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Russian and World music CD DVD shop and Classic distribution

 

Band

   Les titres retrouvé: 13
 

Baraka - Tribute To Nargis

Baraka - Tribute To Nargis
ID: SKMR099
CDs: 1
Type: CD
Collection:
Ethno
Subcollection: Band

Digipack
Genre: Jazz, Folk, World, & Country
Style: Smooth Jazz, Fusion

Performens:
Baraka - ethno- jazz band
Bass [Fretless Bass] - Andrey Markin
Daf [Daff], Goblet Drum [Darbuka], Bongos [Bongo], Kanjira, Ghatam, Tabla - Dmitry Evsikov
Flute, Tenor Saxophone - Denis Pashkevich
Guitar - Egor Kovaikov
Piano, Electric Piano [Rhodes Piano] - - Artem Sarvi
Vocals - Devika Evsikova
Bass - Andrey Orlov
Soprano Saxophone - Raivo Stašans
Double Bass - Stanislav Judin
Guitar - Egor Kovaikovaikov
Electric Piano [Rhodes Piano] - Madars Kalniņš
Tenor Saxophone - Vilnis Kundrats
Acoustic Guitar - Egor Kovaikov
Double Bass - Stanislav Judin
Bass - Zigmund Zukovsky
Bass [Fretless Bass] - Andrey Markin
Flugelhorn - Normunds Piesis
9.00 eur Buy

Rushobo ‎- Secret Tales From The Inner World

Rushobo ‎- Secret Tales From The Inner World
ID: CDMAN314-07
CDs: 1
Type: CD
Collection:
Contemporary Jazz
Subcollection: Band

Contemporary Jazz, Romantic, Trip Hop
9.00 eur Buy

Vechnaya merzlota - DEEPFROZEN SOIL - Igor Volodin and Igor Volodin Group

Vechnaya merzlota - DEEPFROZEN SOIL - Igor Volodin and Igor Volodin Group
ID: CDMAN563-14
CDs: 1
Type: CD
Collection:
Jazz
Subcollection: Band

9.00 eur Buy

Baraka - Samo Remix - Contemporary jazz interpretations of ancient Sufi music

Baraka - Samo Remix - Contemporary jazz interpretations of ancient Sufi music
ID: SKMR124
CDs: 1
Type: CD
Collection:
Contemporary Jazz
Subcollection: Band

World ancient badahshan contemporary ethno-jazz folk rock hang drum jazz jazz-rock pamir sketis sufi tadjikistan throat singing traditional ethno world music Russian Federation

The new album of Baraka called «SAMO Remix» is the studio mixing of the original traditional material of SAMO, a group from the Pamir Mountains. It was recorded by Baraka leader Dmitry Yevsikov on his trip to Tajikistan in 2015. There, he heard SAMO playing a home concert for him and Baraka, was given a CD with SAMO music, and made a promise to reply to it. SAMO Remix is the reply, the tribute that is Europeanized but aims to preserve the original spirit of the Pamir. Baraka has been interpreting Pamir tradition for years. Musicians had recorded several albums that bring together Central Asian traditional music and modern European sound. SAMO Remix employs lounge and ethno jazz to make a fusion of improvisation and electronics with the original Pamir vocals and rap incrustations.
9.00 eur Buy

A. Kruglov - V. Miller: No Going Back - Krugly Band

A. Kruglov - V. Miller: No Going Back - Krugly Band
ID: ART321
CDs: 1
Type: CD
Collection:
Jazz
Subcollection: Band

Alexey Kruglov is a saxophonist, composer and theatre-producer.His ideas in the field of new art led him to create an original system of image personification in the space of sounds. In spite of being a jazzman and ant jazzman, a classic and avantgarde musician, he stands by a clear path in his work.


Orchestra "Krugly Bend":

Alexey Kruglov - alto saxophone, basset horn, prepared alto saxophone, declamation
Masha Kruglova - voice
Olga Sorokina - soprano saxophone, flute
Anton Kotikov - tenor saxophone, alto flute, duduk, tenor saxophone
Vladimir Miller - compositions, piano
Georgiy Gorbov - baritone saxophone, clarinet
Maxim Piganov - trombone and others.
Special guests:
Sergey Starostin - voice, Russian folk instruments (2, 4)
Yuriy Yaremchuk - soprano saxophone, bass clarinet (2, 4)
Alexander Alexandrov - bassoon (3, 5)
Yuri Parfenov - trumpet (4)
Arkady Kirichenko - vocals (5)
12.00 eur Temporarily out of stock

Michael Nyman- Musique à Grand Vitesse - The Piano Concerto

Michael Nyman- Musique à Grand Vitesse - The Piano Concerto
ID: MNRCD115
CDs: 1
Type: CD
Subcollection: Piano

1- 6 Michael Nyman Band and Orchestra
6 - 9 Kathryn Stott, solo piano / Royal Liverpool Philharmonic Orchestra, Michael Nyman

MGV (Musique à Grand Vitesse)
was commissioned by the Lille Festival, France. It was first performed on 26th September 1993 for the inauguration of the TGV North-European line. The rhythm, melody, harmony, motives and texture are constantly changing and is therefore one of the most exciting and inspiring pieces Michael Nyman has written.

