Wolfgang Muthspiel/Scott Colley/Brian Blade - Dance of the Elders

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 45:32
Size: 105,4 MB
Art: Front

(10:47) 1. Invocation
( 4:15) 2. Prelude to Bach
( 5:56) 3. Dance of the Elders
( 7:40) 4. Liebeslied
( 4:57) 5. Folksong
( 4:52) 6. Cantus Bradus
( 7:02) 7. Amelia

Dance of the Elders is the third ECM trio album led by Austrian guitarist Wolfgang Muthspiel. It follows on from Angular Blues (2020), which had the same line-up of Scott Colley on double bass and Brian Blade on drums; and Driftwood (2014), on which the bassist was Larry Grenadier.

Of the first of these albums Muthspiel said, ‘I wanted to feature the liquidity and wide horizon of the guitar while also approaching the contrapuntal possibilities of a piano trio.’ Driftwood fully met this brief, Muthspiel’s classical and electric guitar ably supported by two highly sensitive and responsive conversationalists weaving an exquisite sonic filigree. And on the album Angular Blues, Muthspiel widened the horizon with techniques such as using delay to create intricate counterpoints.

But on Dance of the Elders the horizon feels even wider, especially on the first and longest piece, the hypnotic and aptly named Invocation. Electric guitar swells and tinkling bells are followed by a lullaby-like tune that drifts in and out of a hypnagogic soundscape of sparse bass solo, soft mallet rumblings and splashing cymbals, before concluding with a looped riff over which Muthspiel lays a sleepy, blues-tinged solo of heavily treated guitar.

So, broad in sonic palette but also mood, as the second piece attests. Prelude to Bach is played on classical guitar with a Ralph Towner-ish feel, supported by subtle splashes and scattered dabs from Brian Blade, and sawing arco bass from Scott Colley. It becomes vaguely baroque towards the end when bass and drums melt away to leave only solo guitar, but the track’s title is more evocative than descriptive. Muthspiel also plays classical guitar on the titular track Dance of the Elders, a graceful pas de deux between guitar and bass that kicks into an equally lovely pas de trois when the drums join in but perhaps flamenco is a better analogy than ballet, judging by the stop-time interlude of clapping and drums. Folksong has the sort of catchy melody Keith Jarrett might have penned; and Cantus Bradus (classical guitar again) is full of spirited arpeggiating.
https://londonjazznews.com/2023/11/20/wolfgang-muthspiel-dance-of-the-elders/

Featured Artists: Wolfgang Muthspiel - Guitars; Scott Colley - Double Bass; Brian Blade - Drums

Dance of the Elders

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Wolfgang Muthspiel Trio - Timezones

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 54:48
Size: 126,3 MB
Art: Front

(8:34) 1. My Hill
(6:37) 2. Chip
(5:28) 3. Asleep (For Christine)
(1:36) 4. Introduction
(2:29) 5. Everything Happens To That Dog
(6:41) 6. On The Edge
(6:24) 7. Singing Beach
(7:26) 8. Timezones
(9:32) 9. Blue Morning Rays (For Menga)

Wolfgang Muthspiel is an Austrian guitarist, composer, and founder/owner of Material Records. His intuitive, probing style has made him a celebrated, in-demand sideman since the 1980s. He has worked with Gary Burton, Youssou N’Dour, Gary Peacock, Dave Liebman, Paul Motian, and dozens more, and has pursued everything from straight-ahead jazz to pop to electronic to world music. Muthspiel's sound, whether on electric guitar or nylon-string acoustic, is immediately recognizable for its soft touch and elegant use of chord voicings interspersed with fluid, single-string playing. It's holistic in that each tradition he has studied and incorporated is embodied in every phrase, vamp, or riff. Whether on his unaccompanied album Solo (2004), which revealed Ornette Coleman's influence adapted for guitar; his trio dates From a Dream (2009) and Travel Guide (2013) with guitarists Slava Grigoryan and Ralph Towner; or larger group outings such as Rising Grace (2016), Muthspiel's signature is as melodic and accessible as it is indelible.

