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Audiophiles will appreciate the richness and depth of the sounds, highlighting Sylvain Luc's virtuosity and his interpretation of original works, as well as great standards that he made his own with genius!","brand":"Sylvain Luc","offers":[{"title":"Default Title","offer_id":55657493102936,"sku":null,"price":20260612.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/3770037369001.jpg?v=1768935282"},{"product_id":"miles-davis_ascenseur-pour-lechafaud_2024_uni","title":"Ascenseur pour l'échafaud","description":"Miles Davis's revolutionary soundtrack for Louis Malle's film noir 'Ascenseur pour l’échafaud' is reissued in a deluxe edition for the trumpeter's centenary. 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Europeans were delighted to discover Monk and his legendary personality, often placing more importance on his appearance and singular behavior than on the music. The release of \"Bremen 1965\" sees the legend embark on his second tour, with stops in Germany, with his seasoned quartet, consisting of his long-time saxophone partner, Charlie Rouse, as well as bassist Larry Gales and drummer Ben Riley. Bremen, Germany, was the second stop on the quartet's world tour, which would pass through much of Europe, Australia and Japan. The recording was made on March 8, 1965 in the prestigious Sendesaal \/ Studio F of Radio Bremen, in front of an eager audience. 'Bremen 1965' is the first official release of the concert, mastered from the original tapes preserved in the archives of Radio Bremen, under the direction and approval of Norddeutscher Rundfunk (NDR), Radio Bremen and T.S. Monk. The album will be available in several formats, including digital, double CD and LP. The physical versions come with a carefully documented booklet by Bret Sjerven of Sunnyside. The recording features Monk just after notable transitions. The pianist left his old label, Riverside Records, for Columbia Records, where his latest album, It's Monk's Time, had just rolled off the presses when the quartet arrived in Europe in 1965. The rhythm section had also been changed: bassist John Ore and drummer Frankie Dunlop had been replaced by Larry Gales and Ben Riley, both of whom would participate in Monk's next studio recording, Monk. This long concert features unique interpretations of Monk classics, such as \"Criss Cross,\" \"Well You Needn't,\" \"Epistrophy,\" and \"Rhythm-a-ning,\" as well as standards that continued to inspire Monk, such as \"Sweet and Lovely,\" \"I'm Getting Sentimental Over You,\" and \"Don't Blame Me.\" These long and free interpretations of these tracks allow listeners to appreciate the ability of Monk and his accomplices to swing, fight, and sing in an incomparable way. The music of Thelonious Monk remains eternally and monumentally singular in its approach and conception. Monk's interpretations of his pieces and those of other artists have left a lasting mark on jazz. Bremen 1965 highlights an incredible performance during one of Monk and his quartet's most fiery and exploratory periods. 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The wait was truly worth it. On \"All In,\" the virtuosic and delightful band celebrates its innovative and timeless blend of rock and jazz with relaxed confidence and sovereign ease, enriched with psychedelic and funk elements. The eleven new compositions, shaped by sophisticated harmonies and rhythms, sound with exceptional freshness, melody, and energy. While bassist Hellmut Hattler and drummer Jan Frides provide an elegant and powerful rhythmic foundation with refined grooves, guitarist Peter Wolbrandt captivates with his intense yet subtle string playing and his mastery of the synthesizer. 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The track sets the tone with its nonchalant tempo and hypnotic atmosphere, followed by Yumi Murata's \"Ranhansha\" (released in 1979), which adds a funkier touch to the selection, then by the more subdued rhythms of L-E-V-E-L's \"Bagdad No Atari Nite,\" heralding the more synthetic shift of the early 1980s. Side 1 concludes with GAM's \"Lake In The Forest,\" an elegantly reggae-tinged track from 1980 performed by several musicians from the cult Japanese band Arakawa Band. Side 2 opens with a jump to the late 1980s with Nami Shimada's \"Mitsumeteirunoni,\" a superb mid-tempo electro-funk track, followed by the organic folk-soul sound of Bread \u0026 Butter and their \"Memory,\" originally released in 1974 on the Blow Up Records label. The track brings together a veritable \"who's who\" of the Japanese music scene, including Haruomi Hosono, Ray Ohara, Tatsuo Hayashi, and Shigeru Suzuki. 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