with her skills as a composer and bandleader, that she is open and intelligent enough to bring all those influences together, to make something fresh and original. We were also delighted to work with a young artist from the North of England. London is often seen as the place to be, but cities like Manchester and Leeds are full of creative musicians too, and that sense of local community is at the heart of our values as a label."

Myra came-up through the bustling, creative Leeds music scene and her music draws on the sense of community that permeates life in the city and which is notable for a strong DIY ethos in its musical community. She attended Leeds Conservatoire and played with the Leeds based Abstract Orchestra, a jazz big-band, led by tutor Rob Mitchell that explores the synergy between jazz and hip-hop found in the recordings of Madlib, MF Doom of J Dilla. Indeed, Myra cites MF Doom and Soweto Kinch as early influences on her own music. It was in her last year at the conservatoire that Myra started to consider leading her own group and started to really think about what her own music might sound like and her first band featured guitarist Ben Haskins and drummer George Hall who both feature on Horizons and her band draws heavily on the Leeds community featuring rising stars such as pianist Jasper Green and harpist Alice Roberts.

Myra also mentions local legend, Dave Walker, who owns an instrument repair shop called 'All Brass and Woodwind' which is right next to the music college. She worked there while studying and he introduced her to a lot of local musicians. Walker also has his own line of saxophones (played by Shabaka Hutchins, Pete Wareham and Nubya Garcia), and gifted Myra the saxophone she plays on Horizons. It was Walker who encouraged Myra to apply for Jazz North Introduces, a scheme that supports emerging jazz artists in the North of England and Myra credits her winning a place, in 2018,with helping her grow in confidence.

" It gave me the opportunity to start gigging outside of Leeds, which I was very keen to do. I was quite surprised by people's reaction to the project and the support I was being shown, which helped me gain a lot of confidence. It became clear to me very quickly that being a solo artist was what I wanted to do and it was also apparent to me that mine was one of the only female-led instrumental bands on the Leeds scene, which encouraged me even more, as I wanted my project to inspire younger female musicians".

Horizons was produced by Matthew Halsall and mixed by Portico Quartet collaborator Greg Freeman, and much of the music was written during lockdown. It was a hard time for a lot of people, and initially Myra struggled mentally, deprived of shows and the connections of making music with her band and friends, but she also realised what she wanted as an artist and the result is heard on Horizons.

"I realised that my aim was to start writing music that made people feel happy and uplifted. Writing is one of my biggest passions, but I also love performing. Playing live and seeing the audience connect with my music and have a positive experience brings me so much joy".

This sense of elevation is at the heart of Horizons, together with the feeling of a journey, of reaching new ground. Prologue and Horizons were originally composed as one piece as they encapsulate Myra's own personal development as she worked on the album - taking the listener on a journey, especially Prologue; and then Horizons is that moment of release when you've reached the end goal. 1000 Miles takes inspiration from the music of Shabaka and the Ancestors. Whereas Words Left Unspoken was written after Myra's grandmother unexpectedly passed away in June, and due to Covid restrictions she was unable to visit her before she passed and say how much she loved her. Morningtide is a nod to Kenny Wheeler, particularly the track Opening from Sweet Time Suite on Music for Large and Small Ensembles but Myra also puts her own spin on it as she also does with Promise, another track influenced by Wheeler. Awakening has a calm and euphoric quality and represents that sense of problems lifting, or of reaching the other side, and New Beginnings finishes the album with a positive vibe and a sense of moving forward from darkness

This then is Horizons. A soulful, emotional and up-lifting debut from a major new voice. A snapshot of a young artist at the beginning of her journey - drawing on jazz and electronica influences to create something fresh and new. But also a celebration of her home town Leeds, and a record built on a sense of support and community before looking out to wider Horizons.

Jamie Cullum on BBC Radio 2 "...That's Jasmine Myra and 'New Beginnings', wonderful to hear new music from a new artists i've not heard before, a great new artist!"