Muthspiel, the younger brother of trombonist /composer Christian Muthspiel, with whom he has collaborated often, began formal music studies with the violin at age six and switched to classical guitar at 14. After graduating secondary school, he attended the Berklee College of Music in Boston on a full scholarship. His study of extended harmony with guitarist and composer Mick Goodrick proved influential. In 1985, he released the first of three duo albums with Christian, Duo Due Schneetanz. Duo Due Focus It (1987), and Duo Due Tre (1989). Muthspiel began a two-year touring stint with Gary Burton in 1988 (Goodrick was also part of this group), where he established a stellar reputation among jazzmen as well as audiences. In 1989, he issued his Polygram debut, Timezones, and followed it in 1990 with The Promise; they both featured Bob Berg in the saxophonist's chair. In the mid-'90s, the guitarist relocated to New York City, where he lived until 2002. He spent the remainder of the decade issuing albums for Polygram that featured sidemen such as Tom Harrell, Don Alias, Larry Grenadier, and Kenny Wollesen, among others. He also played on recordings by Patricia Barber, Peacock, Marc Johnson, Gabrielle Goodman, and Motian. In 1997 he was named Austrian Jazz Musician of the Year.

In 2000, he founded Material Records. His early projects for it were collaborations with Christian including their acclaimed electronic project Echoes of Techno and three albums with Norwegian jazz vocalist Rebekka Bakken (the standout is the gorgeous duet set Beloved). Muthspiel also recorded for Quintron during this period, issuing collaborative titles with the Vienna Concert Jazz Orchestra, and 2004's Air, Love & Vitamins, his first recorded association with drummer Brian Blade. Muthspiel also released Solo, an album of treated guitar pieces that would become another of his sonic trademarks in studios and on stages. Other notable collaborative albums on Material during the decade included Glow, with oudist Dhafer Youssef; From a Dream, the 2009 recorded debut from the trio MGT with Slava Grigoryan and Ralph Towner they had been playing and touring together since 2005 and Live at the Jazz Standard with Goodrick.

Though he had composed "Tonspiel (The Play of Tones)" back in 1986, the 21st century also saw Muthspiel accepting further commissions of the type. He wrote for contemporary ensembles such Klangforum Wien and the Hugo Wolf Quartet, New Music/Zürich, the Austrian Ministry of Arts, the Boston-based ensemble Marimolin, violinist Beni Schmid, and the Austrian Esterházy Foundation. In 2011, Material released the self-titled Drumfree trio album, with the guitarist in the company of saxophonist Andy Scherrer and bassist Larry Grenadier. In June of the following year, the ever-restless Muthspiel released Vienna, Naked, the first volume of an original song cycle showcasing only his guitar and voice. In 2013, ECM issued Travel Guide by MGT. Driftwood was his first leader date for the label, where he was aided by Blade and Grenadier. The following year saw the issue of Vienna, World, from Material. The second offering in his song cycle, this project was cut internationally with a variety of musicians in several configurations. It included duets with pianist Billy Childs and vocalist Becca Stevens, the guitarist playing with bands from Argentina and Switzerland (the latter including the Lindvall brothers from a-ha), and a string trio with cello and violin. Muthspiel's next leader date for ECM was 2016's Rising Grace. With Blade and Grenadier, it expanded the trio to a quintet that included trumpeter Ambrose Akinmusire and pianist Brad Mehldau.

The essence of that group with drummer Eric Harland added carried the story forward two years later with the September 2018 release of Where the River Goes; recorded at Studios La Buissonne in February and produced by Manfred Eicher, it featured six compositions by Muthspiel and one by Mehldau, as well as freely improvised pieces from the band. ECM issued the guitarist's Angular Blues in March of 2020. With bassist Scott Colley replacing Larry Grenadier in Muthspiel's trio with Brian Blade, the group convened in Tokyo’s Studio Dede after a three-night run at the city’s Cotton Club. Manfred Eicher mixed the set. ~ Tom Jurek https://www.allmusic.com/artist/wolfgang-muthspiel-mn0000675650/biography

Personnel: Wolfgang Muthspiel (guitar), Bob Berg (saxophone), Aydin Esen (piano), Peter Herbert (bass), Alex Deutsch (drums)

Timezones

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Wolfgang Muthspiel, Scott Colley, Brian Blade - Angular Blues

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 53:54
Size: 124,0 MB
Art: Front

(7:20)  1. Wondering
(5:55)  2. Angular Blues
(5:15)  3. Hüttengriffe
(7:42)  4. Camino
(3:50)  5. Ride
(6:52)  6. Everything I Love
(7:41)  7. Kanon in 6/8
(3:34)  8. Solo Kanon in 5/4
(5:41)  9. I'll Remember April

