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Not only do the four of them swing incessantly and challenge each other with crafty and inspiring original compositions, they even form a grooving organic unity that is downright exemplary for this combination of instruments.\u003c\/p\u003e\u003cp\u003eThe flute and the Hammond organ led a shadowy existence in jazz for a long time and moved into the centre of attention almost simultaneously in the mid-1950s. The organ’s rise was meteoric: the fashionable instrument of soul jazz in the 1960s appeared only twenty years later as a precursor of the synthesiser, its ageing stars as the last dinosaurs; but then came its comeback.\u003c\/p\u003e\u003cp\u003eThe flute, on the other hand, remained constantly popular as mankind’s original instrument, and its history is less marked by highs and lows. Nevertheless, its most famous jazz representatives are also those who were active in the 60s and 70s. Despite all the parallels, the paths of the flute and the organ largely followed separate paths. Of course, there are enough recordings of Roland Kirk, Jerome Richardson, Herbie Mann, Hubert Laws and other flute stars with organ, but the preferred guest of an organ trio in the classical line-up Hammond, guitar, drums has always been the tenor saxophone.\u003c\/p\u003e\u003cp\u003eThis is probably because flutists were expected to play in a relaxed, purring manner, and this is what they got. Isabelle, however, shows with the temperament and power of her often boiling hot playing on the flute that one is not bound to the cliché who can also do otherwise! Rarely since then have flute-organ pairings achieved such astonishing homogeneity and finely tuned playing culture as we can admire on this album. This is already evident in the opener “ConFluting”. In order to fit this uptempo piece on the bass flute without swallowing the frequencies, the quartet had to play “classically dynamic and chamber music-like”, Isabelle explains: “From my side, music can’t be quiet enough in many moments. That’s where classical music, with its pre-notated and very differentiated dynamic indications, has clear advantages!”\u003c\/p\u003e\u003cp\u003eThe title refers to the fact that she found everything “extremely confusing” in times of the pandemic and came about after a bout of writer’s block. It’s hard to believe that such an unpleasant feeling can inspire such definite music as “ConFluting”. The four are always very concentrated, deeply immersed, in the flow. Which brings us to the title theme: “Flowing Mind”. As a five-year-old, Isabelle discovered the “silver instrument with the flowing sound”, which became her “constant life companion”.\u003c\/p\u003e\u003cp\u003eThe Corona vacuum – deprivation of playing and threat to her existence in one – had “taken her breath away, which is the absolute basis and source of my flute playing”. In July 2021, she “finally drove to a ‘real’ gig again. I got in the car, closed the car door and the world stayed outside. Time with myself. Silence. Time out. As I drove, I listened to the soothing sound of the road, gazed at ever-changing landscapes, and initial thoughts rose in me. I was cautiously looking forward to the venue, the audience and the music. The positive adrenaline caused a firework of promising ideas to ignite again for a long time, an inner dam broke and I could finally breathe better. I dived into the musical world of flowing thoughts. That’s how the composition Flowing Mind was born, which for me became the title track of the new album.”\u003c\/p\u003e\u003cp\u003eIt is the soundtrack of her life. And proof of the magic inherent in the elixir of life, music, which envelops people in a subtle cocoon, as it were, and carries them through crisis-ridden times. The “flowing mind” also plays a major role in the musical and family life of the mother of a severely handicapped daughter: “I am and we are as a family living improvisation! The necessary independence, flexibility and tolerance for new paths outside the mainstream keeps everything flowing professionally and privately, nothing is set in stone. Jazz in particular, but also music in general and every art form, are an endless source of inspiration for all of life.”\u003c\/p\u003e\u003cp\u003eCompositions also often change like growing children. Originally, “Sans Moi” was conceived as a solo piece for an oboist, a piece she herself did not want to play in, then over time the number took on a deeper and deeper meaning as an ensemble member passed away and wished for “Sans Moi” to be his “last melody” at the funeral. What tenderness there is in this recording! How gently Lorenzo plays this melody, Lars drums as if he were walking on eggshells, Thomas weaves the finest fabric. And Isabelle simply touches the heart!\u003c\/p\u003e\u003cp\u003e“I find it enriching to be able to look directly into the soul of a musician through his improvised solo”, she once said. The half-Frenchwoman sees herself as a “free world musician with a universal understanding of music without barriers”. Without putting her classical flute finesse to one side, Isabelle has steadily expanded her palette of timbres and her stylistic radius.\u003c\/p\u003e\u003cp\u003eHer time in Cuba, where she studied Afro-Cuban music, was formative. Since then, she has been a master of the Latin idiom, as not only her piece “ASAP” shows. She has perfected and personally expanded the “hot” techniques once developed by jazz flutists in very noisy surroundings, such as overblowing, simultaneous singing in or rhythmic key noises. Much of this can be heard on “Chilli Challi” or “Dog Rose”, Lars’ impressions from Juist, where she has some of the wild nature of the North Sea island in her “blowing”. This “organ trio” knows how to cook on the back burner. That’s where the espresso gets better, that’s where Isabelle’s well-rested full-blooded flute gets more exuberant.\u003c\/p\u003e\u003cp\u003eA “soul brother” is Lorenzo Petrocca, whose warmth and depth is revealed in his playing and with whom she recorded the duo album “Essenza” (GLM EC 587-2) three years ago. He comes from the Pythagorean city of Crotone, to which he dedicated his “Mediterranean Bossa”.\u003c\/p\u003e\u003cp\u003eAs a soloist and accompanist, Thomas Bauser is a clairaudient communicator (listen to how he seamlessly continues Lorenzo’s thoughts in “Molecular Cooking”), who always captures the essence of a piece and to whom the organist-typical “overplay” is alien.\u003c\/p\u003e\u003cp\u003eYou first have to find a drummer like Lars Binder, who effortlessly replaces not only a melody instrument but also a chord instrument (note the passages where he plays in duo with Isabelle).\u003c\/p\u003e\u003cp\u003eWhistling or humming along to Isabelle’s compositions is anything but child’s play. 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American critics already attested to this when he was still playing in his home country with musicians like Ingrid Jensen or Aaron Parks: Collins “is nothing less than exemplary,” wrote Downbeat Magazine, for example.  