オブスキュアでトリッピー、緩やかにサイケデリックなサウンドで国内外のリスナーを魅了してきた孤高のバンド、OGRE YOU ASSHOLEが5年振りのフルアルバムをリリースする。
昨年発表され絶賛を得た"家の外"(本作にはそのアルバムver.を収録)や、鬼気迫るトランス状態に到達するライヴからも、近年のバンドの進化は既に明らかだった。その境地から放たれる本作では、このバンドが探求してきた人力の反復/隙間のアンサンブルが孕むトリップ感覚と、更なるエレクトロニクスの導入を経て獲得したクラウトロック的な電化ミニマリズムが混ざり合う。前作『新しい人』を傑作たらしめた静的な揺らぎの快楽が、モジュレートされる電子音とのオーガニックな並走によって、新たな響きを得ているのだ。あらゆる巨人達を彷彿とさせながらも唯一無二であり続けるバンドの、最新形のサイケデリアをお聴き逃しなく。先行リリースされている"偶然生まれた"を皮切りに、全10曲を収録。

Friedrich Gulda’s piano compositions combine notated music with large improvised sections, thus fusing the classical and jazz traditions. He was one of his generation’s most significant pianists and though his compositional output is relatively small, it is nevertheless significant. Variations on ‘Light My Fire’ is his tour de force virtuoso masterpiece, while Play Piano Play beguilingly contrasts traditional classical procedure with many different jazz styles.
“Friedrich Gulda’s music is unique in the piano repertoire because it allows the pianist to be both a concert artist and a jazz musician. His music adds a new sound to the concert music world. His fantastic Variations on 'Light my Fire' is a landmark composition that rivals the greatest variation sets with its combination of not only the classical and jazz worlds, but rock and roll as well. I gravitated to Gulda's music because it is electrifying, modern, and yet beautiful and accessible.” — Martin David Jones

グッドラックヘイワ 新作アルバム「Lm」
「グッドラックヘイワの 1,0000 ルーメン☆ツアー」にて先行販売された新作アルバム「Lm」がついに一般発売開始！収録曲には映画「森山中教習所」劇中テーマ曲「シティ」のフルサイズバージョンやシングルリリースされた「ピンポンパール」、廃盤音源となっていた「てくてく様」 も収録。この 2 曲はゲストプレーヤーにキセルを迎えて再録音されたバージョン、リリースが待ち望まれていた人気曲「風見鶏」「長生き」等も収録。本作は 2000 年初頭に登場した MTR(Multi Track Recorder) の名器「AKAI DPS 16」を使って録音からミックスまでメンバーが手掛けた DIY 作品。グッドラックヘイワのエバーグリーン・サウンドを目指し、原点である 1st CD「GOOD LUCK HEIWA」(2006) と同じ録音方法を用いてマイクや録音環境を試行錯誤し制作された楽曲が収録されている。

《歌手2024》是一档音乐交流竞技节目，节目将邀请来自国内和国外的7位顶尖歌手进行歌唱竞演，在各自音乐合伙人的陪伴下，展现不同国度的音乐、文化特色，歌手们将接受来自不同年龄、不同国籍的大众听审的评价。享受音乐，收获知音。因乐相逢，拥抱世界。

上原广美，英文名Hiromi，1979年出生于日本静冈。日本新生代爵士女钢琴手，2010年上原广美加入The Stanley Clarke Trio with Hiromi & Lenny White开始北美与日本各地的巡演，2011年2月14日以The Stanley Clarke Band FEAT. Hiromi乐团的成员身份获得「第53届格莱美奖」的「BEST CONTEMPORARY JAZZ ALBUM」的殊荣。

歌手2024第一期精彩上线啦！舞台迎来豪华阵容，国内外大咖齐聚，巅峰相对！
Chanté Moore（香缇·莫）演绎经典情歌《If I Ain't Got You》，铁肺高音不断，融入高难哨音燃爆全场；那英重现金曲《默》，独特声线开口脆，情深似海，绵延不绝；二手玫瑰上头神曲《耍猴儿》，中西乐器集合！欢乐律动无限洗脑；杨丞琳挖掘岁月恋曲《带我走》，给全场带来满满回忆杀，重温深沉爱意；汪苏泷带来个人新歌《想到我们》，饱满情绪搭配催泪歌词，汪式情歌深入人心；海来阿木深情诠释《你的万水千山》，独特烟嗓诉说男儿柔情，国风笛声诉说真挚情愫。

