Seasons Change is an album by saxophonist Lee Konitz and vibraphonist/pianist Karl Berger recorded in Zürich in 1979 and released on the German Circle label. A beautiful pairing – the vibes and piano of Karl Berger, and the amazingly sharp alto tone of Lee Konitz!
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.
Award-winning composer and music theoretician Roman Berger is widely respected for his stand against political repression in Eastern Europe during the last century. Most of the works on this recording are dedicated to the members of The Berger Trio, one of Slovakia’s leading ensembles. They include a commemoration of the composer’s late wife and other aspects of parting. The composer himself has written ‘…for me expressionism is neither a style nor an aesthetic, nor an “anachronistic” fashion: it is the result of life experience. The drama of existence leads to drama in art.’
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.