For too long, music in Germany has been pigeonholed. In serious and light music, in composed classical music and improvised jazz, in all kinds of Anglicisms from traditional-roots-music to modern-contemporary-avantgarde. The acoustic guitar often enough fell through the cracks and ended up in its own niche, a parallel world of organizers. All this is the only possible explanation for the fact that the 76-year-old Carlos Barbosa-Lima is still hardly known in this country. After all, he is not someone who would have served the pigeonholes, but a man who is a legend not only in the musica popu-leira of his native Brazil, but also in the Latin jazz of North America and in the worldwide gi-tarrist scene. He was considered a child prodigy in his hometown of Sao Paulo as early as the 1950s, made his debut at the age of 13, left for the world at 16, worked in Spain with the giant of classical guitar Andrés Segovia and later in New York – for a long time his “home base” – with Antonio Carlos Jobim, the inventor of bossa nova. Who has recorded more than 100 albums to date, in various genres, but always marked by his own unique, Brazilian-based style. And who has given concerts in the most important halls in the world, for example at the age of 21 for the first time in Carnegie Hall.
Kreusch and Barbosa-Lima are therefore the perfect team to make even the best-known earworms of Latin American music such as the title-giving “El Manisero” by Moisés Simons, “Rosa” by the Brazilian predecessor and choro grandmaster Pixinguinha or Manuel María Ponce’s “Estrellita” sound completely new, fresh, lively and with a very personal touch. Which is also due to the fact that Barbosa-Lima primarily selected pieces with which he has long maintained a strong individual relationship. To the famous “Manhã de Carnaval”, for example, one of Luiz Bonfá’s hits from the time when the very young Barbosa-Lima was personally introduced to the then star. Or, of course, to the Antônio Carlos Jobim songs “Canta Mais” and “Por Causa de Você,” which sprang from their joint work. Finally, it is no coincidence that three tracks on the album are by Alberto Ginastera: The collaboration with the Argentine composer was arguably one of the most satisfying and successful for Barbosa-Lima, culminating in Ginastera’s 1976 Sonata op. 47 dedicated to him, which became a landmark in classical guitar literature.
More informations: https://www.glm.de/en/product/el-manisero-carlos-barbosa-lima-johannes-tonio-kreusch/
Listen to the music: https://glmmusic.de/ElManiseroAlbumWE
Andreas Hinterseher has been on tour for over twenty years.
On tour with the tireless world music band Quadro Nuevo. From the small jazz club to the big concert halls, from the intimate quartet concert with the three friends to the big gig with full orchestra.
Until March 2020.
Suddenly: quarantine, performance ban, lockdown – silence ….
… and from the silence sounds music.
The studio in Fischbachau (Germany), which until then had been used mainly for quickly practicing a new program or composing pieces, was suddenly the sole center of creative work.
More infos: https://www.glm.de/en/product/andreas-hinterseher-stay-away-and-play/
Listen to the album: https://glmmusic.de/StayAwayandPlayWE
Jazz pianist Cornelius Claudio Kreusch had a “vision” early on with one of his albums. With his “Black Mud Sound” he created a world music emulsion earlier than most, landed a funky “Scoop” soon after and also turned to the Afro-Caribbean sound cosmos with “Féfé” and “Sun Music”. With “Life Is Beautiful”, he even ventured into pop, and with “Two Worlds One” and “Gestalt!“, he also combined classical music and free improvisation into an overarching concept. Most recently, he let himself be carried musically by Thomas Mann’s novel of the same name, but also by his own relevant experiences, in large-scale improvisations on the “Magic Mountain“. But the process behind all these so different projects now gives his new album its title: “Transformer.”
“The artist, in his best moments, is an engineer of transformation. He brings the idea into the world as a creative construct. The jazz pianist is an improviser and thus the transformer of the moment. Familiar or new melodies are scooped into a new in the moment.” This is how Kreusch describes the basic idea that guided him in this album. It is also a concentration, born of this time of forced pause, on the core of his artistic self-image: on the solo pianist Cornelius Claudio Kreusch.