Tom Ravenscroft on BBC 6 Music "Leeds-based saxophonist, composer and band leader Jasmine Myra. 'New Beginnings' on Gondwana Records. Compositions drawing influence by Kenny Wheeler, Bonobo, Ólafur Arnalds. Produced by Matthew Halsall"

Panthera is a mysterious figure, and that’s how they plan to keep it. Arriving at the Bordello in a veil of secrecy, the four tracks of Synthesizer Hits do the talking for this unknown artist; and you better believe this music has something to say. The gloriously uplifting “Eurodrink” opens. Beaming bars border on pure elation and sullen sorrow, a tight drum keeping time in this space opera soundtrack. That same line of joy and sadness is maintained in the considered and reflective “20000” with its distant words and epic synthwork. “Bra” melts the pulsating energy of disco with complex percussions while a future vision melody descends. The close comes in the form of “Il Vizietto.” A daring work of astral electronics that takes its cue from the masters of silver screen and beyond. A stunning debut from an artist who music lovers will want to know.

"Ich muss sagen, dass ich dies für den großen vergessenen Zyklus der Klaviermusik des 19. Jahrhunderts halte. Vielleicht sind das große Worte, aber ich empfinde das so", sagt der Pianist Leif Ove Andsnes über seine neueste Veröffentlichung bei Sony Classical. Auf diesem Album präsentiert er die umfangreichste Klaviersammlung des großen romantischen Komponisten Antonín Dvorák - die zu Unrecht vernachlässigten Poetischen Tonbilder. Dem norwegischen Pianisten zufolge zeigen diese unentdeckten Perlen eine ganz andere Seite des für seine Sinfonien und Streichquartette bekannten Komponisten. Ich liebe diese Musik und niemand scheint sie zu spielen", sagt Andsnes, der sich 2017 mit der Veröffentlichung "Sibelius" auch für die selten gespielten Klavierwerke von Jean Sibelius einsetzte. Die 13 Postkarten für Klavier, aus denen sich Dvoráks poetische Tonbilder zusammensetzen, wurden im Frühjahr 1889 geschrieben und signalisieren eine Stilverschiebung von einem Komponisten, der sich von formalen Konstruktionen weg zu einer freieren, inspirierten Ästhetik bewegt. Zu diesen bezaubernden Stücken gehören Beschwörungen von Magie und Geheimnissen ("Das alte Schloss"), ländliche Tänze ("Furiant" und "Bauernballade"), nostalgische Stimmungsstücke ("Dämmerungsweg") und tragische Reminiszenzen ("Am Grab eines Helden"). Die Werke reichen von tiefgründig bis verspielt, von heiter bis wütend - "ich spüre in ihnen eine sehr starke, wunderbare Erzählung", sagt Leif Ove Andsnes, der fest daran glaubt, dass Dvorák die Stücke dieses "außergewöhnlichen" Sets als einen Zyklus konzipiert hat, der zusammen gespielt werden soll.Sur son nouvel album, Leif Ove Andsnes présente la plus importante collection pour piano du grand compositeur romantique Antonín Dvorák - les Poetic Tone Pictures, injustement négligés. Selon le pianiste norvégien, ces joyaux méconnus montrent une toute autre facette du compositeur connu pour ses symphonies et ses quatuors à cordes. « J'adore cette musique et personne ne semble la jouer », déclare Andsnes. Les 13 cartes postales pour piano qui composent l'oeuvre Poetic Tone Pictures de Dvorák ont été composées au printemps 1889, et signalent le changement de style d'un compositeur s'éloignant des constructions formelles vers une esthétique plus libre et inspirée. Parmi ces charmantes pièces, on trouve des évocations de magie et de mystère (In the Old Castle), des danses rustiques (Furiant et Peasants' Ballad), des pièces d'ambiance nostalgiques (Twillight Way) et des réminiscences tragiques (At the Hero's Grave). Les oeuvres vont de la profondeur à l'espièglerie, de la légèreté à la fureur - « Je sens en elles un récit très fort et merveilleux », dit Leif Ove Andsnes, qui croit fermement que Dvorák a conçu les pièces de cet ensemble « exceptionnel » comme un seul cycle à jouer d'un coup. L'un des pianistes les plus éminents du monde, Andsnes a eu l'idée de jouer de la musique tchèque lorsqu'un nouveau professeur est arrivé de Prague à son conservatoire de Bergen, en Norvège. Alors âgé de 12 ans, son énorme fascination pour les Tableaux de tons poétiques l'a conduit à présenter une partie du répertoire lors d'un concours pour jeunes pianistes. Des années plus tard, alors que la pandémie de Covid-19 frappait le monde, Andsnes a profité de ce temps d'arrêt pour se plonger plus profondément dans les tableaux de tons poétiques et communier avec leurs histoires. Il a trouvé des oeuvres d'un charme infaillible et de nombreux exemples de Dvorák déployant une largeur de couleur orchestrale à partir du piano - en plus de son utilisation excitante de rythmes croisés et de syncopes, à la manière des danses folkloriques tchèques.

