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viewing 1 To 9 of 9 items
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CD
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INT 33852CD
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$13.50
PREORDER
RELEASE DATE: 6/6/2025
"Renowned composer, guitarist, and multi-instrumentalist Elliott Sharp returns with Secret Life, the latest album from his groundbreaking ensemble Terraplane. Known for its unique fusion of blues, jazz, rock, and avant-garde experimentation, Terraplane continues to push the boundaries of contemporary music while staying deeply rooted in the raw energy and storytelling of the blues tradition. Since its inception in the early 1990s, Terraplane has served as a sonic laboratory for Sharp's ever-evolving musical vision, bridging Delta blues with the textures of free jazz, electronic music, and urban funk. Featuring an exceptional lineup of musicians, Secret Life delivers a powerful mix of deep rhythms, electrifying solos, and immersive soundscapes that transport listeners to a world where tradition and innovation coexist seamlessly. Sharp's signature guitar sound -- gritty, expressive, and utterly distinctive -- remains at the core of the album, while pulsating basslines, haunting saxophone passages, and unpredictable rhythmic shifts create an electrifying listening experience. Sharp has written a new chapter for Terraplane with this new album. The album sounds more traditional than the band's previous CDs. Sharp has paid more attention to song structure. But the line-up is also different. Following the death from cancer of long-time saxophonist Sam Furnace, Alex Harding plays baritone saxophone, and Sharp himself takes over the tenor sax. Rounding off the horn arrangements is Curtis Fowlkes (Lounge Lizards) on trombone. Lance Carter, who knows Sharp from Raw Meat, is on drums. Bass is played by the avant-garde legend, Dave Hofstra, known from such bands as The President and the Microscopic Septet. Behind the microphone is Charlie Mingus' heavyweight son, Eric Mingus, one of the greatest blues singers of the day, and poet Tracie Morris from the Black Rock Coalition. Terraplane is more than just a vehicle for Elliott Sharp. It is a New York all-star band."
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INT 34112CD
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"Terraplane -- the blues of the future, which gets by without the romance of the cotton field. Few musicians have presented as many different stylistic facets over the course of their careers as the New York guitarist, bassist, clarinetist, and composer Elliott Sharp. He was one of the protagonists of the legendary New York downtown avant-garde scene that produced such other original artists as John Lurie, Fred Frith, and John Zorn. When Terraplane's new album is placed in the context of the blues band Hazmat Modine, the bluegrass rebels O' Death, and the Gypsy punk guerrillas of Gogol Bordello, it is clear that Sharp is once again out in front of a new movement. New York felt into a kind of creative lethargy after 9/11, but now the first voices are emerging from hibernation. It is not the avant-garde that is re-forming but rather a scene that is formulating a new relationship to tradition from a wide variety of perspectives. It is not tradition in the sense of neoconservatism but rather a new rebelliousness that does not want to permit the cultural legacy of the diverse ethnic groups of the United States to be exploited by a one-sided abuse of power. It should come as no surprise that Forgery is unusually hard, direct, massive, and unfussy in comparison to its most recent albums. The grooves are more direct than ever; the singing blunt, the solos driving and aggressive. A punk album among blues disks but nevertheless, or precisely for that reason, an entirely authentic expression of urban blues. Once again Sharp has assembled a handful of masters in their respective fields, including the vocal secret weapon Eric Mingus, the poet Tracy Morris, trombonist Curtis Fowlkes; Dave Hofstra, one of the most experienced bassists from the Big Apple, who was a founding member of Terraplane and drummer Tony Lewis who frees the band of jazzy ballast."
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INT 35152CD
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$15.00
PREORDER
RELEASE DATE: 5/23/2025
"The second coming of Joey Baron's fantastic al-star Jazz band Well, this album doesn't open as ostentatiously grooving as the preceding Down Home did with the track 'Mighty Fine,' but nevertheless We'll Soon Find Out is a grandiose second chapter in the history of the 'Down Home band.' If their debut sort of illustrated a leisurely stroll through the neighborhood, then this album might be viewed as the (musical equivalent of the) subsequent hanging out at the local club, with elegant surroundings, suave drinks and an exchange of amusing or introspective stories among good friends. Once again Baron, Blythe, Carter and Frisell deliver nine tracks of the finest. What looked like a one-time lucky strike of a project has become a working band with We'll Soon Find Out, a band you want to meet again and again."
