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Mikołaj Trzaska
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Tar & Feathers
CD: 19,90 zł

Młyn
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winyl: 104,90 zł

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HERBIE HANCOCK
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THE VERY BEST OF
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INNER EAR (Trzaska / Swell / Holmlander / Daisy)
The Quiet Shout. Live at Pardon To Tu

jazz/yass/impro
Kilogram, 2023

Czas trwania: 62:17

Średnia ocena klientów: -    oceń

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CD : 46,90 zł
W magazynie: na stanie
Nr kat.: 049
format : CD
liczba nośników : 1
Opakowanie : kartonowy ecopack
plik mp3 : 14,90 zł
jakość : 320 kb/s
 
plik FLAC : 24,90 zł
+ okładka : tylko okładka jpg


nr tytuł play mp3
1 SUMMER OF WAR 25:41 3,69
2 VEGE HUNTER 3:13 3,69
3 NOTHING NEW IN THE EAST 20:13 3,69
4 FLIES IN THE TAR 5:36 3,69
5 WELCOME TO THE SEA 7:35 3,69


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Mikołaj Trzaska - alto saxophon & bass clarinet
Steve Swell - trombone
Per- Åke Holmlander - tuba
Tim Daisy - drums

All compositions by Mikołaj Trzaska (ZAiKS), Steve Swell (Steve Swell Music BMI), Per-Åke Holmlander (STIM) and Tim Daisy (Spilt Music/ASCAP)
Recording during concert in Pardon To Tu Warszawa - 23.10.2023 by Bartosz Szkiełkowski
Mixing by Mikołaj Trzaska.
Mastered by Dave Zuchowski At One Room Studio



The person responsible for creating this quartet is Ken Vandermark – American saxophonist and composer. Although he doesn’t participate in the project personally, it was because of him that the musicians met for the first time in 2008 during the tour of the Resonance Ensemble that they are members of. That’s when they decided to form a group called Inner Ear. Together with Chicago drummer Tim Daisy, Mikołaj Trzaska played concerts in Germany, Poland, and the USA. The other two musicians are New York trombonist Steve Swell and Swedish tubaist Per-Ake Holmlander. The music of this peculiar quartet is nothing less but the continuation of the tradition of improvised jazz broadened with a fresh view of contemporary musicians from different countries around the world. The quartet combines various traditions: jazz, sonority, and contemporary music. When these traditions meet a new intimate music world is generated. The main idea of the group is a new form of acoustic instrumental dialogue. During the improvisation, the musicians use different types of musical narration, from the role of accompanists who build complicated compositional structures out of individual phrases to the role of soloists. Due to the search for a multiplicity of sound combinations, the borders between the instruments disappear. It often seems as if the group processed the music digitally but in reality, the musicians use only acoustic sounds. The expression of the group is
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