Across the pond, he has proven it in collaborations with a wide variety of greats from John Hollenbeck to Danny Grissett to Henning Sieverts or Shinya Fukumori to the world musicians Quadro Nuevo or the young whiz kid Shuteen Erdenebataar.  Now he underlines it with his fifth album “For Good People”..\u003c\/p\u003e\u003cp\u003eCollins composed the title track in the fall of 2021 after learning about the death of an old friend. “In the past few years, I’ve lost more than a few good people in my life,” he says. “I wanted to pay tribute to them, but also to the good people who are still here.”  The piece therefore became the album’s eponymous motto – but without any gloom at all. “After the darkness of 2020 and 2021, I wanted to look to the future with a more positive approach,” Collins says. As a result, the music is upbeat and joyful throughout. “The goal was to write music for my friends while having as much fun as possible. If we’re having fun, we know the audience is, too.”\u003c\/p\u003e\u003cp\u003eOne of his friends, who has been playing with him for many years but for the first time in this trio lineup, is 48-year-old Austrian drummer Christian Lettner, who learned his instrument from the age of eleven and studied at the music academies in Graz and Linz. Since the late nineties he has been one of the most sought-after European drummers, playing with Karl Ratzer, Nils Landgren, Jocelyn B. Smith, Adrian Mears, Joo Kraus, Johannes Enders or the WDR Big Band, among others, and has been a permanent member of Klaus Doldinger’s “Passport” since 2000. He is also a professor at the Salzburg Mozarteum and, more recently, at the Hochschule für Musik und Theater in Munich.\u003c\/p\u003e\u003cp\u003eThen there is the Munich keyboard man Matthias Bublath, probably Collins’ most important and oldest companion. After studying in Linz, at the Berklee College of Music and the Manhattan School of Music, Bublath lived and worked in New York for nine years, and the two have known each other since then. Part of Bublath’s enormous productivity and versatility – he has, for example, recently released albums with a piano trio, solo piano and his “Eight Cylinder Bigband” – is that he is an outstanding specialist for the Hammond organ. This is what he plays on “For Good People”, while also contributing four compositions to the record.\u003c\/p\u003e\u003cp\u003eThus “For Good People” presents itself in the rare instrumentation of vibraphone, organ and drums, and accordingly contains the rousing mixture of heavy groove, catchy melodicism and technically outstanding solos. Starting with traditional jazz contexts, it moves through funk and African rhythms to neo-Romantic Mehldau-esque textures. The wild ride begins immediately with “Mainline Rush”, the opening track. After all, Collins’ piece is inspired by his nephews’ love of trains and races down the tracks like a locomotive accordingly. “Trapped” – the first of four Bublath compositions – is an odd meter piece with ethereal qualities. “Don’t Get Caught,” on the other hand, demonstrates with a driving 3:2 clave rhythm the deep connection all three musicians have to Afro-Cuban music – with Collins having the great vibraphonist Cal Tjader in mind.\u003c\/p\u003e\u003cp\u003eIt continues with “Jak’s Joint,” a fun and relaxed backbeat number that makes you think of late-night diners with a band that plays all night.  Next comes a complete mood change with the nostalgic, dark, and restless “Down The Old Road“. “I was thinking about the dark road in Lake George, NY, that led to a small lakeside house where my grandparents lived. It was always creepy at night, but you knew there were good people waiting for you in the house at the end,” Collins says. “Situli Shuffle” administers a hefty pinch of New Orleans – after all, Collins and Bublath spent a lot of time together in the birthplace of jazz, soaking up its rich musical history. Perhaps the most adventurous piece on the album is Bublath’s “Biboul Youssef.” Its unison melody, based on African rhythms, is reminiscent of seventies prog-rock bands like Yes or Genesis – but still remains jazz. Finally, the only cover song is the standard “Sweet and Lovely” in a light-hearted arrangement by Collins.  “I love good melodies,” he emphasizes. “I don’t think of playing standards any differently as I do originals – it’s all about playing great melodies. ‘Sweet and Lovely’ is one.”\u003c\/p\u003e\u003cp\u003eSo are all of them on this consistently enchanting album. A little masterpiece by and for “Good People.”\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53429239873879,"sku":"P-129798-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Tim-Collins-For-Good-People-CD-DIGIPAK-129798-1-1674546891.jpg?v=1778170507"},{"product_id":"cornelius-claudio-kreusch-1994-cd-digisleeve","title":"Cornelius Claudio Kreusch - 1994 - CD DIGISLEEVE","description":"\u003cp\u003eOriginally released in 1994 on the ENJA label, this recording is the first of many by pianist and composer Cornelius Claudio Kreusch realized in New York.\u003cbr\u003eJoined by longtime trio partners Nate McBride on bass and Marvin “Smitty” Smith on drums and percussion, the pianist, then in his early twenties, manifested his genre-bending concepts between jazz, Africa, and poetry, showcasing his musical thinking inspired by the M-Base collective.\u003c\/p\u003e\u003cp\u003eThe Philadelphia Business Journal at the time named the album one of the five best jazz albums of the year. Downbeat Magazine praised it highly and Jazztimes said of it “The righteous rap of the 90ies.”\u003cbr\u003eThe specially invented term “rap’oetry” by the great African-American lyricist, poet and playwright Thomas Grimes crowns the recording of this brilliant piano trio of three Young Lions of the day.\u003cbr\u003eDigitally remastered, with a new title and in an even more coherent order for the artist, the recording is now released in a high-quality DigiSleeve, as well as for download and streaming.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53429242069335,"sku":"P-129799-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Cornelius-Claudio-Kreusch-1994-CD-DIGISLEEVE-129799-1-1674547159.jpg?v=1778170514"},{"product_id":"anthony-cox-cornelius-claudio-kreusch-johannes-tonio-kreusch-hotel-casablanca-cd-digisleeve","title":"Anthony Cox - Cornelius Claudio Kreusch - Johannes Tonio Kreusch - Hotel Casablanca - CD DIGISLEEVE","description":"\u003cp\u003eAt its best, a music album is a journey, for the musicians as well as for the listeners. Like hardly any other subject, music offers the chance to get from here to there and from yesterday to tomorrow without preconditions or borders, with one’s thoughts as well as one’s feelings. As a universal world language, it can take everyone with it. The adventure is all the greater when the tour guides come from different genres, but freely and impartially seek a common path. Like the avant-garde bassist Anthony Cox, the groove-oriented jazz pianist Cornelius Claudio Kreusch and the classical guitarist Johannes Tonio Kreusch. On their new album, the three now invite you to check into the “HOTEL CASABLANCA” as the basis of a remarkable expedition.