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November 2 , 2012

Reviews of the Week

Arvo Pärts Adam's Lament is a "choc du mois" in French magazine Classica and impresses also in Scotland

Un arrière-goût de Paradis. L’excellente anthologie des motets d’Arvo Pärt dirigès par Tõnu Kaljuste renvoie l’auditeur à des valeurs universelles.
Bertrand Dermoncourt, Classica

It’s as sublime and timeless as any of this composer’s music, a style illuminated in all these performances by a combination of Latvian and Estonian choirs and chamber orchestras under Tõnu Kaljuste. There’s an uncharacteristic fullness about Adam’s lament, rich and resonant in the enchanting opening bars.
Ken Walton, The Scotsman


Anna Gourari's Canto Oscuro is reviewed in French magazine Pianiste

Les arrangements de Busoni et de Siloti des pièces de Bach ont été rarement jouès avec un tel sentiment de plénitude et de clarté heureuse. C’est une vraie leçon de musique, à la fois pour le toucher, d’une précision et d’une finesse rares, mai aussi pour la pédalisation. Il y a beaucoup à apprendre en écoutant cette artiste qui pense l’oeuvre dans sa globalité et projette le son en conséquence. Celui-ci naît dans une épaisseur gourmande qui nous émeut à chaque instant.
Luc Nevers, Pianiste


International acclaim for Kim Kashkashian's Music for Viola

Economy is key here: Nothing more than necessary is said. Often a wandering line suffices, always coloured with great delicacy by Kashkahsian; harmony, when evoked, is spare and purposeful. Kashkashian excels at fine modulations of unconventional tone, such as the distored barking sounds (produced by playing at the bridge of the instrument) of the playfully titled ‘Kromatikos feleselõs’ (‘Chromatically saucy’), eerily contrasted with ‘Virág Zsigmondy Dénesnek’ (‘A Flower for Dénes Zsigmondy’) wose distant groans waft in and out of audibility. She is an ideal guide to this sinister and lonely territory...
Andrew Morris, International Record Review

Kashkashian’s playing is wonderfully concentrated, and she shines, too, in György Ligeti’s substantial late Sonata for Viola Solo (1991-94), a piece inspired by the viola playing of Tabea Zimmermann that sounds at once old and new.
Michael Dervan, The Irish Times


British media on Magico: Carta de Amor by Garbarek/Gismonti/Haden

It’s an impassioned and fiercely improvisational collection of variations on powerful themes by all three, touching on Haden’s Liberation Music Orchestra repertoire and Garbarek’s free-jazz history. It also showcases Gismonti as a lyrical and abstract-effects guitarist, an inspired composer and a resourceful, Jarretish pianist.
John Fordham, The Guardian

The trio might seem an unlikely one: the American bassist Charlie Haden, Nordic jazz-folk saxophonist Jan Garbarek, and the Brazilian spark of Egberto Gismonti on guitar and piano. But they gel perfectly as they explore tunes mostly from their two studio sets. Garbarek in particular, has rarely sounded better.
John Bungey, The Times


German magazine Jazzthing on Michael Formanek's Small Places

Den sich entwickelnden Modern Jazz dehnen Formanek und seine Musiker bis an den Rand einer zeitgenössischen Avantgarde aus, mischen raffiniert Komponiertes mit Improvisiertem und machen auch nicht halt vor weltmusikalischen Experimenten. Und der Leader hält mit seinem gleichermaßen knochentrockenen wie warmholzigen Sound auf dem Kontrabass die Fäden fest in der Hand.
Martin Laurentius, Jazzthing


Dutch magazine Jazzims calls Sources by the Louis Sclavis Atlas Trio a 'small masterpiece'

Met zijn nieuwe Atlas Trio dat verder bestaat uit Benjamin Moussay en de uitstekende Gilles Coronado, levert Sclavis opnieuw een klein meesterwerk af.
Koen Graat, Jazzism


British website The Jazz Breakfast on Manu Katché's new album Katché

There is a lot of lovely new music here, from the gentle brush-driven ‘Loving You’ (strong piano solo from Watson), the rolling funk of ‘Walking By Your Side’ (Molvaer creating layer upon looping layer of his rich trumpet sounds, and rich, fruity tenor over the Hammond), to the three-way trumpet/tenor/organ harmony of ‘Short Ride’ and the hooky melody of the eight-minute plus ‘Beats & Bounce’ (the title says a lot). Their joys lie not primarily in jazz solos – nice though they are- but in the combinations of timbres over catchy grooves, and the drummer seems to have a bottomless pit of both timbral and rhythmic ideas.
It’s a measure of Katché’s strength of personal style, both in is playing and composing, that despite changing the personnel with each album, he has created a a really cohesive body of work in his four ECM releases. This is a fine addition to the other three.
Peter Bacon, The Jazz Breakfast


Jazzim is delighted by the magnificent interplay of Keith Jarrett and Jan Garbarek on Sleeper by Keith Jarrett/Jan Garbarek/Palle Danielsson/Jon Christensen

Vooral het samenspel tussen Jarrett en Garbarek is subliem, als een tweeling die één gedachte deelt.
Angelique van Os, Jazzism