Already the title-giving play on words “Brazilian Blues” breaks with relish with hardened-traditional ways of looking at what Brazilian music is and what the blues may be. Knowing full well how juvenile-moving the essence of music constantly seeks new points of contact and forms of expression, Stefan Koschitzki and Fabiano Pereira bypass all phrase-mongering on their new album “Brazilian Blues Vol. II”. The two musicians, arrangers and composers see their project “Brazilian Blues” as a vehicle for the constant expansion of their collective musical language. It is about respectable things throughout: searching and finding new attitudes and current perspectives on traditional music styles such as blues and bossa nova. Of course, you have to understand the subtle nuances of both styles first…
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listen to the music: https://glmmusic.de/BrazialianBluesVolIIWE
Brazil was declared the “Land of Bossa Nova” with the million-fold success of the album “Getz/Gilberto” in the 1960s, as if it had been transformed overnight into the figurehead or postcard of a single musical style. But this was far from being a new phenomenon for the country. Years before, Carmen Miranda had already enchanted Hollywood, with the result that not only Brazil but all of South America was reduced to one figure: the stereotype of the cheerful, exuberantly partying, carnivalesque and naive samba musician.
In a bid to introduce the world to an underwater part of this musical iceberg that is Brazil, the duo of Daphne Oltheten (violin) and Henrique Gomide (piano) delve into the works of previously little-known composers. Some of the collected beauties can be found among the 12 tracks on this album, which couldn’t have been more aptly named: “Brasis”, in Portuguese the plural of Brazil (Brasil).
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As for so many people, the two pandemic years were a challenging time in many respects for creatives like Cologne trumpeter, composer and arranger Christian Winninghoff, a member of the Jazzkantine and the Cologne Contemporary Jazz Orchestra. Because jazz from the ivory tower was never his thing. His music has always sounded energetic and groovy, more suitable for the atmosphere of a densely packed, heated club than for a ventilated concert hall with a masked audience, possibly even arranged in a checkerboard pattern.
In the prescribed retreat – after what felt like half a life with concerts, shows and theatrical performances almost every weekend – so now a lot of time to concentrate on the essentials: Sound and expression! The goal: soul music. His compositions have always had fragile and lyrical moments and Christian’s fourth album CLOUD SOUNDS almost became a pure song or ballad album.
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Listen to the music: https://glmmusic.de/CloudSoundsWE
The great writer Gertrude Stein once said: “Jazz is tenderness and powerful violence.” A definition that has shaped the pianist Cornelius Claudio Kreusch already at the beginning of his career – and which now again perfectly applies to his new album “Eye of the Storm”. Whereby improvisation as the primal ground of these strong forms of expression is absolutely part of it.
And yet “Eye of the Storm” is now something completely different, something new. Not only because, in contrast to the often well-prepared confrontation with freedom in the past, it really was a spontaneous leap into the deep end. But above all because “for the first time I had the feeling of being an adult as an artist,” as Kreusch tells us. “Until now, the great predecessors and role models were always a source of inspiration. This time I was completely with myself from the first note.
A maturity and independence that you can hear on the album. Everything is an expression of the dazzling personality of Cornelius Claudio Kreusch, who is as extroverted and spiritual as he is grounded and consistent. As wild as it can get with the musical storm of thoughts, an almost classical undertone, immersed in inner listening, is dominant. And as much as every note, every chord, every change, every touch is unmistakably Kreusch, at the same time he succeeds in giving each improvisation part its own note.
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The title of Giovanni Costello’s new album “In alto Mare” has never sounded so topical. After all, we have been “on the high seas” for some time now – in the sense applied to Corona and the world situation – and in troubled waters at that. At the mercy of the whims of nature and fate, but also set out for new shores and on a journey. All of which flows into Costello’s album, even if it shines primarily in Italian colors, because it depicts Costello’s career path and experiences all around: From Cantautori songwriting and jazzy crooner vocals to international pop and funk.
A bandwidth that was mapped out early on. Even as a small boy, Costello ran through his grandmother’s kitchen singing Celentano hits; at seven he learned the piano and soon after stood on a stage for the first time. While still at school, he formed his first band – with which he toured all over Italy by the time he was 18. It quickly became clear that he would make music his profession. But it was also clear that he wanted to have a solid foundation. So he studied piano in Perugia and composition in Milan. One of the ways he financed his studies was by performing as a bar pianist as often as he could. An intensive time and an important wealth of experience, which Costello takes up on “In alto Mare” with his version of Francesco De Gregori’s “La donna cannone” and lets it pass in review.
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Listen to the music: https://glmmusic.de/InaltomareWE