\u003c\/p\u003e\u003cp\u003eMany years ago, the three played together for the first time as a trio as part of the “Ottobrunner Concerts” led by the Kreusch’s, spontaneously because a workshop had fallen through. A magical encounter, after which Cox realized that it was something that absolutely had to be repeated and documented. This then took some time, but two and a half years ago the project literally took shape: “GESTALT!” was the name of the album, which sought musical forms out of improvisation. The definition of the word Gestalt was decisive: “A configuration or pattern of elements so unified as a whole that it cannot be described merely as a sum of its parts”.\u003c\/p\u003e\u003cp\u003eAnd which was again so fulfilling for the three that it demanded a sequel. So now the time has come, and as the title “Hotel Casablanca” already suggests, this time it’s more about movement than form. “The title is meant to evoke associations without being too exact,” explains Cornelius Claudio Kreusch. “The album is like a hotel with all kinds of different rooms and guests. In one room it’s like this, in the next it sounds completely different. It just has something of a thousand-and-one nights, We don’t have a specific reference, we wanted to evoke an idea of being on the road.”\u003c\/p\u003e\u003cp\u003eBecause they had already tested thinking and playing together, they ventured even more freedom. “This time we met in the Stuttgart studio without any guidelines at all and just let ourselves drift,” reports Cornelius Claudio Kreusch. “And we didn’t change anything afterwards, just – the three of us! – and rearranged some things for the dramaturgy of the album.” The titles found by Anthony Cox are also like hotel rooms, are simply meant to clarify distinguishing features. Unlike “Gestalt!”, this also resulted in duo or solo pieces, such as the bass solo “Steak Knives”. And Johannes Tonio Kreusch works even more with preparations, which sometimes, for example on “Country” almost sound like electronic music – “but that is all played purely acoustically”, as he emphasizes.\u003c\/p\u003e\u003cp\u003eAs great as the freedom is, and as exuberant the tonal variety, everything sounds amazingly enjoyable and compelling. This is of course due to the trust and familiarity of the three. Not self-evident, even if Cornelius Claudio and Johannes Tonio Kreusch are brothers. They are unequal brothers, not only because of the different genres in which they are active, but also because of the extroverted character of one and the introverted character of the other. But the opposites have long complemented each other perfectly, whether in their joint work as artistic directors of festivals and concert series or in making music together. Anthony Cox, on the other hand, is one of Cornelius Claudio Kreusch’s oldest friends and companions: “Back when I was studying at Berklee College of Music, Anthony was the first American musician who accepted me completely, opened doors for me and gave me the feeling that I belonged,” he says.\u003c\/p\u003e\u003cp\u003eIn any case, there is no doubt about the individual technical and creative class required especially for such a daring adventure as “Hotel Casablanca” in any of the three. Their individual careers already provide exhaustive information about this. As one of the few German jazz musicians, Cornelius Claudio Kreusch is also a household name in the USA. For many years his main residence was an artist’s loft a few blocks from the World Trade Center, with neighbors such as Philip Glass, Jim Jarmusch and Robert Rauschenberg. He worked with the likes of Greg Osby, Bobby Watson, Kenny Garrett, Marvin Smitty Smith, Terri Lyne Carrington, Ron Blake and Salif Keïta. The stimulating atmosphere pushed him to his jazz fusion with funk and Afro-Caribbean, anticipating today’s trends; with his bands like BlackMudSound or Fo Doumbé he played in the legendary New York clubs like “Blue Note”, “Knitting Factory” or “Zinc Bar” and also on the stages of the big festivals and concert halls; his solo “Live! At Steinway Hall \/ New York” was nominated for a Grammy, and his internet company MUSICJUSTMUSIC®, with which he also became an award-winning entrepreneur, was also based in Munich and New York for a long time. Having returned to Munich a few years ago, he has become a permanent European fixture with his trio together with Zaf Zapha and Maxime Zampieri, continuing to collaborate with Bobby Watson or Lukas Ligeti, Simon Stockhausen, or Joachim Kühn, but above all solo. With an unmistakable jazz style of his own, which in addition to the world music influences recently (for example on the double album “Zauberberg – A Musical Hommage to Thomas Mann”) has also revealed the classical roots again.\u003c\/p\u003e\u003cp\u003eWhich are, of course, incomparably stronger in Johannes Tonio Kreusch, especially since he had begun studying philosophy before deciding on music. But he, too, has an American past, studied in New York at the Juilliard School, lived for a time in his brother’s loft, and had his solo concert debut in 1996 at Carnegie Hall. But he was soon drawn back to old Europe, the antithesis of the “faster, higher, further” approach to music that is also popular in New York. Here, among other things, he played his way into the first rank of the classics with his revolutionary Heitor Villa Lobos recordings, but always remained on the lookout for new sounds and expressive possibilities of the guitar sound, which also made him a formative figure on the scene as a pedagogue and festival director. His Hermann Hesse homage “Siddhartha” excellently demonstrates his openness to a creative approach to the guitar and to experiments in playing technique, but also his ability to improvise within a classical tonal framework.\u003c\/p\u003e\u003cp\u003eBut the key to the trio seeking “Gestalt!” and exploring “Hotel Casablanca” is Anthony Cox. “He hasn’t let up on bringing us together,” the Kreuschs confirm, “he conceptualizes the moods, he finds the structure for our three stringed instruments. And our project is extremely important to him because it shows him in a different way.” Until now, he has been part of the inventory of the New York jazz scene. Cox has worked almost exclusively there with old masters such as Sam Rivers, Stan Getz, Elvin Jones, Dewey Redman, Geri Allen or Craig Harris as well as with innovators such as Henry Threadgill or John Scofield; he was a permanent member of the bands of Anthony Davis, James Newton or Marty Ehrlich and has himself released some great albums as a bandleader since the nineties. But Cox does not see himself as a traditionalist, but as a free spirit who wants to find new ways in music.