Category: New Release

Andrew Quint and “Takács Assad Labro” in “The Absolute Sound”

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Andy gives Takacs Assad Labro Five Stars for Sonics and for MusicJ and Helen Schlichting, executive producers “Yarlung Records hits the trifecta–engaging unfamiliar music, committed performances and spectacular sound.” This release Yarlung Records hits the trifecta—engaging unfamiliar music, committed performances, and spectacular sound.  Clarice Assad is a Brazilian-American composer/pianist, who moves effortlessly between classical, jazz, and popular idioms.  She accompanies her own scat singing on two selections (Luminous and Milton Nacimento’s Cravo e Canela) while Constellation for violin and piano features a touchingly songful slow movement.  Completely different is the slashing, angular Clash for bandoneón and string quartet.  Bryce Dessner’s quasi-minimalistic Circles is scored for the same forces, and Julien Labro, the album’s featured bandoneón virtuoso, contributes Meditation No. 1, an eight-minute reverie for this instrumental grouping as well.  Kaija Saariaho’s Nocturne, for solo violin, fits the program’s aura of anxious melancholia. The Takács Quartet is approaching their semicentennial, and Continue Reading →

Takács Assad Labro reviewed in “The Whole Note”

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“…a brilliant, wide-ranging and colourful disc”J and Helen Schlichting, executive producers The Takács Quartet was formed almost 50 years ago in 1975 in Hungary. Now based in the United States, original member András Fejér (cello) is joined by Edward Dusinberre and Harumi Rhodes (violins) and Richard O’Neill (viola). World-renowned for their performances of traditional mainstream string quartet repertoire and some contemporary works, here they expand outside the classical realm with guests Julien Labro (bandoneon/composition) and Clarice Assad (piano/vocals/composition). The seven compositions jump around stylistically yet still connect. Circles by Bryce Dessner begins with Labro’s calming bandoneon changing to fast florid virtuosic lines supported by contrasting strings with detached ascending/descending lines and rhythmic shots. Labro composed Meditation No.1 during the pandemic. The lyrical bandoneon plays held notes above string lines, tight conversations with strings, bellows shakes and tango stylings referencing Labro’s respect for Piazzolla and Saluzzi. Multi-talented Clarice Assad is represented Continue Reading →

Ron Schepper reviews Takács Assad Labro

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“…can’t help but be compelling, and Takács Assad Labro is assuredly that.  “ J and Helen Schlichting, executive producers An interesting backstory accompanies this collaboration between pianist-composer Clarice Assad, Takács Quartet, and bandoneónist Julien Labro. In truth it was Assad who jumpstarted the project when she contacted the powers-that-be at Yarlung about it. As a piece she’d created for Labro and the string quartet was already being performed by them, she thought a wonderful recording could accrue from an album featuring it, pieces by Labro and Bryce Dessner, and another Assad was developing for violin and piano. Once the label signed on, steps were taken to secure Segerstrom Center for the Arts in Costa Mesa as the recording site and reserve dates in April 2023 for the sessions. The resultant release augments single pieces by Dessner and Labro and three by Assad with treatments of material by Milton Nascimento and Kaija Saariaho. Continue Reading →

Jacob Heilbrunn writes about “Absolutely Astounding New LPs From Yarlung Records”

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–Jacob Heilbrunn Tracking Angle VIOLINIST PETTER IIVONEN AND MEZZO-SOPRANO SASHA COOKE EACH DELIVER MESMERIZING PERFORMANCES Everything about Yarlung Records’ new album featuring the violinist Petteri Iivonen, the concertmaster of the Paris Opera, screams retro. The cover, a closeup photo of Iivonen, is in black-and-white, the violin is a 1767 Ferdinandus Gagliano, and the performance itself was recorded with an AKG-C-24 microphone with the original brass surround CK12 tube. But the LP itself could not sound more contemporary—deathly quiet, transparent and lucid. My 45rpm pressing had nary a tick or pop when I played it on my TechDAS Air Force Zero turntable. All the virtues of digital without any of its nasty artifacts, in other words, are present. The result is a humdinger of a recording of Bach’s Partita No. 2 in D minor. Bach wrote the Sonatas and Partitas for solo violin in 1720, when he was thirty-five-years-old and court Continue Reading →

Earth & Wood: “Flawless”

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Writing about Yarlung executive producers Diane and Craig Martin‘s most recent release Earth & Wood, featuring Smoke & Mirrors percussion ensemble, page 29 of Tone Audio Issue No. 116 celebrates: Yarlung Records’ latest is not only a flawless recording, it’s incredibly engaging on a musical level as well. This is one to keep the beat going as we get into the issue! Many thanks to Tone Audio‘s maestro Jeff Dorgay and Abey Fonn from Elusive Disc for this wonderful splash. More information about Smoke & Mirrors percussion ensemble and their Yarlung Releases available on the website.

