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Articles on this Page
- 03/09/12--18:20: _Graham Collier Musi...
- 03/10/12--17:09: _Janos Sebestyen - B...
- 03/10/12--17:10: _Paper Lace - And An...
- 03/11/12--17:36: _Go Right - Jazz Fro...
- 03/12/12--17:45: _The Soft Machine - ...
- 03/13/12--17:05: _Eberhard Weber - Si...
- 03/14/12--17:35: _Robert Goulet - My ...
- 03/14/12--17:36: _Mohamed Al Arabi - ...
- 03/14/12--17:37: _George Crumb - Song...
- 03/15/12--17:28: _Fela Ransome-Kuti a...
- 03/16/12--17:04: _Karl Berger and Fri...
- 03/17/12--17:23: _Guillaume Du Fay - ...
- 03/17/12--17:23: _One In A Million (S...
- 03/18/12--17:01: _Adam Makowicz Trio ...
- 03/19/12--17:06: _Popol Vuh (Germany)...
- 03/20/12--17:10: _Larry Coryell - Spa...
- 03/21/12--17:49: _Cornell Campbell (J...
- 03/21/12--17:50: _Henryk Górecki - Pi...
- 03/21/12--17:51: _Jali Musa Jawara (N...
- 03/22/12--17:42: _Ramases (UK) - Spac...
- 03/09/12--18:20: Graham Collier Music - Songs For My Father, 1970 (Modern Jazz)
- 03/10/12--17:09: Janos Sebestyen - Bach concertos after Vivaldi
- 03/11/12--17:36: Go Right - Jazz From Poland 1963-75
- 03/12/12--17:45: The Soft Machine - Jet-Propelled Photographs, 1967 (Psych)
- 03/13/12--17:05: Eberhard Weber - Silent Feet, 1977 (Jazz/Fusion)
- 03/14/12--17:36: Mohamed Al Arabi - Old Cairo, 1966 (Middle Eastern Traditions)
- 03/16/12--17:04: Karl Berger and Friends - Around, 1990 (Jazz/Post-Bop)
- 03/17/12--17:23: Guillaume Du Fay - Messe fuer Heiligen Antonius von Padua
- 03/17/12--17:23: One In A Million (Scotland) - Double Sight, 1967 (Psych)
- 03/18/12--17:01: Adam Makowicz Trio - The Music of Jerome Kern, 1992 (Jazz)
- 03/19/12--17:06: Popol Vuh (Germany) - Einsjäger & Siebenjäger, 1974 (Kraut)
- 03/20/12--17:10: Larry Coryell - Spaces, 1969 (Jazz Rock/Fusion)
- 03/21/12--17:49: Cornell Campbell (Jamaica) - I Shall Not Remove, 1975-1980 (Reggae)
- 03/21/12--17:51: Jali Musa Jawara (Northern Guinea) - Soubindoor, 1988 (African Folk)
- 03/22/12--17:42: Ramases (UK) - Space Hymns, 1971 (Prog Folk)
1. Song One (Seven-Four) 9:34
2. Song Two (Ballad) 5:38
3. Song Three (Nine-Eight Blues) 7:52
4. Song Four (Waltz in Four-Four) 7:24
5. Song Five (Rubato) 4:44
6. Song Six (Dirge) 3:37
7. Song Seven (Four-Four Figured) 9:13
8. Bonus 1 (Mono) 6:59
9. Bonus 2 (Mono) 14:05
Alan Skidmore - Sax (Tenor)
Tony Roberts - Sax (Tenor)
Alan Wakeman - Sax (Soprano), Sax (Tenor)
Bob Sydor - Sax (Tenor)
Harold Beckett - Flugelhorn, Trumpet
Derek Wadsworth - Trombone
Philip Lee - Guitar
John Taylor - Piano
Graham Collier - Bass
Chick Webb - Drums
"Bassist, composer, and bandleader Graham Collier may have gotten the short shrift early in his career for not taking the same iconoclastic position Evan Parker and Derek Bailey did: 'Forget American jazz, let's forge something uniquely British' (their pretensions were European though they weren't). His contributions to the jazz canon are finally being seen in light of what they actually are: very forward-looking works that extend the jazz boundary into new chromatic and harmonic regions and have an identity that is distinctly non-American. Collier's modalism is so far outside the norms as to speak an entirely different architectural language. Songs for My Father featured a Collier septet with Harry Beckett on trumpet, pianist John Taylor, saxophonists Alan Wakeman and Bob Sydor, and drummer John Webb. This unique look at shaping traditional jazz narratives in new modal and chromatic lights brings into consideration all of the developments of Coltrane's sonic inclusiveness (which Parker and Bailey did too, though they tried to minimize that aspect) and a dramatic range that leapt off from Gil