\u003c\/p\u003e\u003cp\u003eHe is now treading this path on “Hotel Casablanca” with the KreuschBros. Together they explore timbres and expressive possibilities, find different beauties at every turn, sometimes elegiac, sometimes gruff, let the instruments speak about the common feeling. The sessions of the three were captured not only by recording devices, but also with the camera. So soon you can go on this fascinating journey, starting from the “Hotel Casablanca”, not only on the album, but also with a “road movie”.\u003c\/p\u003e\u003cp\u003eCornelius Claudio Kreusch – piano\u003cbr\u003eJohannes Tonio Kreusch – guitar\u003cbr\u003eAnthony Cox – bass\u003c\/p\u003e\u003cp\u003eSide A: „immersion“\u003cbr\u003eSide B: „Duality“\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53430246605143,"sku":"P-133462-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Anthony-Cox-Cornelius-Claudio-Kreusch-Johannes-Tonio-Kreusch-Hotel-Casablanca-CD-DIGISLEEVE-133462-1-1682064132.jpg?v=1778182022"},{"product_id":"doris-orsan-and-johannes-tonio-kreusch-libertango-cd-digisleeve","title":"Doris Orsan And Johannes Tonio Kreusch - Libertango - CD DIGISLEEVE","description":"\u003cp\u003eWith the CDs “Dialogues” and “Tangos \u0026amp; Canciones,” guitarist Johannes Tonio Kreusch and violinist Doris Orsan revived the rarely heard duo of violin and guitar. While the spectrum there ranged from classical romanticism to the Caribbean musical cosmos to modern music, they initially concentrate on Argentinian sound worlds in their new throw “Libertango”. For a good reason: the album not only celebrates their pas-sion for this music, it is based above all on the many friendships they have cultivated with musicians from this field.\u003cbr\u003eThus, one root of “Libertango” is Kreusch’s musical partnership with Giora Feidman, established a few years ago. Many know him as the “King of Klezmer,” but forget that he is Argentinian and accordingly influenced by tango and milonga, tango nuevo, but also Alberto Ginastera’s art music. Feidman advised Kreusch on the selection and interpretation of some pieces, such as the titular “Libertango” or the lesser known “Zita”, both by the Tango Nuevo founder Astor Piazzolla. Or the classical tango composer of the turn of the century Ángel Villoldo, whose classic “El Choclo” is masterfully interpreted by Kreusch and Orsan.\u003cbr\u003eKreusch’s friendship with the equally Argentinian guitarist Maximo Diego Pujol is even older. The 65-year-old was also strongly influenced by Piazzolla and Argentine folklore and is now considered one of the most important Latin American composers of the 20th century. His more than 40 published works are played by guitarists worldwide. “Libertango” now features the world premiere of “Autovía,” a solo guitar piece com-posed for Kreusch. Even more, Pujol arranged almost all the pieces on the album, for the first time in col-laboration with another close friend of Kreusch and Orsan.\u003cbr\u003eThis is the Cuban composer Tulio Peramo, whom Kreusch met in Havana almost 30 years ago, who later performed in Germany for the first time at festivals curated by Kreusch, and who has since also written quite a few pieces for Kreusch and Orsan. Like no other, Peramo understands how to blend the styles and colors of Cuban music with the forms and traditions of European classical music. This also permeates the masterful arrangements on “Libertango” in many places. Which, of course, requires not only technical excel-lence, but also musical intelligence and artistic range. What Kreusch and Orsan already bring along by virtue of their biographies.\u003cbr\u003eDoris Orsan studied violin at the Mozarteum in Salzburg and at the Juilliard School of Music in New York. Concert tours have taken her to many German cities and to European festivals, such as the Festival Clássico en Verano in Madrid, the Festival Musique de Chambre in Beausoleil, France, and the Ant-werpen Festival. Her awards include the Austrian State Prize for Culture, and her summa-cum-laude dissertation on the vio-lin concertos of W. A. Mozart has been published by Königshausen \u0026amp; Neumann Verlag under the title “Ein Genie reift”. Her CD recordings include not only classical literature, but also contemporary works. On her album “Ciaccona” she plays solo works by Bach as well as a work by the Munich composer Nikolaus Brass.\u003c\/p\u003e\u003cp\u003eHer husband Johannes Tonio Kreusch also studied at the Salzburg Mozarteum and at the Juilliard School of Music in New York. Since his solo debut at New York’s Carnegie Recital Hall in 1996, his concert tours have taken him throughout Europe, the United States, the Far East and Latin America. Kreusch also gives semi-nars and master classes, is the author of numerous publications and one of the most distinguished festival organizers. He directs the international guitar festivals in Wertingen and Hersbruck – the latter of which he has made into one of the most important guitar festivals in Germany – as well as, together with his brother, jazz pianist Cornelius Claudio Kreusch, the award-winning concert series “Ottobrunner Kon-zerte” and the groundbreaking contemporary festival “Look Into The Future” in Burghausen. The collaboration with his brother – who also run a music publishing house and internet distribution as “KreuschBros.” – opened his eyes beyond classical music at an early stage. In addition to classical musicians or guitar stars such as Andy York, Carlos Barbosa-Lima or Badi Assad, he works with world musicians and improvisers such as Markus Stockhausen or Giora Feidman. Johannes Tonio Kreusch celebrated his early breakthrough with ground-breaking recordings of the Brazilian guitarist and composer Heitor Villa-Lobos – his love for Latin American music was thus pronounced early on.\u003cbr\u003eTogether, Doris Orsan and Johannes Tonio Kreusch have been a successful chamber music duo for many years, which not only cultivates the standard repertoire, but also includes many contemporary compositions – often dedicated to them and premiered by them. And so on “Libertango” the two find their own way between “tristeza” and “allegria”, between melancholy and foaming joy of life, between the elements of classical tonality and Latin American rhythm and phrasing. What makes new “unheard” pieces out of classics that are sometimes heard too often, and at the same time makes world premieres sound like “standards”.\u003cbr\u003eAnd the two would not be the pioneering, forward-looking artists that they are, if they did not finally estab-lish a connection to the very own European tradition on “Libertango” and direct the view into the future. First with the six short Romanian Folk Dances by Béla Bartók, which build a transcontinental bridge to the art-musical processing of folk music. And finally with a final exclamation mark, again a world premiere of a work written for Kreusch and Orsan by another friend. The Bulgarian guitarist and composer Atanas Ourkouzounov, who lives and teaches in Paris, dedicated to them the two-part “Rhodope”, divided into a song (Molto delicato) and a dance (Allegro ritmico). It is a modern hymn to the mountains of Ourkouzounov’s homeland, ingeniously working with the melismas and rhythms of Bulgarian music as well as a modern, but always accessible formal language, which demands everything from the two of them.