For the pianist, who was first trained by his mother, concert pianist and music educator Dorothée Kreusch-Jacob, and then at the legendary Berklee College of Music in Boston and the Manhattan School of Music, is one of the most creative jazzmen on the planet, thanks to his extroverted nature, always bursting with energetic ideas.
With “Transformer” Kreusch follows up on earlier albums such as the hit album “Live! At Steinway Hall/New York“, to “Dolomites” and “Heart & Soul” and thus to his strengths as a soloist with a solitary signature.
More infos: https://www.glm.de/en/artists/cornelius-claudio-kreusch/
Listen to the music: https://glmmusic.de/TransformerWE
You should be able to trust the opinion of a man, who has not only shaped the world of Jazz on and off the stage but who has also, as a producer, propelled Michael Jackson “The King of Pop“ to fame. Quincy Jones says about Laura, “This young woman doesn‘t need to worry about her career, she is amazing and I am sure we will be hearing more from her in the future.“ When they met for the first time at the Stuttgart Jazz Open in 2017, what appeared to be a prophecy about the 21 year old singer Laura Kipp, has today been confirmed. She has launched her debut album “Quiet Land“ under the Label LAURA. This debut album is a showcase introducing us to her talents. Despite there being many excellent Jazz musicians out there today, who span a wide range of music genre and styles, it is rare and surprising to find such a charismatic and understated maturity beneath such refreshing youthfulness. She also expresses the freedom and complexity of Jazz together with the instant emotional power of Pop, Soul and Chanson.
The opposing elements that she draws on really create a certain tension while also blending them beautifully. As a hardened Jazz Critic who has heard and seen hundreds of singers over the years, it unfortunately becomes harder and harder to impress . However, Laura Kipp doesn‘t fail to impress from the outset. Despite her age she is so mature, well travelled and charismatic and this comes across in her voice. Her far reaching travels from her homeland in Swabia Germany to Paris, from New York to Los Angeles are also reflected in her broad range of styles, from brilliant songwriter ballads to punchy jazz vocalese, from soulful blues to string saturated glamorous Hollywood sounds . She has already internalised that unique power of jazz which she combines with her own individual expression together with collaborative creativity. She builds on this with an inner confidence in her wonderful voice, her songwriting as well as the combined skills of her band members, the arrangements of both her mentor and bassist Jens Loh along with the expertise of Cornelius Claudio Kreusch as the producer and distributer. The result is irresistible and rare in the German Jazz scene. Young jazz musicians can become obsessed with experimental style jazz but Laura has gone beyond this with what can only be described in the best sense of the term “old fashioned“ with a modern twist. It is simply pure musical pleasure for those who love a bit of sophistication.
More informations: https://www.glm.de/en/artists/laura/
Listen to the music: https://glmmusic.de/QuietLandWE
Video Little Stevie see here:
What on earth is more powerful than stories?
Her voice is sometimes tender and enchanting, sometimes gripping or tongue-twisting; the sound is raucous, almost whispering, then happily lilting or expressive and yearning. The Franco-American Marion sings of dancing dragons, of jumping into cold water and bathtubs full of beer, but also of tears and dreams, of love, lust and sorrow, of joy and fantasy. Colorful stories, told in six different languages – from elegant French to fairy-tale Romanes.
Just as colorful and diverse is the musical language of the band, which is mainly characterized by Gypsy Swing “à la Django”: acrobatic guitar solos and impressive violin playing next to powerful double bass and the percussive off-beat of the accompanying guitar. But in between, other sounds become audible again and again. There are improvised passages, quiet soundscapes and impressionistic moments: for example the violin in dialogue with the singing voice, warm bass tones, bowed with the bow, airy and intimate guitar playing and also echoes of the chanson tradition or Balkan rhythms. Each song follows its own narrative and musical dramaturgy.
With “Histoires” the French-German-Polish quintet Marion & Sobo Band presents a captivating, at the same time playful album full of fantasy, humor and colorful music.
More informations: www.glm.de/en/product/marion-sobo-band-histoires/
The album: Histoires – Marion & Sobo Band