The group, whose name is borrowed from Bratsch (viola), the rhythmic instrument orchestras Gypsy, was born of the encounter between Dan Gharibian (bouzouki, guitar and vocals) and Bruno Girard (violin and vocals). They will be joined by Pierre Jacquet to the double bass and Franзois Castiello on accordion and vocals. The family is finally reunited with the arrival of Nano Peylet the clarinet and vocals.
The 1993 live release Bratsch: Gypsy Music From The Heart Of Europe [Network 55.832] is the stuff of legend among connoisseurs - a deft celebration of vivaciousness, unhinged improvisations and telepathic ensemble work clicking like the Dream Team. It stems from not only years of performing together but also close personal friendships. Marvelous tunes act like excavation tunnels. They reach deep into the soil of Kletzmer, Rom, Gitan, Manouche and Sinti tradition to uncover the caves hiding their forgotten treasure. Like multi-hued rays of refracted light, their brilliance again fills this domain in recognizable likeness while also modulated by contemporary influences and individual spirits.

In October 1969 violinist Jean-Luc Ponty recorded a notable live set with keyboardist George Duke, bassist John Heard and drummer Dick Berk that gained him a lot of exposure in the U.S. He had actually played at Donte's in Los Angeles with Duke (on acoustic piano), Heard and drummer Al Cecchi the previous March. Four of the songs came out on a 1981 LP. This CD reissues that program and then doubles it with four more songs from the same engagement. This is a release that is particularly recommended to listeners who are not interested in Ponty's many fusion projects for his playing here is relatively straightahead and sounds influenced by the work of the mid-1960's Miles Davis Quintet, and not just because he performs Ron Carter's "Eighty-One." Also of great interest are the solos of Duke, who would eventually become a funk keyboardist and then a pop producer. In this context he sounds like a mixture of McCoy Tyner and Herbie Hancock. (Scott Yanow - allmusic; 4,5/5)

У некоторых дисков в моей коллекции довольно странная судьба. Хотя, быть может, это не совсем верное определение. Не судьба у них странная, с ней у них как раз все в полном порядке, у них не совсем традиционный путь из «откуда-то», ко мне на полку. Обычно ведь как все происходит? Прежде чем принять решение о том, что тот или иной альбом тебе действительно необходим в коллекции, ты его долго и внимательно слушаешь, иногда мене внимательно и совсем не долго, взвешиваешь все за и против, смотришь на цену продукта, задаешь себе совсем уж казалось бы нелепый вопрос, «а после покупки, ты хотя бы еще один раз поставишь этот диск на проигрыватель?», еще раз внимательно изучаешь обложку и, наконец, принимаешь решение. Так что же «наш герой»? Что-то, где-то слышал, что-то где-то читал. И вот, встретив его, достаешь кошелек и покупаешь, практически не слушая. На удачу. В надежде, что предчувствие тебя не обманывает. Не обманывает! На мой вкус очень даже очаровательно. Франция+джаз+классика+авангард+талант= Daniel Mille "Entre Chien Et Loup".

Entre chien et loup ("Between dog and wolf"; translated here as Owl-Light ) is a remarkable album, most notably because it hovers between classical and jazz, a realm already explored to some degree by Ellington and the artist/composers on the now hard-to-find LP The Birth of the Third Stream. In this sense the original French title speaks volumes, as the music lies somewhere between the domesticated pet that is classical and the wild, unruly wolf that is jazz – speaking in the most general metaphorical terms, of course. The spontaneous appears alongside the structured, like the way the breezy piano/accordion number "Danse 7" comes before the four-part suite entitled "Les Errances d’une Valse" written in 11/4 time.

Jazz accordion-master, Van Damme plays much more than cool/accordion mush. In fact, he was an innovator during 60s post-bop. He is an unsung hero. ~ Michael G. Nastos, All Music Guide

Предлагаю послушать записи знаменитого бопового басиста. В сессиях принимали участие известнейшие музыканты.

Maxine Sullivan always had a cheerful and subtly swinging style. This formerly rare release (originally on the Period label) finds her interpreting a dozen numbers that have the lyrics of Andy Razaf including such classics as "Keeping out of Mischief Now," "Stompin' at the Savoy," "Honeysuckle Rose," "Memories of You" and "Ain't Misbehavin'." Joined by a sextet reminiscent of John Kirby's group of 15 years earlier (and featuring such Kirby alumni as trumpeter Charlie Shavers and clarinetist Buster Bailey), Sullivan is in top form on this delightful session.
Scott Yanow, AMG

Blame it on Bertrand Tavenier’s ‘Round Midnight or any other mythologizing bit of media: Expatriate jazz musicians still enjoy a healthy amount of manufactured mystique. Pianist Horace Parlan is among this celebrated cadre and has been for years. A resident of Denmark for decades, he’s quietly been composing and performing music in local clubs to adulatory audiences in a style that strays little from his work as leader and first call sideman in the 1950s and 60s. Recorded in the intimate company of altoist Christina von Bьlow and bassist Jesper Lundgaard in Parlan’s home, the program is tilted heavily toward standards. A pair of Parlan originals slips right in beside familiar pieces by Strayhorn and Miles among others. Parlan’s approach is measured, more low flame simmer than blow torch bluster and complementary to the domestic surroundings. The absence of drums also aids in this regard, enhancing the chamber jazz elements of the instrumentation and giving von Bьlow a springy, but uncluttered surface with which to etch her watercolor melodic lines. She rarely deviates too drastically from the themes, phrasing in a light aerated caresses that suggests an amalgam of Benny Carter and Bird.
Parlan’s fingers work in careful collusion and at times his patterns feel a shade too premeditated. Lundgaard anchors the bottom, amiable to the occasional solo slot, but seemingly just as happy to amble along beside his colleagues. Highlights of the set include an eloquent rendering of ”Everything Happens to Me”, where the playfully pessimistic lyrics are virtually sung via von Bьlow’s choruses, and a lengthy concluding stroll through Strayhorn’s beatific ballad ”Lotus Blossom”. Parlan’s long since progressed past the point of proving himself. That palpable self-awareness and confidence makes for a performance refreshingly free of ego or agenda. These three are simply playing for the pure joy of it and that admirable, angst free incentive channels beautifully into the music. It also effectively dispels the aura ex-pat mystique surrounding Parlan’s person and reveals a man at peace with himself and his profession.

Краткая биография выдающейся джазовой вокалистки