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Joep van Leeuwen & Gero Korner | Jazz Guitar Meets Church Organ

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Jazz: Third Stream Jazz: Contemporary Jazz Moods: Type: Improvisational
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Jazz Guitar Meets Church Organ

by Joep van Leeuwen & Gero Korner

A modern day jazz guitar in duo with a 17th century church organ exploring the many ways to play jazz in this unpareil pairing. 4 **** stars Down Beat Review & on Down Beat "Best of 2012" list!
Genre: Jazz: Third Stream
Release Date: 

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  Song Share Time Download
1. Three Part Jazz Fugue (feat. Gero Korner)
Joep Van Leeuwen
5:49 album only
2. Where, Oh Where (feat. Gero Korner)
Joep Van Leeuwen
6:21 album only
3. Interlude I (feat. Gero Korner)
Joep Van Leeuwen
2:13 album only
4. Who’s on First? (feat. Gero Korner)
Joep Van Leeuwen
5:08 album only
5. Gentle Clash (feat. Gero Korner)
Joep Van Leeuwen
6:03 album only
6. Interlude II (feat. Gero Korner)
Joep Van Leeuwen
1:55 album only
7. Shall We Beloved (feat. Gero Korner)
Joep Van Leeuwen
4:49 album only
8. Johnny B.’s Good (feat. Gero Korner)
Joep Van Leeuwen
5:25 album only
9. Interlude III (feat. Gero Korner)
Joep Van Leeuwen
2:21 album only
10. Moonrise (feat. Gero Korner)
Joep Van Leeuwen
4:39 album only
11. And Then Some (feat. Gero Korner)
Joep Van Leeuwen
5:06 album only
12. Dance to This (feat. Gero Korner)
Joep Van Leeuwen
5:05 album only


Album Notes
A Real Meeting

Isn’t this asking for trouble, the encounter of two completely different instruments on this CD? The jazz guitar, a stringed instrument with its dynamic possibilities and the pipe organ with its long tradition in polyphony and church music?
Not in the hand of these two great musicians. They not only unite their instruments, they also composed their own music. These twelve original pieces conclusively define the stylistic range of this rare (maybe even unique) instrumental combination. Composed sections give way to improvisations and new sounds are created when electronics are introduced into the proceedings. A new exciting music arises from this mixing of jazz, some rock elements and composing techniques derived from classical music.
There is improvisation on all pieces. What changes is the way of improvising, its kind and manner. Almost all pieces have a theme. The harmonies underpinning the melody become a point of departure for melodic variations. These chords can be functional or non-functional harmony, almost impressionistic in places. The improvisation then, can be tonal or they can deny the chords and be bitonal or even atonal. Then there are pieces where the improviser only has one chord available or rather a scale. That is referred to as modal improvisation in jazz parlance. When the guitar synthesizer comes in, the improvisations are with sounds. Melodies play no role then. Manipulating sounds rather than pitch is the key word here.
This record is a comprehensive look at all possibilities of combining (jazz)guitar and pipe organ within the context of jazz and improvisation. It is not a nonchalant jam, a casual get-together to ad lib on some existing jazz standards. It is a thorough research of a new musical world, examining all harmonic, rhythmic and sonic possibilities. It is a real meeting, no superficial acquaintance.

Trouble was put aside. A serious and joyous encounter arose!

(The CD comes with a 32-page booklet that describes the music in-depth).



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