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INT 36022CD
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"'Originally we wanted to call the project B.A.C.H.,' Peter Michael Hamel recalls, when, in 1970, they were looking for the most unusual name possible for an extremely unusual formation. 'Naturally we chose in it in part in allusion to the immortal baroque composer of that name, but above all the letters stood for 'Between All Chairs.' That's exactly how we thought of ourselves. But when we discovered that the idiom doesn't even exist in English, we dropped it.' What was left was the word 'between,' and the four original members of the group finally decided on that as the band's name. And even this slimmed version says a great deal about this project, which was both originary and original: 'We always felt our music was something 'in-between,' nothing comparable had existed previously,' Hamel is still convinced. 'Above all, our sound existed between the categories of serious and popular music. You could never pin us down to a particular category. That still pleases me today!' The 1970s live electronics began to conquer the world, but for that very reason Between essentially played 'unplugged,' playing chamber music on traditional instruments and in the resulting acoustic framework. By 1980 the group had spent ten years working intensely with the musical past of each individual; the pieces produced were extremely varied; Between had developed an iridescent combination of classical, avant-garde and pop music and medieval and Far Eastern music as well as popular ethnic music. They had gotten closer to the 'dream of the blue flower between the milestones along the path to a future world music.'"
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INT 34372CD
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"When Markus Stockhausen composes, he creates a multi-dimensional cosmos from sounds. He succeeds in doing that even with compositions for small ensembles. However, when he does this for a large orchestra as here, then he has an almost inexhaustible range at his disposal. And he understands how to use it: The two pieces 'YIN' and 'YANG' were composed between March and May 2011 and were first performed in the Amsterdam Concertgebouw in the same year. 'The idea was to compose specifically for the Metropole Orkest and its soloists. I tried to make 'YIN' softer and more colorful with warmer qualities of sound. On the other hand, 'YANG' starts powerfully with a sudden heightening; it has a great deal of expressive power with a high energy level and clear rhythmic grooves. The end is then again carried by the four soloists from 'YIN.' With that, the circle is closed and Yin and Yang are reconciled,' Stockhausen wrote about his thoughts concerning the two compositions. A composition follows with 'Tanzendes Licht' that Stockhausen once composed for the Camerata Bern and Swiss Jazz Orchestra and enhanced for the Metropole Orkest. The piece was intended as homage to Paul Klee, and Stockhausen was inspired by the shimmering light at sunset on a large body of water. These reflections are again found in the music and stimulate the tones to dance in an unusual beat (9/8), but which is played around with so easily and loosely that you hardly notice it. The encore piece 'FELICE' was -- as are YIN & YANG -- composed for this concert evening, which was recorded live. Judged by the thunderous applause, he certainly succeeded in that. The radio orchestra, which has existed since 1945, has earned an almost legendary reputation since its founding and is considered the last of its kind in all of Europe. The influence of the conductor Jules Buckley is not to be underestimated either; he carefully led the orchestra into Stockhausen's style."
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INT 32122CD
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"The violinist Michael White can be regarded as an elementary jazz figure. Together with Bill Frisell, one of the leading jazz-guitar innovators, White recorded the album Motion Pictures in the late '90s. The instrumentation reveals a proximity to country and western music, but what these two virtuosos conjure up here is a much greater range of tonal colors stemming from classical music, the avant garde, blues and naturally jazz. White and Frisell create an impressionist picture album on Motion Pictures with the clear emphasis on a wealth of nuance and atmospheric depth. As elegant as they are playful, the two musicians circle around each other, comment upon and decorate each other, juggle with moments of tension and silence -- the tonal equivalent of shade, twilight and the individual flowing, golden rays of sunlight shining upon a vast cloudy background."