\u003cbr\u003eAnd so “Libertango” not only rounds out into a musical masterpiece, it is also an ode to friendship, an ad-vocacy for exchange across all borders, a celebration of serving music together, and a resounding expression of humanity.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53430247424343,"sku":"P-133463-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Doris-Orsan-And-Johannes-Tonio-Kreusch-Libertango-CD-DIGISLEEVE-133463-1-1682065266.jpg?v=1778182029"},{"product_id":"laura-sunset-balcony-cd-digisleeve","title":"Laura - Sunset Balcony - CD DIGISLEEVE","description":"\u003cp\u003eIt’s amazing that no musician comes to mind right away who has already processed this image: The balcony as a creative culmination point, as a place of encounter, of exchange with familiar as well as new people, which at the same time “excites contradictory feelings,” as singer Laura puts it: “The feeling of being at home and the feeling of being exposed to the outside world. The feeling of freedom coupled with the feeling of being in a safe place.” A powerful metaphor for the mind of a musician. And a perfect anchor for an album: “Sunset Balcony” is the name of Laura’s new work, “created in her mind on balmy evenings on a sunset balcony, alone or with loved ones, thinking about our place in the world or even just what we want to cook for dinner,” as she reports.\u003c\/p\u003e\u003cp\u003eLaura describes a place in the sun with a view toward Paris: fourth floor and a French salon, into which the light of the Eiffel Tower falls through the glass front from time to time like a beacon from the distance, into which the view of the stone mountains of the suburbs is allowed to wander. Recently, the 27-year-old has spent much more time here than in her home near Stuttgart or in the concert halls of the world, as she is in the final stages of her psychology studies at the Université de Paris. A foundation that is important to her and resonates in her lyrics.\u003c\/p\u003e\u003cp\u003eLaura, who at that time was still using her last name Kipp, had already attracted attention in the Stuttgart jazz scene and in the BundesJazzorchester (BuJazzo) with her musical talent, her voice and her charisma convinced greats such as Quincy Jones, Dee Dee Bridgewater and Jacob Collier. In the same year, she also met bassist Jens Loh, with whom a naturally resonating creative community quickly emerged: His compositions and her lyrics fit together by themselves, so to speak: “Our aesthetic understanding just fits together perfectly,” says Loh, who produced the album “Sunset Balcony”.\u003c\/p\u003e\u003cp\u003eThe perfect team around Laura and Jens was also found quickly. The drummer Eckhard Stromer, an old companion of Loh, is well versed in all styles. The French pianist, keyboardist and Bill Evans student William Lecomte, who has already worked with such different greats as Jean-Luc Ponty, Vaia Con Dios or Nigel Kennedy and, in addition to Loh’s arrangements, contributed two beautiful orchestral arrangements. And last but not least Cornelius Claudio Kreusch as unconditionally behind them standing producer.\u003c\/p\u003e\u003cp\u003eIf the debut “Quiet Land” 2021 was already more than a sample of talent, this dream team has now taken the next step with “Sunset Balcony”. “This time everything is yes explicitly written for the album, in very intense compact work phases. In addition, I had the voice of Laura and the sound of our band of course much better in mind,” explains Loh. With Laura, on the other hand, maturity and life experience flow into the authentic and touching lyrics. The song “Oh, I Could Write A Book,” hits the nail on the head.”\u003c\/p\u003e\u003cp\u003e“I actually met the ‘Bartender’ of the song of the same name in real life,” Laura says. “He looked 60 but was much older, the blues was his great passion, the nostalgia palpable. The most important song lines came to me the first time we met, and I wrote them down right after.” And what a poignant refrain came out: “You’re 68\/ never too late for work\/ I’m 25\/ and see the misery in your eyes.”\u003c\/p\u003e\u003cp\u003eLaura also wrote the music for “Bartender” and the final echoing “Promise Me”. And when you can trust each other as a well-rehearsed duo, know each other’s abilities so well, have found a common denominator and agree on the goals, then you can lean further out over the balcony, dare more. And so “Sunset Balcony” bears the unmistakable signature of those involved, without having to limit themselves stylistically. Even more colorful than “Quiet Land” is the palette of colors that make up the picture.\u003c\/p\u003e\u003cp\u003eFrom the pop-like hymn of the title track at the beginning to the hip-hop influenced “Poke Bowl” or the chansonesque “Bénodet” – a reminiscence of the city of the same name in Brittany – to the almost psychedelic “Prayer”. Funk peeks around the corner in “Johnny the Fly” and “Dance Into The Light”, it gets very folky in “Forever In A Blink”, “Bartender” revels in the blues and in the musette jazz of “Narcís” singer and guitarist Carles Denia contributes a strong Catalan element, still un-interrupted by the lyrical baritone saxophone of Frenchman Eric Séva.\u003c\/p\u003e\u003cp\u003eSpeaking of which, in order to paint the corresponding colors coherently, the quartet has been joined by outstanding, highly competent guests. The well-traveled guitarist Christoph Neuhaus, who was recently awarded the Baden-Württemberg Jazz Prize, and the Brazilian percussionist Paulinho Vincente can be considered old friends, and they are each involved in three pieces. Two pieces are highlighted by the young Jakob Bänsch, one of the greatest trumpet talents of the current European jazz scene. The wonderfully film-musical, in a way canvas-filling “Oh I Could Write A Book” not only gets the desired “feel” from the string quartet with Luca Bognár, Marianne Sohler, Natascha Stromer and Krassamira Krastera, which has already proven itself on “Quiet Land”, and congenially arranged by William Lecomte, but also by the horn player Joachim Bänsch and the flautist Isabelle Bodenseh, who is well versed in all facets, variations and stylistic possibilities of her instrument.\u003c\/p\u003e\u003cp\u003e“After all we’ve been through, the album could have been called ‘Oh, I Could Write A Book,'” Laura says with a laugh. “But that wouldn’t have been appropriate to its mood,” Jens Loh counters. “I think it’s a very thoughtful album. Of course, that also has to do with our times.”\u003c\/p\u003e\u003cp\u003e“Sunset Balcony” is an album whose music moves toward the future, but along the way nostalgically glances back over its shoulder. Into the real and emotional contradictions between melancholy and optimism that we all have to live with more than ever. Into the sunset on the balcony.