Evans. The album's opener, 'Song One,' in elastic 7/4, is a case in point, where front lines collapse a hard bop figure into thirds and then extend the back of the line, where the horns become harmonic planks and Taylor moves around the time signature in counterpoint to the rhythm section. Wakeman's soprano solo is just breathtaking. The moving Spanish motif at the opening of 'Song Two (Ballad)' is part of Collier's envisioning of a music he would later revisit with Day of the Dead. The shimmering angularity of 'Song Five (Rubato)' is one of Collier's benchmarks as a jazz composer; his utilization of the interval as a way to stretch time in order to allow a melody to impose itself on the frame is remarkable. In sum, Songs for My Father is the first evidence listeners have of the maturing Collier, moving jazz aesthetics around in order to more fully articulate his sophisticated palette."
Songs For My Father
Songs For My Father
1. Concerto for solo organ No. 2 in A minor 12:13
2. Concerto for solo organ No. 3 in C major 20:05
3. Concerto for solo organ No. 5 in D minor 11:17
4. Concerto for solo keyboard No. 1 in D major 8:38
5. Concerto for solo keyboard No. 5 in C major 10:36
6. Concerto for solo keyboard No. 9 in G major 11:37
Janos Sebestyen - Harpsichord, Organ
"Sebestyén was born in Budapest and attended the Franz Liszt Academy of Music, where his professors included organists János Hammerschlag and Ferenc Gergely, pianist István Antal, and composers Ervin Major and Ferenc Szabó. He graduated in 1955 with an organ diploma and later attended the harpsichord class of Zuzana Růžičková in Prague. His concert tours took him to Russia, India, the Philippines, Taiwan, Japan, the United States and nearly every country in Europe.
In 1970 he established the first harpsichord class at the Franz Liszt Academy of Music. He was invited to serve on juries for organ and harpsichord competitions in France, the Czech Republic, Poland, Italy and Switzerland. In Hungary he served as President of the Jury for the International Liszt Organ Competition in 1983, 1988 and 1993, and at the 1st International Harpsichord Competition, Budapest, in 2000. From 1950 on, he worked at the Hungarian Radio in various capacities. Between 1969-94 he was senior music producer and from 1962 until 2007 he hosted a regular series of broadcasts documenting Hungarian musical life and history. He later contributed a monthly program to Hungarian Catholic Radio."
Bach concertos after Vivaldi
Bach concertos after Vivaldi
1. Billy, Don't Be a Hero 4:05
2. Hitchin' a Ride '74 2:48
3. I Did What I Did For Maria 3:52
4. Mary In the Morning 3:07
5. Sealed With a Kiss 3:03
6. Bye Bye Blues 2:44
7. Happy Birthday Sweet Sixteen 3:03
8. The Night Chicago Died 3:33
9. Love Song 4:21
10. Dreams Are Ten a Penny 2:32
11. Love You're a Long Time Coming 2:52
12. Cheek To Cheek 3:25
13. Celia 2:16
14. Can You Get It When You Want It 3:35
15. The Black Eyed Boys 3:49
16. Jean 2:19
17. So What If I Am 3:26
18. Himalayan Lullaby 2:38
1. In the Morning 2:51
2. Stoney End 3:19
3. Lady 3:43
4. I've Got You That's Good Enough For Me 3:21
5. Threw My Love Away 4:24
6. Martha (Whatever Happened) 4:22
7. Games People Play 3:44
8. Please Be My Friend 3:05
9. You Can't Touch Me 2:38
10. Elsie 3:16
11. Like a Rolling Stone 6:11
12. Early One Morning 2:57
13. Ragamuffin Man 2:52
Phil Wright - Drums, Vocals
Cliff Fish - Bass, Vocals
Chris Morris - Guitar (Rhythm), Vocals
Carlo Santanna - Guitar, Vocals
Michael Vaughan - Guitar, Vocals
Dave Manders - Guitar, Vocals
Roy White - Guitar, Keyboards, Vocals
"Paper Lace was a classic one-hit wonder band. In America, anyway. In the U.K. they were a classic two-hit wonder.