Guitarist Wolfgang Muthspiel's fourth leader date for ECM Records and his second trio outing for that storied imprint, following Driftwood (ECM Records, 2014) is a marvel of ingenious interplay, musical sensitivity and absolute sincerity. Joining forces with drummer Brian Blade, a longtime band mate, and bassist Scott Colley, a playing partner from the '90s, Muthspiel delves into the deepest recesses of his mind and sound, delivering a program which is as absorbing as it is refreshing.  Recorded in Tokyo after a three-night, six-set run at that city's Cotton Club, Angular Blues provides a picture of an outfit which is at once relaxed and attentive. The opener "Wondering," with Colley's warm and wide bass in a featured role is marked by gossamer graces and substantial suggestions, as all three parties weave and dance in five while taking to shadows and light. Switching gears with the title track, Muthspiel and company actively engage in somewhat evasive maneuvers, which have a quirky brilliance and mercurial character all their own, while owing acknowledged debts to both Chick Corea's Three Quartets (Warner Music, 1981) and the music of Thelonious Monk. Then, trading in shifty ideals for pure beauty, the trio delivers the soothing "Hüttengriffe." With gorgeous slow-flow aesthetics and a less-is-more outlook, it's easily one of the most attractive tunes on the record (and in Muthspiel's entire catalog).

Muthspiel works with acoustic guitar on that opening third of the album a choice which adds to the quiet and nuanced draw of the music but electric guitar owns the remainder of the program. In some places when he comps behind Colley on "Camino," for example the difference is almost unnoticeable. But the subtle boost in presence, timbre and tonal sustain all become a bit more apparent when he's out front there and in feistier settings, like "Ride." Ultimately, though, Muthspiel's personality remains intact and persuasive, regardless of which instrument he chooses to use. While Angular Blues focuses on original music with those first five numbers, the dynamic "Kanon in 6/8" and the mesmerizing "Solo Kanon in 5/4" all originating from Muthspiel's pen and mind the guitarist breaks from the norm of his previous ECM efforts by including a pair of standards in this set. "Everything I Love," with one of Colley's most memorable solos and some playful trading with Blade, and the album-ending "I'll Remember April," prioritizing melody and vibe, both prove to be standouts and complementary inclusions.
 

Calling this Muthspiel's strongest set for Manfred Eicher's lauded label may downplay the strengths of its forerunners, but that doesn't make it any less true. Angular Blues, both aligned with and apart from that which precedes it, is a winner through and through. ~ Dan Bilawsky https://www.allaboutjazz.com/angular-blues-wolfgang-muthspiel-ecm-records

Personnel: Wolfgang Muthspiel: guitar; Scott Colley: bass, acoustic; Brian Blade: drums.

Angular Blues

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Dieter Ilg Trio - Folk Songs

Styles: Jazz, Jazz Fusion
Year: 1997
File: MP3@224K/s
Time: 54:47
Size: 88,4 MB
Art: Front

(5:32)  1. Guter Mond Du Gehst So Stille
(4:59)  2. Es Tagt Der Sonne Morgenstrahl
(5:11)  3. Frère Jaques
(4:01)  4. Arirang
(3:47)  5. Wann Ich Des Morgens Frueh Aufsteh'
(3:53)  6. Im Maerzen Der Bauer
(6:48)  7. Alles Schweiget
(5:52)  8. Maienzeit Bannet Leid
(4:55)  9. In Stiller Nacht
(4:44) 10. So Sei Gegruesst Viel Tausendmal
(5:02) 11. Der Mond Ist Aufgegangen

Bassist Dieter Ilg is well-featured on two different trio dates. Folk Songs buy CD music Five songs have Benoît Delbecq on keyboards and drummer Steve Arguelles, while Ilg and Arguelles are joined on the remaining six numbers by guitarist Wolfgang Muthspiel. Folk Songs songs The songs are all traditional European folk melodies but are given very different treatments, from swinging sections to introspective ballads and quiet sound explorations. Folk Songs album for sale Although Delbecq and Muthspiel have their spots, Ilg has the lion's share of the solo space and the emphasis is more on the atmospheric ensembles than individual solos. Folk Songs CD music Although the musicianship is high, it is difficult to concentrate too closely on this often dreamy music without drifting off. Folk Songs buy CD music Perhaps if there were a bit more fire, this would have been a stronger outing. Folk Songs songs As it is, it manages to be well-intentioned, quite musical, and somewhat forgettable. https://itunes.apple.com/nz/album/folk-songs/id386923813

Personnel: Dieter Ilg (Bass);  Wolfgang Muthspiel (guitar); Benoît Delbecq (piano, keyboards); Steve Arguelles (drums).

