Groove and fresh timbres from Jazz Guitar, Fender Rhodes Piano, Bass and Drums.
And in the middle of it all, an almost forgotten instrument: the 100-year-old C-Melody saxophone.!
The Roaring Twenties.
The heyday of art, culture, science and social life. Radio, shows, parties, movies and the first million hits in music history.
Jazz moved up the Mississippi and now conquers the metropolises of America with energetic rhythms and cheerful melodies. In the process, the saxophone is gaining more and more importance as an instrument. Fascinated by the music of that era, saxophonist Mulo Francel, who otherwise plays with the band Quadro Nuevo, took on a challenge:
Transferring the smile of the music of that time into a modern context.
Listen to the music: https://glmmusic.de/TheMelodySaxWE
More informations: https://www.glm.de/en/product/mulo-francel-the-melody-sax/
music & spirit for the cold season
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…
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.
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.