This is the second CD Ivo Perelman recorded with Karl Berger. However, on the first CD ( CD LR 712 - Reverie) Karl played piano while this time he played vibraphone. This was the first time ever that Ivo played with vibraphone. Both albums are very different because of the nature of the instruments. Playing with vibraphone opened the door for Ivo to show his kinder, gentler side. According to Ivo, Karl happened to be more 'European,' more romantic.
One of the most versatile and active proponents of creative music, Karl Berger is a living legend who has been expanding the Jazz language since the mid-’60s. A pianist, vibraphonist, composer, arranger, conductor and educator of astounding energy and creativity, Karl has worked with many of the greatest names in New Music: Ornette Coleman, Don Cherry, Gato Barbieri, Anthony Braxton, Bill Laswell and countless others. Following up on his gorgeous 2010 release of solo piano etudes Strangely Familiar, the second CD of Berger’s Tzadik trilogy presents his distinctive piano stylings in a trio format with a sensitive and supportive rhythm section.
Pete Namlook was one of the most influential protagonists of ambient music during the 1990s. Inspired by Oskar Sala, one of the pioneers of electronic music, Namlook focused on the untapped potential of analogue synthesizers, often developed or extended in his laboratory.
Krenek’s Karl V is the kind of opera that can be appreciated on several different levels. (…) Remarkably, it’s the earliest large-scale opera to use the 12-note system, though Krenek triumphantly refutes the notion that adherence to this technique inhibits creativity and emotional power. The composer’s widow has claimed that this performance, recorded in connection with the Beethoven Festival in Bonn last year, is by far the finest she has ever heard. With wonderful singing from David Pittman-Jennings as Karl and superb commitment from conductor Marc Soustrot and his fine orchestra, there is little reason to disagree with this verdict.
Since he released the completely solo For Alto in 1968, the accepted image of Anthony Braxton has been that he is more a theoretician and art music composer than a jazz musician. Therefore, it might seem strange that Mosaic Records is giving his Complete Arista Recordings one of their fabled box set treatments. But Braxton is both – and much more. This set – as well as the original Arista recordings – were produced by Michael Cuscuna, Mosaic/Blue Note label head. The sheer scope of these recordings is staggering. What we get in this amazingly detailed collection is the weightiest argument yet for Braxton's range and depth of field as a musical thinker and his role as a pillar of modern jazz.