Folk Songs

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Mick Goodrick, David Liebman, Wolfgang Muthspiel - In The Same Breath

Styles: Guitar And Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 64:54
Size: 148,8 MB
Art: Front

( 7:07)  1. Hope
( 5:00)  2. Nardis
( 7:14)  3. Throughout
( 7:27)  4. Mothers and Daughters
( 9:46)  5. Visiones
( 5:51)  6. The Crusher
( 4:45)  7. Liebeslied
( 7:06)  8. The Three Stages
(10:34)  9. Ad Liebitum

Breathe in, breathe out, breathe out. When Liebs' sweetly purling soprano saxophone infiltrates the Mick 'n Wolfie guitar duo, what seemed a perfectly natural process suddenly becomes an out-of-body experience. Goodrick and Muthspiel have honed a mesmerizing mutual plectral hypnosis that levitates and transmigrates with each tune, whirling round and round the globe. They began it in small rooms like Ryle's Upstairs in Somerville, MA, and have taken it at least halfway 'round the Northern Hemisphere, as this album was recorded in Germany. When they invite in a third electronically adventuresome master instrumentalist, worlds collide and subside, pulses escalate. As saxophonist/teacher/writer Dave Liebman explains, concisely, with creative syntax: "The soprano immersed within the strings; the single line within the polyphony; the similar range of color for all three; the intensity and diversity of the rhythm-quite a large universe!" The three ply smooth and near waters (M. Davis' "Nardis") as well as those stormy and distant ("The Crusher"), two gorgeous waltzes (by Muthspiel and Kurt Weill). They sing in clear, brave voices in many tongues... Oh, let's let Liebs tell it: "The trio's range of expression moves from "Liebeslied" (swirling and harmonic) to "The Crusher" (textural) to "Mothers and Daughters" (polytonal) to the classic "Nardis" (swinging) to "Hope" (lyrical) to "Ad Liebitum" (rhythmical). This is one of the most pleasant and listenable recordings that I have ever been part of." ~  Fred Bouchard http://jazztimes.com/articles/8882-in-the-same-breath-mick-goodrick-dave-leibman-woflgang-muthspiel

Personnel:  Mick Goodrick – guitar;  David Liebman - soprano saxophone, wooden flute, piano;  Wolfgang Muthspiel - guitar, electric nylon string guitar, guitar synth, violin

In The Same Breath

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Wolfgang Muthspiel - Rising Grace

Styles:  Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 68:37
Size: 157,3 MB
Art: Front

( 5:56)  1. Rising Grace
(10:17)  2. Intensive Care
( 8:04)  3. Triad Song
( 8:14)  4. Father and Sun
( 8:02)  5. Wolfgang's Waltz
( 6:44)  6. Superonny
( 7:30)  7. Boogaloo
( 7:50)  8. Den Wheeler, Den Kenny
( 1:23)  9. Ending Music
( 4:34) 10. Oak

Austrian guitarist Wolfgang Muthspiel made a big splash early in his career, playing with vibraphonist Gary Burton and recording for PolyGram Records (including 1990's The Promise, produced by Burton). Since founding his own label Material Records in 2000 he has had a somewhat lower profile, although in addition to a number of his projects the label released From A Dream (2009), the stunning debut of the cooperative trio MGT (with fellow guitarists Slava Grigoryan and Ralph Towner). Muthspiel made his ECM debut with that trio on 2013's Travel Guide, followed by his leader debut in 2014 with the trio album Driftwood (with bassist Larry Grenadier and drummer Brian Blade).  Rising Grace adds to that winning combination with now-veteran pianist Brad Mehldau and young trumpeter Ambrose Akinmusire. That's a lot of potential virtuosic firepower, but the group is characterized by lyricism and a conversational style. The approach can be heard in different ways throughout the program. "Intensive Care" begins with an unaccompanied nylon-string guitar introduction (he uses nylon-string on about half of the album), which suggests how an acoustic solo recital might sound. A group dialog ensues, with various instruments alternately taking the lead.