Leading international choreographer Christopher Wheeldon was gripped by MGV’s energy, dynamism and emotion. He was so inspired that he made new choreography to the music of MGV for The Royal Ballet in 2006. Due to popular demand, the resultant work, DGV (Dance a Grande Vitesse), will be revived by The Royal Ballet at Covent Garden, London, on the following dates: 31st January, 6th, 9th, 20th and 21st February 2009.

The Piano Concerto
is based entirely on material selected from the soundtrack for Jane Campion’s film The Piano. It is a single movement work in four phases. 3 of them feature 18th and 19th century popular Scottish song tunes, which formed the basis of Ada’s music in the film. It is a wonderfully powerful and evocative score and there are planned performances of the Piano Concerto in the UK in 2009.
12.00 eur Buy

Michael Nyman- VertovSounds - A Sixth Part of the World, The Eleventh Year- The Composers Cut Series - Vol.4

Michael Nyman- VertovSounds - A Sixth Part of the World, The Eleventh Year- The Composers Cut Series - Vol.4
ID: MNRCD118
CDs: 1
Type: CD
Subcollection: Film Music

Michael Nyman has now completed scores for the three major films that the pioneering Soviet filmmaker Dziga Vertov made in the late 1920s. To ‘Man with a Movie Camera’ he has added ‘The Eleventh Year’ and ‘A Sixth Part of the World’ and as a unique experiment for MN Records he has created a new Michael Nyman Band work - by making a montage of material from both of the soundtracks into a single, continuous piece which runs for 77 minutes.
I wrote the score for Man with a Movie Camera in 2002 and now, with A Sixth Part of the World and The Eleventh Year, I am in the privileged position of having written soundtracks for the three major films that Dziga Vertov made at the end of the 1920s and on which his reputation is based in the west. In the same way as I avoided reading Vertov’s background notes to the music he designated for Man with a Movie Camera when I wrote my score, so with A Sixth Part and The Eleventh Year research was deliberately limited and most of my interest seemed to focus on the similarities and differences between those two films and Man with a Movie Camera (and had me musing on an interesting trio of self-borrowers -Handel, Laurence Sterne and Vertov, with whom I have a strong affinity!) My reaction was to Vertov’s images and the process of their organisation - to the two interrelated, but dissimilar worlds that he presented and promoted in these two films.
Subsequent research, with the help of Barbara Wurm and other archivists from the Austrian Film Institute (which has released a DVD of the two films with the new soundtracks), has allowed me to appreciate differently the content and the context (both cinematic and political) of these two films. And my discovery of the book ? Lines of Resistance: Dziga Vertov and the Twenties, edited by Yuri Tsivian (2004) has thrown up some wonderful supplementary texts like the critic Izmail Urazov's appraisal of A Sixth Part of the World. He writes very powerfully about the musicality of Vertov’s film, which instinctively had influenced my score:

‘Vertov edits sequences like a composer’

That is the cause of the emotion which the film arouses. You cannot relate it; there is no plot, no intensification of the action, but there is an intensification of emotion. Like in music. That is where the emotion comes from. Vertov leads the 'melody', returning to it, playing with dissonances, using the exoticism of the polar snows and the burning hot sands, almost like something beyond sense, almost like a composer using the texture of the sounds.