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53430247981399,"sku":"P-133464-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Laura-Sunset-Balcony-CD-DIGISLEEVE-133464-1-1682065771.jpg?v=1778182036"},{"product_id":"mulo-francel-the-melody-sax-cd-digisleeve","title":"Mulo Francel - The Melody Sax - CD DIGISLEEVE","description":"\u003cp\u003eGroove and fresh timbres from Jazz Guitar, Fender Rhodes Piano, Bass and Drums.\u003cbr\u003eAnd in the middle of it all, an almost forgotten instrument: the 100-year-old C-Melody saxophone.!\u003c\/p\u003e\u003cp\u003eThe Roaring Twenties.\u003cbr\u003eThe heyday of art, culture, science and social life. Radio, shows, parties, movies and the first million hits in music history.\u003c\/p\u003e\u003cp\u003eJazz 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.\u003c\/p\u003e\u003cp\u003eWith a team of younger musicians, some of whom are still in their 20s themselves. With an instrument that was widely used in the popular music of the 1920s and suddenly disappeared forever. The C-Melody saxophone is characterized by a frivolous sound. Almost circus-like, with a positive timbre. The advantage of this saxophone variant was that many amateurs who played other instruments in C tuning (piano, flute, violin, organ …) could now simply use their old sheet music for the saxophone, which had become fashionable. And sheet music was expensive in those days.\u003c\/p\u003e\u003cp\u003eThousands wanted and could afford this instrument as a small luxury due to the economic boom, and so the C-Melodies soon piled up as a Christmas bestseller under the Christmas trees. Production of C-Melody saxophones reached its peak in 1923 in Elkhart, Indiana. These horns were made with the same know-how of those years as their Bb imd Eb tuned relatives.\u003c\/p\u003e\u003cp\u003eHowever, the players were mainly amateurs, who had unsatisfactory mastery of the blowing technique of the instrument or blew it in a “beer mood”. Later, these saxophones were often repaired unprofessionally and with cheap materials, which did not really improve the sound. This resulted in a bad reputation in the professional world.\u003c\/p\u003e\u003cp\u003eWith the onset of the Great Depression at the end of the 1920s, the popularity of this saxophone genre ebbed rapidly. Private individuals no longer had the money to afford this “luxury item.” Professional musicians and serious music students had no use for the hobby instruments.\u003c\/p\u003e\u003cp\u003eLike a classical choir, the big bands needed a clear fanning out of the sax section into alto \/ tenor \/ baritone, which was so important for the typical sound. The middle register of the C-Melody was inappropriate. In the renowned big bands from the 1930s on, this instrument is no longer to be found. Not a single one!\u003c\/p\u003e\u003cp\u003eThe consequence was that the companies stopped the production of these shopworn instruments for cost saving and survival reasons. The last C-Melodys were produced in 1936. After that, they disappeared into storage, cellars, closets, pawnshops and fell into oblivion.\u003c\/p\u003e\u003cp\u003eMulo Francel is one of the few saxophonists who still plays this instrument masterfully today.\u003c\/p\u003e\u003cp\u003eHe bought his silver C-Melody, built in 1923 by the American company Conn, for $125 at a New York flea market. It has been on almost every Quadro Nuevo album from the beginning and sang the Luna Rossa on the band’s first recordings as early as 1997.\u003c\/p\u003e\u003cp\u003eIn the successful jazz production BIX, Mulo Francel took over the role of the former C-Melody hero Frankie Trumbauer (1901-1956), who for years with his saxophone was the ideal complement to the legendary cornetist Bix Beiderbecke (1903-1931).\u003c\/p\u003e\u003cp\u003eFrancel himself explains his latest album thus:\u003c\/p\u003e\u003cp\u003e“With songs from its heyday, I want to set a musical memorial stone to my extravagant instrument for its 100th birthday.\u003cbr\u003eAnd on a personal note, I also remember my great-grandparents, who emigrated from tranquil Upper Bavaria to New York in 1923.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53430249718103,"sku":"P-133465-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Mulo-Francel-The-Melody-Sax-CD-DIGISLEEVE-133465-1-1682066133.jpg?v=1778182043"},{"product_id":"umberto-echo-the-afrodub-experience-cd-digisleeve","title":"Umberto Echo - The Afrodub Experience - CD DIGISLEEVE","description":"\u003cp\u003eOn his new album “The Afrodub Experience,” multi-instrumentalist and producer Umberto Echo takes us on a journey through time and space across four continents. 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With pieces such as Verschwiegene Liebe, Oblivion, and Assyrian Woman, the trio invites the listener into a world of quiet intensity, emotional depth, and subtle beauty. Each track unfolds with sensitivity and nuance, creating a musical journey that speaks softly yet leaves a lasting impression.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53459948831063,"sku":"P-172806-","price":13.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Trio-Sfera-Verschwiegene-Lieder-CD-172806-1-1768382879.jpg?v=1778315935"},{"product_id":"trio-sfera-verschwiegene-lieder-lp","title":"Trio Sfera - Verschwiegene Lieder - LP","description":"\u003cp\u003eTrio Sfera – Verschwiegene Lieder is a richly atmospheric album that weaves classical melodies, world music influences, and intimate soundscapes into a deeply expressive listening experience. 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On her fifth album, she takes listeners on a moving musical journey through the many facets of human dignity—shaped by her own experiences, deep emotions, and life with her profoundly disabled daughter, Juliette.\u003c\/p\u003e\u003cp\u003eAt the heart of the album lies the Suite for Dignity, a multi-movement composition in which Bodenseh fuses the classical suite form with improvised jazz—an increasingly rare yet powerful combination that unites musical storytelling with ethical depth. She is joined by her closest ensemble: Thomas Bauser on Hammond organ, Johannes Maikranz on guitar, and Lars Binder on drums.\u003c\/p\u003e\u003cp\u003eThe work is rich in contrasts, ranging from reflective, intimate moments to ritualistic grooves and vibrant, high-energy improvisations. It explores what dignity truly means and how we encounter it in life—both musically and humanly.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53460156973399,"sku":"P-173045-","price":13.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Isabelle-Bodenseh-Dignity-CD-173045-1-1768992895_1c942e69-d4da-48f7-9a1e-9eb54567d5d0.jpg?v=1778317470"},{"product_id":"double-drums-all-you-can-beat-lp","title":"Double Drums - All You Can Beat - LP","description":"\u003cp\u003eTwo percussionists, one sound universe. With “All you can BEAT,” Double Drums serve up an energetic and surpri-singly versatile percussion album. The two exceptional musicians have been performing together on stage for 20 years now. In addition to numerous concerts in Germany, they have also performed throughout Europe and Asia.