"Father And Sun" has a bass solo from Grenadier, but Mehldau's accompaniment is so active it is almost a duet: then Muthspiel takes over on nylon string guitar while the piano commentary continues. Akinmusire is especially lyrical here. "Wolfgang's Waltz" was written by Mehldau, the only selection not composed by the leader. It features electric guitar on the head; then after trumpet and guitar solos the piece ends in a collective exchange. So while there certainly are clear solos, "head followed by a round of solos" is not the default mode. The title tune opens the set, featuring a long melody over an ostinato pattern in a style that suggests label-mate (and trio partner) Ralph Towner. "Boogaloo" finds Muthspiel using overdrive on his electric guitar the only time on the album giving it a more assertive edge. With "Den Wheeler, Den Kenny" (which translates to "this Wheeler I know") he pays tribute to another ECM artist, the great trumpeter Kenny Wheeler specifically to the album Gnu High (ECM, 1976) which was a big influence while Muthspiel was growing up, as well as a model for this group's interaction. The trumpet playing is worthy of the dedication, and Mehldau contributes a beautiful, rhapsodic unaccompanied section. Good as Muthspiel's previous recorded work has been, he really takes things to a new level here. His playing and composing have grown in richness and subtlety, and these excellent musicians are all at the top of their game, individually and collectively. They sound like they were always meant to play together. ~ Mark Sullivan 

https://www.allaboutjazz.com/rising-grace-wolfgang-muthspiel-ecm-records-review-by-mark-sullivan.php
 

Personnel: Wolfgang Muthspiel: guitar; Ambrose Akinmusire: trumpet; Brad Mehldau: piano; Larry Grenadier: double-bass; Brian Blade: drums.

Rising Grace

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Wolfgang Muthspiel - Drumfree

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 54:36
Size: 125,1 MB
Art: Front

(6:31)  1. Ibrahim
(5:05)  2. Tribal games
(6:51)  3. Sunspot
(7:11)  4. Double blues
(6:07)  5. This over that
(5:06)  6. Ralphone
(6:36)  7. The Palace (to Wena)
(5:48)  8. Looking for Elba
(5:16)  9. Raumzeit

Drumfree contains some of the most stimulating three-way counterpoint written and played in a long time. All of the compositional credit goes to Wolfgang Muthspiel, the composer; but making it all come alive is Muthspiel, the guitarist, and his chosen partners for this date: saxophonist Andy Scherrer and bassist Larry Grenadier. Muthspiel leads from the front with the warmth and splendor of his authoritative voice. The guitarist is deeply rooted in the harmonic ideas of European music, with phrases fully formed and informed by the contrapuntal ideas that spring from the tradition of Bach. Muthspiel is also a sublime melodist, taking leave from Mozart as much as he does some of his contemporaries spread across the landscape of modern music. He has certainly heard the ancestors of his chosen instrument, from Charlie Christian and Freddie Green to Wes Montgomery. But he has also listened carefully to pianists Bill Evans and the magical Abdullah Ibrahim.

Muthspiel's is a unique voice. Bright and singing, it sets the music aglow with bubbling melody and sophisticated harmony ensconced in an enormous palette of colors, which the guitarist applies with deft touch and exacting technique. He plays single notes with joyful clarity, triads and chords with a sense of purpose to bring about a sunburst of colors. His ability to make outstanding timbral pronouncements puts him in a league presided over by the sublime mastery of Ralph Towner. Here, too, Muthspiel holds his own, delivering on the promise held out for his ingenuity as well. His dialogs with that other master on this date, Grenadier, are a joy to hear, whether they are navigating a complex musical portrait in "Ibrahim," or swinging in and out of a minor blues, "Double Blues," where Muthspiel trades thirds with Grenadier, then dropping back to comp in the shadow of the bassist's deep grumbling solo. Then Muthspiel dives behind Scherrer's lush soloing, before playing a maddeningly brilliant harmonic figure to lead the trio into Grenadier's solo. In between it all there is music that reveals Muthspiel's mastery of various modes. 

This is a result of making music in Europe, where the musician is surrounded by craftsmanship and history that impels the artist into the Greco-Roman world of exactitude, as well as into the beautiful florid world of the baroque era, when Johann Sebastian Bach and Antonio Vivaldi held sway. Being surrounded by all things melodic and Mozart also must have counted for something. Muthspiel has absorbed all this as well as enough of the tradition of the blues to make music that is not only worldly in vision, but also contemporary in relevance. He demonstrates an unaffected style, letting it all emerge with just the right amount of intellect and emotion on "Ralphone," and the crowning moments of "Raumzeit," where Grenadier's arco playing is sublime. Despite Muthspiel's travels through time this remains a truly modern guitar album. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/drumfree-wolfgang-muthspiel-material-records-review-by-raul-dgama-rose.php
 

Personnel: Wolfgang Muthspiel: guitars; Andy Scherrer: saxophones; Larry Grenadier: bass.