And within Vertov’s sequences there is a rhythm, with which he infects the viewer: 'a Negress with a child on her back, hammering into your consciousness the tempo and rhythm of the montage of dancing legs, linked to the rhythm of a dance, of the movement of machines...' (Tsivian, p 187)

VERTOV SOUNDS represents a very different approach to the way of processing a soundtrack album: since the music for both films is sectional but continuous and, like Vertov, constantly refers back on itself, there are no ?named tracks' that can be separated out in the way that, say, ?Chasing Sheep is Best Left to Shepherds' from The Draughtsman's Contract has become an independent concert work. So the music for the films is presented as a non-stop montage of alternating sequences (sometimes quite complex in themselves) from each film.
12.00 eur Buy

Michael Nyman - Mozart 252

Michael Nyman - Mozart 252
ID: MNRCD113
CDs: 1
Type: CD
Collection:
Vocal Collection
Subcollection: Voices

This album was designed to celebrate the 250th anniversary of the birth of Mozart in 2006, but it seemed more appropriate to miss the boat, by two years - hence the 252. It could equally have been Mozart 30, since it is 30 years since In Re Don Giovanni originally saw the light of day in 1977 in the very first Campiello Band concert, in the National Theatre foyer. The Campiello Band was born out of the onstage band used for my arrangements of 18th century gondoliers’ songs for Bill Bryden's production of Goldoni's ‘Il Campiell’, which opened the Olivier Theatre in October 1976 and was thus the father of the current Michael Nyman Band.

Two main bodies of Mozart-derived works are presented on Mozart 252; the soundtrack to Peter Greenaway's ‘Drowning by Numbers’ (1988), and songs and duets from ‘Letters. Riddles and Writs’, a TV film developed in 1991 with the director Jeremy Newson as part of BBC2's Not Mozart series, which marked the 200th anniversary of Mozart's death.

My “Mozart music” is best understood by reading Pwyll ap Sion's impressive analyses in his book The Music of Michael Nyman:Texts, Contexts and Intertexts (Ashgate, 2007). But, briefly the first Nyman/Mozart collaboration, In Re Don Giovanni effectively samples and remixes the first 16 bars the Catalogue Song from ‘Don Giovanni’, and Revising the Don (a Radio 3 commission for the 250th anniversary) is a lyrical and literal revisiting of In Re.

The ‘Drowning by Numbers’ score is derived, in accordance with Greenaway's strict instructions, entirely from the slow movement of the ‘Sinfonia Concertante’ for violin and viola: Trysting Fields simply 'lists', in order of occurrence and each repeated three times, all the “unprepared” dissonances, (appoggiaturas) from the Mozart piece, and at the end introduces the 8-chord E flat/C minor/A flat/B flat/C min/E flat/A flat/B flat 'rock 'n' roll' sequence which ends the exposition of the movement, and which, along with a kind of retrograde version, is heard throughout Sheep 'n' Tides, Wheelbarrow Walk, Fish Beach and Not Knowing the Ropes (so called because on the ‘Drowning’ soundtrack album it is erroneously called Knowing the Ropes!).

Wedding Tango is built out of a chord-by-chord alternation of both the minor key version (from the very end of the movement) and more familiar major key versions of the 8-chord sequence. Knowing the Ropes, like Trysting Fields is a musical list (though with more conscious structural organization) - this time of a wiggly semiquaver motif, which is threaded through the movement and ends with a grand statement of the theme that is accompanied by the 8-chord sequence in the Mozart original.

‘Letters, Riddles and Writs’ deals in general, through texts taken from Mozart’s letters and riddles (the writs have to do with my frequent theft of Mozart's music) with his relationship with his father (O my dear Papa, a remake of O Isis und Osiris from The Magic Flute), with his own mortality (I am an Unusual Thing, which uses the texts from one of the riddles that Mozart wrote and distributed in Vienna during the 1787 Carnival and is based entirely on extract from two of his Haydn quartets) and with his business acumen [Profit and Loss, modeled on In Re Don Giovanni)
12.00 eur Buy

Alexey Kruglov - Krugly Band - Altissimo - Tribute to Anton Grigoriev

Alexey Kruglov - Krugly Band - Altissimo - Tribute to Anton Grigoriev
ID: ART327
CDs: 1
Type: CD
Collection:
Jazz and Blues
Subcollection: Band

Krugly Band - Musicians:
Alexey Kruglov - alto saxophone
Anton Grigoriev - alto saxophone
Oleg Grymov - alto saxophone
Svyatoslav Tekuchyev- alto saxophone
Anna Korolyeva - alto saxophone
Alex Bekker - Piano
Sergey Vasiliev - bass
Peter Talalay - drums
12.00 eur Temporarily out of stock

CART - Universal Music Band (Progressive Classic)

CART - Universal Music Band (Progressive Classic)
ID: ART381
CDs: 1
Type: CD
Collection:
Progressive Classic
Subcollection: Band

Ivan Muratidi - violin
Simeon Denisov - violin
Vartan Darakchyan - viola
Yaroslav Srodnykh - cello
Anton Bulkin - cello
Alexander Muravyev - contrabass
Valery Moiseev - drums
12.00 eur Temporarily out of stock

 
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