Classe - Méthode de danse par Andrey Klemm, professeur à l'Opéra de...
Les cantates de Magdebourg
Hercule, un pastiche d’après Haendel et Bac 2 CD
Carlos Damas, violon Rubén Lorenzo, piano
André Previn (1929-2019) 2 Petites Sérénades Glenn Gould (1932-1982):...
Jeremy Pelt, the artist
24 Article Produits
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THE RODIN SUITE - Part One: L'Appel Aux Armes / Part Two: Dignity and Despair / Part Three: I Sol Tace / Part Four: Camille Claudel / Part Five: Epilogue • Ceramic • Feito • Watercolors • As of Now
Jeremy Pelt, trompette
Victor Gould, piano, Fender Rhodes • Vicente Archer, bass • Allan Mednard, drums
Ismel Wignall, percussion • Alex Wintz, guitar • Chien Chien Lu, vibraphone, marimba • Frank LoCrasto, Fender Rhodes
Composing music inspired by painting dates back as far as the 12th century (Hildegard of Bingen) and, in Jazz, Duke Ellington’s “Degas Suite” comes to mind along with Branford Marsalis’s “Romare Bearden Revealed.” But on his new album, Jeremy Pelt may be the first jazz artist to examine the relationship between music and sculpture. The five-movement “Rodin Suite” muses not only on works the French sculptor August Rodin left us, but how his art might have evolved if he were still with us today. Added to Victor Gould, Vicente Archer and a few other of his “regs,” Pelt has added the guitar of Alex Wintz, the vibes and marimba of Chien Chien Lu and the exotic percussion of Ismel Wignall for an ensemble sound capable of delicacy and color as well as full-on modern jazz shouts. A thoughtful and thought-provoking recording from, you guessed it, Jeremy Pelt, the artist.