Drumfree

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Gabrielle Goodman - Travelin' Light

Styles: Jazz, Vocal
Year: 1993
File: MP3@320K/s
Time: 44:17
Size: 101,6 MB
Art: Front

(4:16)  1. Travelin' Light
(4:21)  2. Cherokee
(3:52)  3. Over The Rainbow
(5:59)  4. Manila
(4:23)  5. Never Too Late
(3:19)  6. Blues Walk
(6:40)  7. My Funny Valentine
(4:52)  8. Use Me
(6:30)  9. Don't Explain

Sounding like a combination of Sarah Vaughan and Chaka Khan seasoned with a dash of Roberta Flack, Gabrielle Goodman is joined by a motley crew of modern musicians, swoops, scats, and whoops through a playlist of standards and originals, one of them by Goodman herself. For the most part, it seems that the arrangements, including those of the standards, are "popularized." That is, they have been designed to be attractive to fans of contemporary popular music. One exception is the Gershwin Brothers' "Someone to Watch Over Me," where Goodman opens the verse with just Kevin Eubanks' subdued guitar (one of few subdued moments on this disc) behind her. Additional instrumentation, especially Gary Thomas' tenor, joins in for a very relaxed chorus. (Thomas and his saxophones are very prominent on this disc.) But on most of the cuts, Goodman's voice soars to the heavens. "Over the Rainbow" becomes a bop aria, and on "Travelin' Light," her voice becomes a horn, competing with Thomas' tenor for the dominating position on this tune. Goodman's rendition will not remind anyone of Judy Garland's. 

The Goodman composed "Manila" is a major production. The pulse is established by drummer Buddy Williams' back beat. Barry Miles' synthesizer weaves in and out with Goodman's voice as she overdubs the background vocals. Clifford Brown's "Blues Walk" flirts with the avant-garde, as Goodman sings wordless vocals, Thomas' serendipitous sax wailing with her. This tune, with Goodman and Thomas as a two-person ensemble, is one of the album's highlights. Once more she relies on the laid-back guitar of Eubanks in her thoughtful, emotional offering of "Don't Explain," another of the album's strong performances. Many will have to give this album more than a single play before fully appreciating it, but they will assuredly be drawn to Goodman's wide-ranging, unusual but haunting presentation of the music. Travelin' Light will be particularly appreciated by those who prize a singer willing to take some major risks. [Fortunately, the lyrics are reprinted in the liner notes.] ~ Dave Nathan  http://www.allmusic.com/album/travelin-light-mw0000107892

Personnel: Gabrielle Goodman (vocals, background vocals); Michael Cain (piano); Anthony Cox (bass instrument, acoustic bass); Rubén Rodríguez (bass instrument, electric bass); Tony Bunn (electric double bass); Tony Bunn (electric bass); Mark Feldman (vocals, violin); Kevin Eubanks (guitar, acoustic guitar, electric guitar); Wolfgang Muthspiel (guitar, electric guitar); Gary Thomas (soprano saxophone, tenor saxophone); Barry Miles, David Bunn (piano, synthesizer); Mike Cain (piano); Buddy Williams (drums); Don Alias (congas, percussion).

Travelin' Light

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Rebekka Bakken & Wolfgang Muthspiel - Beloved

Styles: Jazz
Year: 2002
File: MP3@320K/s
Time: 40:21
Size: 92,4 MB
Art: Front

(4:44)  1. Beloved
(3:56)  2. Welcome Me
(6:29)  3. Overmåde
(4:59)  4. No Innocence
(2:51)  5. Later
(4:23)  6. Which One of Your Lovers
(3:11)  7. Goodbye
(4:02)  8. You
(5:42)  9. I Surrender All

Nordic folk-jazz chanteuse Rebekka Bakken was the most successful exponent of a new generation of Scandinavian jazz singers that also included Silje Nergaard, Sidsel Endresen, and Solveig Slettahjell. Born in Oslo in 1970, Bakken studied violin and piano as a child, and in 1995 relocated to New York City to pursue a professional music career. There she paired with Austrian-born guitarist Wolfgang Muthspiel, and together they toured the local nightclub circuit as a duo. In time Bakken also befriended German pianist Julia Hülsmann, with whom she recorded the 2003 album Scattering Poems, a collection of jazz performances inspired by the poems of e.e. cummings. Upon completing the project Bakken returned to Europe, settling in Vienna and signing a solo deal with the Universum label. Her debut LP, The Art of How to Fall, followed by year's end, and in 2005 she resurfaced with her commercial breakthrough, Is That You? I Keep My Cool followed a year later. https://itunes.apple.com/us/artist/rebekka-bakken/id13077031#fullText

Beloved

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