Formed in 1969 in Nottingham, England, and made up of Michael Vaughn, Chris Morris, Carlo Santanna, Cliff Fish, and Phillip Wright, Paper Lace was one of hundreds of pop bands in England looking for the big time while slogging their way through small club gigs and brief television appearances. Their big break came in 1974 when their version of the tear-jerking bubblegum tune 'Billy, Don't Be a Hero' won top honors on Opportunity Knocks, a nationwide talent-show on ITV. They rode that song all the way to the top of the U.K. charts but were aced out of any sales in the U.S. by Bo Donaldson & the Haywoods' transcendent version. Their next single,'The Night Chicago Died,' did manage to hit the number one slot on the U.S. charts (number three in the U.K.) and then that was it. The group released two albums, Paper Lace and Other Bits of Material in 1974 and First Editon in 1975, and did a quick fade from the public eye. In 1978 they surfaced briefly with a singalong version of 'We've Got the Whole World in Our Hands' with their local football team, Nottingham Forest FC, and the disappeared forever."
And Another Bits Of Material/First Edition
And Another Bits Of Material/First Edition
1. Jerzy Milian - Wsrod Pampasow
2. Novi Singers - Torpedo
3. Novi Singers - All Together
4. Andrej Kurylewicz Quintet - Nyamaland
5. Novi Singers - Misfit
6. Novi Singers - My Own Revolution
7. Jazz Carriers - Mala Septyma (Minor Seventh)
8. Aleksander Mazur Quartet & Novi Singers - It Doesn't Matter
9. Novi Singers - Christine
10. Novi Singers - Next, Please
11. Andrej Kurylewicz Quintet - I Won't Stay With You
12. Novi Singers - Five, Four, Three
13. Jerzy Milian - Choreographic Sketches
14. Zbigniew Namyslowski Quartet - Fair Lola
15. Wojciech Karolak - Why Not Samba
16. Novi Singers - The Runway
17. Novi Singers - Oh, Woman
18. Novi Singers - Jeansy
Go Right - Jazz From Poland
Go Right - Jazz From Poland
1. That's How Much I Need You Now 2:29
2. Save Yourself 2:45
3. I Should've Known 7:30
4. Jet Propelled Photograph aka Shooting at the Moon 2:33
5. When I don't Want You 2:49
6. Memories 2:59
7. You Don't Remember 3:45
8. She's Gone 2:11
9. I'd Rather Be With You 3:40
David Allen - guitar, vocals
Mike Ratledge - keyboards
Kevin Ayers - bass, vocals
Robert Wyatt - drums, vocals
"The latest available CD version of a title which has been repackaged and retitled several times over the last 30 years. Recorded in London in April 1967 and produced by the legendary Giorgio Gomelsky, these nine demos feature the original Soft Machine lineup of Robert Wyatt, Kevin Ayers, Mike Ratledge, and Daevid Allen. Although not intended for release, these rough but accomplished performances show the band at their most pop- and song-oriented. Not far removed from Syd Barrett-era Pink Floyd, the jazzy chord changes, unpredictable bursts of scat singing, glib free-association lyrics, ominous buzzing organ, and Robert Wyatt's soulful rasp convey the freewheeling abandon and giddy high spirits that characterized the best early British psychedelia. For similar but more elaborately produced relics from the Daevid Allen lineup, check for the three tracks on the hard-to-find triple LP Triple Echo."
1. Seriously Deep 17:48
2. Silent Feet 12:10
3. Eyes That Can See in the Dark 12:20
Charlie Mariano - Flute, Sax (Soprano), Saxophone
Rainer Bruninghaus - Keyboards, Piano, Synthesizer
Eberhard Weber - Bass, Cello
John Marshall - Drums
"In the late '70s and '80s, bassist Eberhard Weber's music epitomized the ECM sound. Emphasizing long tones, contrasting sound with silence and heading a quartet comprised of Charlie Mariano on soprano and flute, keyboardist Rainer Bruninghaus and drummer John Marshall, Weber performs three stretched-out originals including the 17½-minute 'Seriously Deep.' This music moves slowly and requires a lot of patience by the listener."