\u003cbr\u003eNow Alex Glöggler and Philipp Jungk are celebrating their anniversary with a work that showcases their entire musi-cal range: from driving rhythms to a multifaceted soundscape to moments of great emotion. “All you can BEAT” is a tribute to everything percussion can be: powerful, delicate, wild, and touching at the same time.\u003c\/p\u003e\u003cp\u003eOn the one hand, there are rousing original compositions such as “One More Time” and “Hydra,” about which the rhythm artists say: \"The music is inspired by the many-headed monster Hydra from Greek mythology. When it loses a head, two new ones grow back. Musically, new patterns or rhythmic elements are constantly being added, overlap-ping each other and pushing others into the background. The result is minimal music based on an energizing flow with a focus on the marimba.\"\u003c\/p\u003e\u003cp\u003eOn the other hand, the duo presents extraordinary reinterpretations of iconic classics—such as Metallica's “Nothing Else Matters” or “Enjoy the Silence” and Puccini's opera aria “Nessun Dorma”—all in their unmistakable double drum style. The musicians say of Depeche Mode's “Precious”: \"It was exciting to give the music of the electronic band De-peche Mode a completely different instrumental makeover. While the original features synthesizers, guitar, and vocals in the foreground, Double Drums' version is dominated by vibraphone, marimba, and glockenspiel. This creates a unique, intimate sound, partly because the structure of the song is not copied 1:1, but is combined more freely with new parts.\"\u003c\/p\u003e\u003cp\u003eClassical percussion instruments such as the marimba and vibraphone meet the handpan, boomwhackers, various types of drums, and even hardware store tools such as cordless screwdrivers and saws.\u003c\/p\u003e\u003cp\u003eWith “All you can BEAT,” Double Drums proves once again that percussion music goes far beyond rhythm—it can tell stories and surprise. An album that is intended for connoisseurs and newcomers to this world of sound alike.\u003cbr\u003eDouble Drums has also been offering a unique percussion experience live for 20 years. The duo uses everyday ob-jects such as garbage cans, gas cans, and traffic signs to create mesmerizing beats. Alex Glöggler says, “It's im-portant to us that people experience what you can do with rhythm and how versatile a percussion show can be. Our fun and enthusiasm for what we do is contagious, whether the audience is young or old.”\u003cbr\u003eIn addition to their concert tours, the likeable trained percussionists want to inspire enthusiasm for music in children in particular and give family concerts, workshops on everyday objects, and concerts in schools. The mix of impres-sive precision, inventiveness, and captivating entertainment has already earned the band over 4 million YouTube clicks.\u003c\/p\u003e\u003cp\u003eThe Süddeutsche Zeitung newspaper ran the headline: “Far more than just boom-boom-chak.”\u003cbr\u003eBerlin-based Tagesspiegel wrote: “As thrilling as some of the standard Asian drum shows may be, the ultimate per-cussion spectacle currently comes from Munich.”\u003c\/p\u003e\u003cp\u003eSide A:\u003cbr\u003eEnjoy the Silence \/ Icon \/ Nothing else Matters \/ Precious \/ One more Time \/ Nessun Dorma\u003c\/p\u003e\u003cp\u003eSide B:\u003cbr\u003eHydra \/ Handpan Horizon \/ Boom-Whaka \/ Big Five \/ Beat it up! \/ Baumarkt\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53460173947223,"sku":"P-173058-","price":22.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Double-Drums-All-You-Can-Beat-LP-173058-1-1768992924.jpg?v=1778317564"},{"product_id":"double-drums-all-you-can-beat-cd","title":"Double Drums - All You Can Beat - CD","description":"\u003cp\u003eTwo percussionists, one sound universe. With “All you can BEAT,” Double Drums serve up an energetic and surpri-singly versatile percussion album. The two exceptional musicians have been performing together on stage for 20 years now. In addition to numerous concerts in Germany, they have also performed throughout Europe and Asia.\u003cbr\u003eNow Alex Glöggler and Philipp Jungk are celebrating their anniversary with a work that showcases their entire musi-cal range: from driving rhythms to a multifaceted soundscape to moments of great emotion. “All you can BEAT” is a tribute to everything percussion can be: powerful, delicate, wild, and touching at the same time.\u003c\/p\u003e\u003cp\u003eOn the one hand, there are rousing original compositions such as “One More Time” and “Hydra,” about which the rhythm artists say: \"The music is inspired by the many-headed monster Hydra from Greek mythology. When it loses a head, two new ones grow back. Musically, new patterns or rhythmic elements are constantly being added, overlap-ping each other and pushing others into the background. The result is minimal music based on an energizing flow with a focus on the marimba.\"\u003c\/p\u003e\u003cp\u003eOn the other hand, the duo presents extraordinary reinterpretations of iconic classics—such as Metallica's “Nothing Else Matters” or “Enjoy the Silence” and Puccini's opera aria “Nessun Dorma”—all in their unmistakable double drum style. The musicians say of Depeche Mode's “Precious”: \"It was exciting to give the music of the electronic band De-peche Mode a completely different instrumental makeover. While the original features synthesizers, guitar, and vocals in the foreground, Double Drums' version is dominated by vibraphone, marimba, and glockenspiel. This creates a unique, intimate sound, partly because the structure of the song is not copied 1:1, but is combined more freely with new parts.\"\u003c\/p\u003e\u003cp\u003eClassical percussion instruments such as the marimba and vibraphone meet the handpan, boomwhackers, various types of drums, and even hardware store tools such as cordless screwdrivers and saws.\u003c\/p\u003e\u003cp\u003eWith “All you can BEAT,” Double Drums proves once again that percussion music goes far beyond rhythm—it can tell stories and surprise. An album that is intended for connoisseurs and newcomers to this world of sound alike.\u003cbr\u003eDouble Drums has also been offering a unique percussion experience live for 20 years. The duo uses everyday ob-jects such as garbage cans, gas cans, and traffic signs to create mesmerizing beats. Alex Glöggler says, “It's im-portant to us that people experience what you can do with rhythm and how versatile a percussion show can be. Our fun and enthusiasm for what we do is contagious, whether the audience is young or old.”\u003cbr\u003eIn addition to their concert tours, the likeable trained percussionists want to inspire enthusiasm for music in children in particular and give family concerts, workshops on everyday objects, and concerts in schools. The mix of impres-sive precision, inventiveness, and captivating entertainment has already earned the band over 4 million YouTube clicks.