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Lenny MacDowell

Flautist Lenny MacDowell is situated in Germany, where he’s a fundamental element of the local even jazz and modern music scenes, being a performer, a manufacturer, so when owner from the eclectic and productive Blue Fire record label. Even though some of his albums possess much crossover pop impact, MacDowell’s primary design involves components of ambient music, globe music, jazz, and modern, combined in differing percentages from record to album. Delivered Friedemann Leinert, a name he still sometimes uses being a manufacturer and arranger, MacDowell was classically educated being a flautist before obtaining mixed up in fruitful German intensifying music scene from the ’70s. Stints in lesser-known Krautrock and intensifying jazz rings like Holderlin and CONTRACEPTIVE saw him with the ’70s, but, by the first ’80s, Leinert got struck from his very own and followed the name Lenny MacDowell. (In fact, on many sleeves, it’s spelled “Lenny Macintosh Dowell” for no obvious cause.) MacDowell’s initial solo record was 1984’s Stability of Power, an artsy mixture of jazz, rock and roll, and modern offering the side-long name track which was obviously heavily motivated by Manfred Eicher’s important ECM Information imprint. From then on debut, MacDowell changed his focus on launching Blue Fire Records, spending the majority of his period producing, organizing and playing on other’s projects; in addition to releasing the casual duet record like 1989’s Fall Breathing, a minimalist, seriously new age-influenced cooperation with keyboardist Christoph Spendel; and arranging Blue World, an on-again, off-again group co-led by percussionist Hakim Ludin with an increase of of a global music emphasis. For the time being, MacDowell also released sporadic single records just like the unsatisfactory Flute Power, a misguided stab at crossover jazz-pop marred by awful covers of tunes by Jethro Tull as well as the Easybeats, and a more interesting string of progressively globe music-influenced, fresh age-oriented albums comparable to trumpeter Jon Hassell’s use Brian Eno; these included 1995’s Soaring Torso, 1996’s Radioactive (which include both new materials and reworked variations of older tunes), and 1997’s amazing The Farthest Shoreline.

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