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INT 34622CD
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"Nicholas Lens, a Belgian composer of contemporary music, is known particularly for his operas. One of his earliest works is the music drama Flamma Flamma: The Fire Requiem, the first part of his trilogy The Accacha Chronicles (Flamma Flamma/Terra Terra/Amor Aeternus). The fusion of non-European musical cultures and Western classical music has been described as highly unique. Flamma Flamma is conspicuous for its unusual instrumentation - apart from chamber orchestra, mixed choir and six soloists, there are also a Japanese koto, an extensive percussion set-up and three natural voices. The work is a composition beyond all conventions. Unlike almost any other requiem, Flamma Flamma not only deals with grief and pain, but also with the idea that death is a natural part of life. Tribute is paid to the afterlife without glorifying it, the positive aspects of fire -- such as light and warmth -- are praised and all human emotions in the face of death are addressed, across all philosophical and even musical boundaries. Flamma Flamma has been used numerous times for the most diverse art events and hundreds of dance and ballet creations around the world. For instance, it was performed live at the opening of the Adelaide Festival with more than 1,000 performers in front of an audience of 30,000 people. After its first release on CD in 1994, Flamma Flamma moved up various international charts and quickly went from being an insiders' tip to a huge success, with even a videoclip showing on MTV and Arte. Tracks such as 'Sumus Vicinae,' 'Corpus Inimici' or the title track 'Flamma Flamma' have even become cult classics and made it to some alternative dance floors from Paris to NY and Tokyo. Flamma Flamma by Nicholas Lens will now be re-released on an elaborately designed double vinyl in gatefold cover to mark the 30th anniversary. The composer himself artistically supervised the re-mastering."
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LP
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INT 30041LP
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Restocked. "2024 re-release. The renowned and widely acclaimed music label Intuition, well known since the 1980s, is proud to announce the release of its most important and successful back-catalogue titles on vinyl under the name 'Intuition Master Series'. The American trumpeter and multi-instrumentalist Jon Hassell (March 22, 1937-June 26, 2021) was an international legend despite never having managed a popular breakthrough. Hassell was a musical visionary and pioneer, one who was inspired by ambient sounds and new music. He appreciated the music of avant-gardists such as Stockhausen, in whose Cologne school he also studied. He came into contact with Terry Riley and his minimalistic music early on and played on his first albums. Hassell was also a musically driven person, someone who had to get to the bottom of styles. Thus, he was intensively involved with Far Eastern, but especially Indian music. Using the ingredients he learned, he created a completely new way of playing on and with the trumpet. He created language-like modulated air currents flowing through the instrument to produce seemingly alien, microtonal sounds. He combined this technique with ethnic polyrhythms, electronic alienation, soundscapes and jazz to create his own style, which he called 'Fourth World'. With this kind of music, he significantly influenced numerous emerging styles such as world music, nujazz or ambient. It is no mistake to say that without Hassell's ideas, these types of music would have taken a very different course. Hassell's influence on the music world cannot be overestimated, even if he himself was always unimpressed by the praise. 'It's the invisible things that buzz around us. You just have to bring them to light and make them visible.' In a tried and tested association with Brian Eno (as producer), his first completely live-recorded album was released at that time. The individual pieces, which were recorded in Paris, Vancouver, Hamburg and Brussels, reflect the special atmosphere that made every (rare) Jon Hassell concert something extraordinary. Intuition's 1987 The Surgeon of the Nightsky Restores Dead Things by the Power of Sound is undoubtedly one of his best works."
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INT 30042CD
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"Original 1991 CD release. In a tried and tested association with Brian Eno (as producer), Jon Hassell's first completely live-recorded album was released at that time. The individual pieces, which were recorded in Paris, Vancouver, Hamburg and Brussels, reflect the special atmosphere that made every (rare) Hassell concert something extraordinary. The extremely delicate preparation and post-processing of the live material in the studio mix also makes it clear to the listener what subtle means Jon Hassell used to captivate his audience. In interaction with the audience, Hassell opens a window to the understanding of a music whose pulse and mood can be heard and perceived simultaneously in New York, Rangoon, Maracaibo, Paris, Palembang or Cologne. This album is an absolute work of sound-art."
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