Michael Fremer writes about Earth & Wood: “Sonically Spectacular”

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A Sonically Spectacular Percussion Record Worth Repeated Plays —Michael Fremer, Tracking Angle COMPOSITIONS BY LOU HARRISON AND STEVE REICH PLUS A WORLD PREMIER CO-COMMISSIONED BY THE ENSEMBLE Recorded during the same 2011 and 2012 Zipper Hall, Los Angeles sessions that produced the remarkable percussion record “Smoke & Mirrors” (Yarlung 17255-195V), “Earth & Wood” is another sonic spectacular recorded directly to tape using a single AKG C24 stereo microphone (with Elliot Midwood mic amplification). The one-mike recording technique required “just so” placement of both it and the seven member Smoke and Mirrors Percussion Ensemble that performed the intricate pieces “without a net”. The quartet tackles on side one of the 45rpm LP Lou Harrison’s early 1940’s piece “Canticle No. 3” for ocarina (Italian for “little flute”) and percussion. Joe Beribak plays an earthen Aztec/Mayan ocarina, Derek Tywoniuk adds steel guitar to the exotic assortment of percussion instruments that include both standard Continue Reading →

Raymond Tuttle writes about “SYMMETRIĀ PARIO” in Fanfare.

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Composers include J. S. Bach, Saariaho, Stucky, Ravel, Grafe, Debussy, Stravinsky and Prokofiev.  Available at Yarlung Records, HDTracks, Amazon, Spotify, Apple This album “reflects on the nature of music itself—what is it, and what is its relationship to quantum mechanics? On Symmetriā Pario (literally, “I give birth to symmetry”), executive producer Russell Ward alternates recordings previously released on the Yarlung Records label with brief sonic representations of subatomic particle generation and decay. The latter are derived from files created at CERN, the European Organization for Nuclear Research. “This is music in which human intention and human preference play no role, and, as such, I think that John Cage would have appreciated it. “Apart from that, this CD is a sampler for what Yarlung Records has to offer, and what it has to offer is unusual and attractive. I particularly enjoyed the two movements from Robert Schumann’s arrangement, for violin and Continue Reading →

Tim Bostwick writes about Laura Strickling’s “Confessions”

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Confessions is available at Yarlung Records, HDTracks, Amazon, Spotify and Apple. Tim Bostwick interviewed soprano Laura Strickling for NATS in 2020, asking her thoughts on surviving as a musician during Covid-19.  It is a terrific interview, and you can find it here.  Toward the end of Tim’s article, he reviews Laura’s new album Confessions, available as a physical CD, in high res as a download and on myriad streaming services.  The article describes the album in glowing terms: Confessions includes “four song cycles and two additional numbers. Clarice Assad’s Confessions provides the title and the initial cycle. Next, Songs of Lament and Praise by composer, visual artist, and singer, Gilda Lyons, followed by Tom Cipullo’s How to Get Heat Without Fire. Amy Beth Kirsten’s stand-alone To see what I see gives a powerful setting to Shakespeare’s Ophelia from Hamlet. In a lush portrayal of Sara Teasdale poems, Michael Djupstrom’s Three Continue Reading →

Read Jeff Wilson’s review of Yuko Mabuchi Trio in The Absolute Sound

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If the eponymous debut album by the Yuko Mabuchi Trio can be seen as a coming out party, it’s hard to imagine the musicians squeezing anything more out of the event. The nearly hour-long set includes some well-known jazz standards, including a gorgeous On Green Dolphin Street and an exuberant romp through Sonny Rollins’ St. Thomas. During a solo piano medley, Mabuchi’s reconstruction of Take the “A” Train displays a fertile imagination and a confident left hand. A sly reading of Sara Bareilles’ Seriously shows Mabuchi’s ability to spot a pop song that translates nicely into the jazz idiom. Her interpretive skills also surface on a composition by TAS music reviewer Mark Lehman, Waltz Noir; here the trio uses a classical composition as a launch pad for some highly evocative noir jazz. If Mabuchi’s playing can be described as tasteful, economical, and lyrical, it should also be noted that her Continue Reading →

Peter Rutenberg reviews Yuko Mabuchi debut on Yarlung Records

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Review: Yuko Mabuchi, piano; Del Atkins, bass; Bobby Breton, drums by Peter Rutenberg Yuko Mabuchi Trio’s new CD on Yarlung Records makes great listening! They play several jazz standards with strength and authority, each with distinct colors and approaches. Lush harmonies suggest a sense of fuller orchestration, in the same vein as Brahms’ piano works, while fluid rhythms refresh at every turn. The trio exhibits consummate musicality and technique – with artful phrasing led by the pianist, a lyrical sensuousness in the bassist’s melodic counterpoints with the piano, and the drummer’s intelligent vocabulary and broad sweep tying it all together. Three brief points exemplify these qualities: Take the “A” Train roars into Harlem and beyond, stylistically speaking; the Japanese folksong Sakura (Cherry Blossom) finds delicate color and nuance in Debussy-esque harmonies; and the Latin rhythm tropes of the opening track, What Is This Thing Called Love, return in full regalia Continue Reading →