Help
Skip to main content

John Law - Re-Creations Vol.3

John Law

At first hearing, you may possibly be more confused than John Law, who grabs all this material and more, and adapts it to his own ends. The techniques employed vary from track to track, sometimes...

John Law - Re-Creations Vol.3

John Law

Purchase product

CD

$15.25

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

Download

From$10.00

Download

Audio formats guide

44.1 kHz, 16 bit, FLAC/ALAC/WAV

$13.00

320 kbps, MP3

$10.00

No digital booklet included

Stream now lossless, 44.1 kHz, 16 bit
Fair Play.
We pay more royalties to artists and composers than any other streaming service with our innovative Fair Play pay-per-second model
We pay artists and composers fairly with our pay-per-second model
At first hearing, you may possibly be more confused than John Law, who grabs all this material and more, and adapts it to his own ends. The techniques employed vary from track to track, sometimes...

About

Volume 3 of pianist John Law's Re-Creation Series. Featuring Sam Crockatt on saxophones, bassist James Agg and Billy Weir on drums. <p>Recorded at Artesuono, by ECM engineer Stefano Amerio, this quartet recording starts with a gentle drum and bass version of Satie's "Gymnopdie" and closes with John Lennon's "Imagine". In-between there are classic jazz and pop tunes creatively rearranged, including a baroque re-working of "Summertime", a multi-layered, shimmering take on "Over The Rainbow", an outer world version of Radiohead's "Pyramid Song" and a schizophrenic, rollercoaster ride through the Beatles' "Ob-La-Di, Ob-La-Da", alternating Latin lounge with wild swing and freely improvised blowing! <p>The whole recording is mixed immaculately at the world-famous Real World Studio.

Contents and tracklist

Awards and reviews

February 2020

At first hearing, you may possibly be more confused than John Law, who grabs all this material and more, and adapts it to his own ends. The techniques employed vary from track to track, sometimes changing the time-signature or adding what seems an irregular ostinato, and only infrequently altering chord-sequences.
View download progress