Gilles Peterson - Magic Peterson Sunshine (2LP)
Prix habituel
€40,00
DELAIS MOYEN D'EXPEDITION : 2 A 4 JOURS OUVRES
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COMPILATION
Compiled by Gilles Peterson
2 LP, Gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Optimal Media GmbH
Label : MPS
Original Label : MPS
Released in 2016
Tracks:
Side A:
- Don Ellis - Dew
- Mary Lou Williams - It Ain't Necessarily So
- Wolfgang Lauth - Denn Liebe ist stark wie der Tod
- Jonny Teupen - Harp Revolution
Side B:
- Pedro Iturralde Quintet feat. Paco de Lucia - Cancion Del Fuego Fatuo
- Gunter Hampel Quintet - Our Chant
- George Gruntz - Nemeit
Side C:
- Orchester Roland Kovac - Service I
- The Third Wave - Love Train
- The Singers Unlimited - Stone Ground Seven
- Eddy Louiss - Out Of The Sorcellery
Side D:
- Francy Boland - Lille Mor
- Mark Murphy - Why And How
- The Modern Jazz Group Freiburg - Big "P"
- Das Wolfgang Dauner-Trio - Love In Summer
Reviews:
“Magic Peterson Sunshine is an indispensable compilation for the European jazz lover. It is the culmination of tireless archival digging by London-based DJ and audiophile Gilles Peterson, whose obsession with the German label MPS (née SABA) has resulted in this handpicked treasure trove of material. The label has near-mythic roots, founded as it was deep in the heart of Germany's Black Forest by the reclusive Hans Georg Brunner-Schwer, a.k.a. HGBS, whose house concerts and personal studio captured and released some of the most forward-thinking jazz of the 1960s. With over 500 recordings to his credit, a catalog surpassed only by producer Manfred Eicher of ECM Records in Munich, this is the merest slice of one astronomical pie.
Some of its performers—among them John Taylor, Eberhard Weber, and John Surman—will indeed be known to the ECM aficionado, and anyone interested in that crop of innovators should take special pleasure in hearing what was happening in Germany prior to Eicher's sea change. Beyond these artists, one may draw connections to other greats, such as Edward Vesala and Iro Haarla. On the latter note, Jonny Teupen gets a nod in the form of his "Harp Revolution," off the 1969 album Harpadelic. An instrument rarely heard in jazz contexts, the harp stands out for its unexpected boldness, which at Teupen's fingertips is complemented by a tight rhythm section. Primarily a classical musician, Teupen was less interested in improvisational than atmospheric integrity. The verve of his music is almost revolutionary, as timely as ever. The harp also figures significantly in Don Ellis's "Dew," wandering among strings and muted trumpet in Grieg-like awakening. This verdant sound-painting is one of many such bursts of color on 1974's Haiku, consisting of pieces based on the Japanese poetic form.
Influential bandleader George Gruntz is spotlighted in a selection from the 1967 album Noon in Tunisia, which was part of the label's "Jazz Meets the World" series. Gruntz is both composer and pianist, sharing the studio with Sahib Shihab, Jean-Luc Ponty, Daniel Humair, and Eberhard Weber, along with a group of North African musicians. The resulting Bedouin jazz is entirely indicative of the label's wanderlust. Dissonant flute and dense pianism, plus vibrant percussion beneath and Ponty's sky-scraping vibrancy, make this a cool ride. Other pianists give their uniquenesses a spin on the Magic Peterson Sunshine roulette.” All About Jazz Review by Tyran Grillo, May 7th 2016
Ratings :
Discogs : 4,39 / 5