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JOE MCPHEE & EVAN PARKER Sweet Nothings (for Milford Graves) Music CDs New
Record Stop NY
(16208)
Gewerblich
US $19,99
Ca.CHF 16,11
Artikelzustand:
2 verfügbar
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Versand:
Kostenlos USPS Media MailTM.
Standort: Charleston, South Carolina, USA
Lieferung:
Lieferung zwischen Mi, 26. Nov und Do, 4. Dez nach 94104 bei heutigem Zahlungseingang
Rücknahme:
30 Tage Rückgabe. Käufer zahlt Rückversand. Wenn Sie ein eBay-Versandetikett verwenden, werden die Kosten dafür von Ihrer Rückerstattung abgezogen.
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eBay-Artikelnr.:177599998092
Artikelmerkmale
- Artikelzustand
- Type
- CD
- Language
- English
- Inlay Condition
- Mint (M)
- CD Grading
- Mint (M)
- Style
- CD
- Case Type
- Jewel Case
- Case Condition
- Mint (M)
- UPC
- 0759624575349
Über dieses Produkt
Product Identifiers
Record Label
Ctdy, Corbett VS Dempsey
UPC
0759624575349
eBay Product ID (ePID)
6055128488
Product Key Features
Format
CD
Release Year
2022
Genre
Jazz
Artist
Mcphee, Joe & Parker, Evan
Release Title
Sweet Nothings (For MILFORD Graves)
Dimensions
Item Height
0.25 in
Item Weight
0.12 lb
Item Length
5.43 in
Item Width
5.39 in
Additional Product Features
Country/Region of Manufacture
United States
Number of Discs
1
Notes
Two masters of wind instruments blowing in from the Windy City. In 2003, as part of the seventh annual Empty Bottle Festival of Jazz & Improvised Music, Joe McPhee and Evan Parker squared off for a round of intimate dialogues. The resulting recording is just the second time they had played as a duet, the previous also being in Chicago, at a studio in 1998, where the limited their instrumentarium to tenor saxophones, resulting in the Okka Disc classic Chicago Tenor Duets (2002). In this case, they expanded their arsenal to include tenor and soprano saxophones, as well as McPhee's trusty pocket cornet. Held in a beautiful hall at the Chicago Cultural Center, the concert was unforgettable. Fortunately, it was documented by the legendary mobile recordist Malachi Ritscher, who recorded most of the Bottle Fests with his usual rough-and-ready style. From the opening notes, Sweet Nothings was notable for the musicians' intuitive connection. Freely improvised in seven parts, these are duets of the highest caliber performed by two musicians who are constantly seeking common ground - what you might call "agree-to-agree" improvisors. But there's no lack of tension or productive dissonance; on the contrary, that's part of their unity of vision, the shared ability to diverge and reconnect.
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Record Stop NY
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