\u003c\/p\u003e\u003cp\u003eThe Süddeutsche Zeitung newspaper ran the headline: “Far more than just boom-boom-chak.”\u003cbr\u003eBerlin-based Tagesspiegel wrote: “As thrilling as some of the standard Asian drum shows may be, the ultimate per-cussion spectacle currently comes from Munich.”\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53460183449943,"sku":"P-173059-","price":13.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Double-Drums-All-You-Can-Beat-CD-173059-1-1768992926.jpg?v=1778317571"},{"product_id":"edgar-knecht-colours-of-europe-cd","title":"Edgar Knecht - Colours Of Europe - CD","description":"\u003cp\u003eColours Of Europe is a jazz infused musical journey that reimagines European folk traditions through contemporary improvisation and ensemble interplay. Edgar Knecht presents a heartfelt celebration of cultural diversity, transforming melodies from France, Germany, Italy, Spain and Austria into expressive modern jazz pieces.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53460615758167,"sku":"P-177163-","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Edgar-Knecht-Colours-Of-Europe-CD-177163-1-1773742073.jpg?v=1778324872"},{"product_id":"edgar-knecht-colours-of-europe-lp","title":"Edgar Knecht - Colours Of Europe - LP","description":"\u003cp\u003eColours Of Europe is a jazz infused musical journey that reimagines European folk traditions through contemporary improvisation and ensemble interplay. Edgar Knecht presents a heartfelt celebration of cultural diversity, transforming melodies from France, Germany, Italy, Spain and Austria into expressive modern jazz pieces.\u003c\/p\u003e\u003cp\u003eSide A :\u003cbr\u003eBeautiful Countries \/ Catcher In The Rye \/ Arturiana \/ Main Bridge\u003c\/p\u003e\u003cp\u003eSide B :\u003cbr\u003eBallade Imaginaire \/ Tarantola \/ Still\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53460615889239,"sku":"P-177164-","price":22.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Edgar-Knecht-Colours-Of-Europe-LP-177164-1-1773742075.jpg?v=1778325233"},{"product_id":"quadro-nuevo-luna-rossa-lp","title":"Quadro Nuevo - Luna Rossa - LP","description":"\u003cp\u003eQuadro Nuevo has been touring countries around the world for 30 years and has become one of the most successful ensembles on the European jazz and world music scene. Now their debut album “Luna Rossa” is being released as a remastered double vinyl and includes 7 additional bonus tracks previously unreleased on CD.\u003c\/p\u003e\u003cp\u003eQuadro Nuevo was founded in 1996. On a gray January day that year, four young men met for the first time in a parking lot near the Austrian city of Salzburg, famous for Mozart. The four hardly knew each other beforehand and were supposed to record film music for ORF television. The fee for this was subsequently squandered at the local casino, and the film was never broadcast.\u003c\/p\u003e\u003cp\u003eOn that day, however, one thing was clear:\u003cbr\u003eA new quartet with an unmistakable sound was born. From then on, there would only be one thing – Quadro Nuevo, a love of nostalgic acoustic music, and traveling together from evening to evening, from stage to stage. A dream came true, and the exuberance of happiness can be heard in every note. Since then, these spirited, passionate musicians have toured countries around the world and given around 4,500 concerts.\u003cbr\u003eTheir music draws on the magic of extensive travels – from the alleys of Italian Bari to the mountain ranges of the Balkans, to the colors of Bangalore and the nights of Buenos Aires.\u003cbr\u003eThe venues where they perform are as diverse as the roots of their music. Whether at renowned festivals or in halls such as Carnegie Hall, Quadro Nuevo treats its audience with the same dedication, becoming one of Europe's most successful world music ensembles.\u003cbr\u003eTango and French valse musette, Aegean mythical melodies, daring road songs along a sun-drenched coastal road, oriental grooves, Brazilian flavor, and Neapolitan canzone tunes flow playfully into one another with Quadro Nuevo.\u003cbr\u003eThe ensemble has twice received the ECHO award for “Best Live Act of the Year,” the German Record Critics' Award, several Jazz Awards, and a Gold Record.\u003cbr\u003e“Luna Rossa” was the band's debut album. It was recorded in the early stages of their collaboration and released on CD in February 1998. After just a few weeks, it won the German Jazz Award and the European Phono Award IMPALA. In the following years, it became one of the best-selling albums on the European jazz and world music scene. For its 30th anniversary, Quadro Nuevo dug out the old studio tapes from the basement. Viennese sound engineer Christoph Stickel remastered them for vinyl, and now they are being released as a double LP together with seven other tracks from the ensemble's early days. All of the songs feature the band's legendary guitarist Robert Wolf, who was involved in a tragic traffic accident during a tour of southern Germany in November 2008, as a result of which he died far too young.\u003c\/p\u003e\u003cp\u003eSide A:1    Luna Rossa    Vincenzo De Crescenzo \/ Antonio Vian  3:10 \/ 2.  Nature Boy    Iben Ahbez   2:10 \/ 3.  Kommissar Maigret   Ernst August Quelle   3: 08 \/ 4.  Te Reto A Ser Mi Amante  Mulo Francel   4:03 \/ 5.  Für Pauline   Mulo Francel   4:50 \/ 6.  Our Spanish Love Song   Charlie Haden   4:11\u003cbr\u003eSide B:Impressions d´un Rêve: 1. Tango   Paul Barentsen \/ Mulo Francel     4:23  \/ 2. Valse Lento   Peter Ludwig \/ Mulo Francel     3:27   \/ 3. Valse Vivace   Mulo Francel     1:57 \/ 4. Bei dir war es immer so schön   Theo Mackeben     3:56 \/ 5. El Paño Moruno   Manuel de Falla     2:33 \/ 6. Il Sorriso D´Amor    Pietro Frosini    3:58\u003cbr\u003eSide C:1.  Bonsoir Juliette   Mulo Francel   3:11 \/ 2.  Flor De La Noche   Robert Wolf   4:04\t \/ 3.  Susannata    Mulo Francel   1:54 \/ 4.  Gracias A La Vida   Violeta Parra   3:13\t\u003cbr\u003e5.  Allez, Glissez!   Joe Privat \t3:35\t \/ 6.  La Palummella   traditional Canzone Napoletana, Arr. Francel   2:28  \/ 7.   Torna a Surriento   Ernesto de Curtis \/ arr: Mulo Francel   2:07\u003cbr\u003eSide D:1.  Dimme ´na vota si   traditional Canzone Napoletana \/ arr. Francel   2:40  \/ 2.  Affaccete Nunziata   traditional Canzone Romana \/ arr.  Francel   2:58       \/ 3.  El Choclo   Angel Villoldo \/ arr. Mulo Francel   3:26 - special version with Jaime Liemann (vocal)   \/ 4.  Quiereme   Mulo Francel   4:18  - special version with Jaime Liemann (vocal)  \/ 5.  Chitarra Romana   Eldo di Lazzaro \u0026amp; Bruno Cherubini   6:51  - live version\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53473684816215,"sku":"P-173054-","price":26.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Quadro-Nuevo-Luna-Rossa-LP-173054-1-1769077352.jpg?v=1778317533"}],"url":"https:\/\/shop.season-of-mist.com\/collections\/label-glm-music.oembed","provider":"Season of Mist - International","version":"1.0","type":"link"}