Debüt auf Bad Omen Records!! - BIRTH entwickelte sich aus ASTRA, dessen zwei Alben - 'The Weirding' von 2009 und 'The Black Chord' von 2012 - bereits Klassiker im Rise Above-Katalog sind. Mitglieder von Sacri Monte, Psicomagia, Joy und Monarch sind auf dem kaleidoskopischen Trip mit an Bord. Musikalisch sind zwar auch Spuren von King Crimson von (ca. 'Red') sowie frühe Yes und Van Der Graaf Generator zu erkennen, aber eine ganze Reihe von Einflüssen wie Aphrodites Child, Premiata Formeria Marconi und Area bis hin zu Robbie Basho und die symphonische Soundtrack-Arbeit von Osanna eben auch! Alchemistische Kräfte haben mit 'Born' ihre beachtliche Arbeit geleistet, indem sie ein erhabenes Album geschaffen haben. 42 Minuten, in denen Vergangenheit, Gegenwart und Zukunft verschwommen sind; ein Album, das von irdischen Sorgen heimgesucht wird, während seine Klänge nach den Sternen streben.

Debüt auf Bad Omen Records!! - BIRTH entwickelte sich aus ASTRA, dessen zwei Alben - 'The Weirding' von 2009 und 'The Black Chord' von 2012 - bereits Klassiker im Rise Above-Katalog sind. Mitglieder von Sacri Monte, Psicomagia, Joy und Monarch sind auf dem kaleidoskopischen Trip mit an Bord. Musikalisch sind zwar auch Spuren von King Crimson von (ca. 'Red') sowie frühe Yes und Van Der Graaf Generator zu erkennen, aber eine ganze Reihe von Einflüssen wie Aphrodites Child, Premiata Formeria Marconi und Area bis hin zu Robbie Basho und die symphonische Soundtrack-Arbeit von Osanna eben auch! Alchemistische Kräfte haben mit 'Born' ihre beachtliche Arbeit geleistet, indem sie ein erhabenes Album geschaffen haben. 42 Minuten, in denen Vergangenheit, Gegenwart und Zukunft verschwommen sind; ein Album, das von irdischen Sorgen heimgesucht wird, während seine Klänge nach den Sternen streben.

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

It is no exaggeration to say that Norwegian tenor
saxophonist Marius Neset plays in his own league.
In addition, he is one of the most fascinating and
versatile composers in jazz and far beyond -
which, among other things, currently takes him as
far as London’s Royal Albert Hall.
Downbeat states, “Marius Neset is not the future,
but the present of European jazz.”
‘Happy’ features Neset with a new, top-class
quintet. The album is divided into two parts - in the
first half, playful, intricate, energetic songs
dominate. And in the second part, Neset and band
take the listeners into a calmer suite. What all
pieces have in common is that you can hear the
musicians’ pure joy of playing in every note.
LP on 180g virgin vinyl with digital download code.