1. My Love Forgive Me
2. Now That It's Ended
3. Quiet Nitht Of Quiet Stars
4. Softly, As I Leave You
5. What Kind Of Fool Am I?
6. What Can You Do_
7. Just Say I Love Her
8. Two Different Worlds
9. Welcome Home Angelina
11. Too Good
12. This Is All I Ask
13. I Talk To The Trees
14. The Nearness Of You
16. Another Time, Another Place
18. Ebb Tide
19. The Moon Was Yellow
20. You Stepped Out Of A Dream
21. Two People
24. Stella By Starlight
25. If Ever I Would Leave You
26. Summer Sounds
"His face was more famous than his voice, but Robert Goulet recorded a string of popular albums for Columbia during the 1960s, striking the pop charts with several hits and earning a 1962 Grammy Award. Born in 1933 in Lawrence, MA, Goulet was raised in Edmonton, Alberta, where he first studied acting and singing as a teenager. He appeared on Canadian television in the early '50s, but moved to New York and by the end of the decade was fit into a prime Broadway role: Sir Lancelot, in Lerner & Loewe's Camelot (with Julie Andrews and Richard Burton). A starring role in several films proved less than successful, however.
He began singing in the early '60s as well, and after an appearance on The Ed Sullivan Show, Goulet signed to Columbia in 1962. His single 'What Kind of Fool Am I?' became a modest hit later that year, and early in 1963 he won a Grammy for Best New Artist. Like many vocal artists of the day, however, Goulet became a bankable LP seller rather than a chart success, and though he made a surprise Top 20 showing of 'My Love, Forgive Me (Amore, Scusami)' in 1964, it was his last hit. The album My Love Forgive Me reached number five and became a gold seller, and Goulet continued recording until 1970, when he moved into concert and television work.
In 1993, Goulet mounted a production of Camelot, this time trading roles to play the more aged King Arthur. That same year he appeared, in animated form, on an episode of The Simpsons. In 1996 he starred in the film Mr. Wrong and three years later he was the singing voice of Wheezy the Penguin in the animated feature Toy Story 2. The year 2000 found him in a revival of South Pacific and in 2005 he was back on Broadway starring in La Cage aux Folles. In 2006 he was given a spot on Canada's Walk of Fame. A year later he was featured in a bizarre and hilarious commercial for the Emerald Nut Company that aired during Super Bowl XLI. He died in late 2007 while awaiting a lung transplant for relief from a rare form of pulmonary fibrosis."
My Love Forgive Me/Sincerely Yours...
My Love Forgive Me/Sincerely Yours...
1. Madam Bithib 4:45
2. Hayrana Leh 4:00
3. Hagartak 5:12
4. Min Azzibak 4:16
5. Khatwit Habibi 4:24
6. Ansak 6:33
7. Khayif Agoul 6:54
8. Koulli Dah Kan Eh 4:49
9. Leh Tilawwiini 5:04
10. Tahmilah 3:44
11. Ghouloubt Asaleh 4:44
12. Rak Al Habib 5:58
13. Lamma Anta Nawi 3:55
14. Emta Al Hawa 6:02
Om Kalsoum Orchestra
Mohamed Al Arabi - percussion, leader
"The Mohamed Al Arabi Ensemble presents Old Cairo, a taste of the rich musical culture of Cairo. The masterful musicianship of the Ensemble coupled with the brilliant works of legendary composers create a nostalgic experience which takes you to the 1950's-1960's, the golden era of Egyptian music. Conducted and recorded by the late Mohamed Al Arabi in 1966, the percussion leader and soloist of the Om Kalsoum Orchestra, Old Cairo preserves the sophistication and elegance of classical Arab music."