東京藝術大学 音楽学部 器楽科 打楽器専攻を卒業。現在、ソロ活動に加えて、ceroのサポートや石若駿SONGBOOK PROJECTのメンバーなどで活躍中の打楽器奏者/シンガー・ソングライター、角銅真実のメジャー・ファースト・アルバム。石若 駿、中村大史、西田修大、マーティ・ホロベック、光永 渉、中藤有花、巌 裕美子、網守将平など、ジャンルレスに活躍する音楽シーンの注目株がバックアップ。美しく儚げなウィスパーボイスと、懐かしいようで見知らぬ風景を見せてくれる独特の歌詞の世界観、そして遊び心あふれるサウンドメイキングなど、その溢れる才能を開花させた作品です。

There are some duos which can seem as if they have been patched together. And there are others which come into being naturally and completely of their own accord. The pairing of pianist Bill Laurance and bassist/oud player Michael League is very much one of the latter; the two musicians have known each other since student days. During a chance meeting in Leeds, England, as sidemen on a one-off project, the two quickly formed a musical bond
that would grow through the formation of Snarky Puppy in 2004 and its development over years of touring together, a number of solo albums and collaborations, and finally, in 2020, the birth of their duo.
Bill Laurance and Michael League’s new duo album, “Keeping Company,” is at the opposite end of the spectrum from all the extraversion, large scale and sheer oomph of Snarky Puppy; the focus here is on a shared inner perspective. That much is apparent immediately from the choice of instruments. Laurance has cast aside electronic keyboards and concentrates on piano, acoustic in sound although the piano strings have been occasionally and lightly prepared. Michael League chooses a fretless acoustic bass guitar and the oud. An extreme contrast to the pure groove of Snarky Puppy, here he goes for a transparently sparse but atmospherically rich sound. They do just fine without the band, creating a special freedom for both participants. “The oud in itself has a specific associative space,” says Bill Laurance from the orchestral perspective of the piano. “When I compose, my aim is to transport the listener. That works with the sound of the oud. It’s not a guitar, it has something exotic about it. It’s a canvas on which you can paint a lot of things. On the first album, we discussed whether Michael should play a fretless nylon string guitar. He tried it out, but it didn’t produce the same emotion as the oud. Due to the oud being fretless, it can access a whole new world of expression and created new colours for the duo. That fascinated us.”
Their curiosity is undimmed. “Keeping Company” is the duo’s second album after the internationally acclaimed “Where You Wish You Were,” released in January 2023. The preparation phase was extremely productive. Both musicians wrote numerous sketches and compositions, with Bill Laurance alone writing up to three ideas a day for weeks on end. Finally, the abundance of new material had to be whittled down. “The first album was more about establishing a sound and exploring the dynamics. Now we want to delve deeper. There’s even more personality in the music. We also wanted to try out things we hadn’t explored before in this format, a touch of soul jazz, for example. We also made it a priority to record practically everything live, without unnecessary overdubbing. We have found a particular beauty in concentrating on what happens organically without too much extraneous thought or effort.
The whole idea of broadening horizons by taking excursions into the unknown is second nature in this partnership. Michael League, for example, has never formally studied the oud in a classical context. He knows the instrument largely from his brother, who studied it while living in Greece in the early 2000s, and is mentored by Ara Dinkjian, one of the world’s most respected masters of the instrument. But he himself has explored the short-necked lute largely from his own perspective (as encouraged to do so by Dinkjian) and therefore ornaments differently, intuitively, and with a unique accent. Bill Laurance, on the other hand, dispenses with the expansive and grand-standing aspects of the piano. He prefers cantabile melodies, rhythmically clever, clear accompaniments, and compact improvisations. The pieces themselves seem like miniatures- hints at ideas rather than final or definitive statements.
And that, as a duo still making discoveries, is all that they need to do here. “Keeping Company” is a snapshot of an unusual team, catching moments like a collection of Polaroids in sound. Bill Laurance and Michael League are still in the wonderfully inspiring phase of joint exploration. Everything is open. The music sounds spontaneous and intuitive. It has the power of the personal and builds on a friendship in which shared humour is a part of what happens naturally. Perhaps one day other players will join in. But for the time being, this intimate musical dialogue is the ideal form of artistic conversation for Bill Laurance and Michael League.