1-11. Songs, Drones and Refrains of Death, for baritone, electric guitar & double bass, amplified piano & harpsichord & 2 percussionists
12-19. Quest, for guitar, soprano sax, harp, bass & 2 percussionists
Nicholas Isherwood - Baritone (Vocal)
Art Nouveau Ensemble:
Hugo Read - Sax (Soprano)
Silke Aichhorn - Harp
Peter Dagenhardt - Harpsichord, Piano
Alexander Swete - Guitar
Francisco Obieta - Double Bass
Hans-Peter Achberger - Percussion
Carmen Erb - Percussion
Fuat Kent - Conductor
"Nearly contemporary with his acclaimed masterpiece Ancient Voices of Children (1970), George Crumb's Songs, Drones, and Refrains of Death (1968) bears many similarities with it and may be considered as cut from the same cloth, since both cycles are part of Crumb's larger concentration on setting the poetry of Federico García Lorca. Along with Night Music I (1963), the two books of Madrigals (1962-1969), and Night of the Four Moons (1969), this dark work also represents the development of Crumb's mystical style, which was refreshingly original for the time in its allusiveness and eclectic approach. This 2006 Naxos release features a brooding performance by baritone Nicholas Isherwood and Ensemble New Art, conducted by Fuat Kent, which captures the emotional currents of the piece, if not with the finest details or best sound. At several points the recording seems muted and unclear in direction, as if acoustical baffles in the Radiostudio Zurich absorbed too much of the unamplified sounds, and made the already sparse textures seem even more rarefied and vague. Of course, one can always turn up the volume to hear the quietest bits, but this is not a workable solution for the whole piece, with its sudden fortissimo outbursts; listening on headphones may be the only viable option. Quest (1994), a sextet that partakes of the same nocturnal moods as Songs, though without a Lorca text, has more balanced levels and greater clarity on the whole, due to the fuller textures, more consistent dynamics, and absence of amplified parts. This instrumental work is primarily a chamber concerto, with substantial guitar solos that Alexander Swete performs with meticulous care; yet the prominent part for soprano saxophone, played by Hugo Read, is an interesting foil for the guitar and other plucked instruments."
Songs, Drones and Refrains of Death/Quest
Songs, Drones and Refrains of Death/Quest
1. Let's Start 8:06
2. Black Man's Cry 12:12
3. Ye Ye De Smell 13:55
4. Egbe Mi O (Carry Me I Want To Die) 12:37
Fela Kuti - Hammond Organ, percussion, vocals
Ginger Baker - Drums, percussion, African drums, congas, vocals
Tunde Williams - Trumpet
Eddie Faychum - Trumpet
Igo Chiko - Tenor saxophone
Lenkan Animashaun - Bariton saxophone
Peter Animashaun - Guitars
Maurice Ekpo - Double bass, electric bass guitar
Tony Allen - Drums, percussion
Henry Koffi - Percussion
Friday Jumbo - Percussion
Akwesi Korranting - Percussion
Tony Abayomi - Percussion
Isaac Olaleye - Percussion
"Live! is an album recorded in 1971 by Fela Kuti's band, Africa 70, with the addition of former Cream drummer Ginger Baker on two songs. It was released in 1971 by EMI in Africa and Europe and by Capitol in the United States and Canada. It was reissued on CD by Celluloid in 1987 and was reissued on CD in remastered form by Barclay with a bonus track from 1978.
Baker with Kuti travelled into Africa in a Land Rover to learn about the continent's rhythms. The bonus track on the Barclay CD reissue features a 16-minute drum duet between Baker and Africa 70's drummer Tony Allen recorded at the 1978 Berlin Jazz Festival."
1. Morning 4:43
2. Travel South 3:41
3. Around 6:49
4. Still 5:50
5. Permutations II 6:11
6. This Is It 7:26
7. Guitar Vibes 6:01
8. It's Me 7:40
9. Funky Emperor 5:03
Karl Berger - Piano, Vibraphone
Koji Paul Shigihara - Guitar
Santi Debriano - Bass
Leroy Williams - Drums
"Pianist and vibraphone player Karl Berger cites Ornette Coleman as a close friend and mentor; Coleman's ways of playing jazz are certainly reflected in Berger's concept, more so than any other vibist one could name. Berger eschews four-mallet technique; his style is all single-line, with little (if any) chordal playing. Berger's compositions are brief, songlike free-bop heads in the manner of Ornette, with free/modal solo sections sandwiched in between the theme statements. At his best, Berger's improvisations have much in common with his tunes; they are strongly and logically rhythmic, played over a swinging pulse, and mostly tied to tonal centers. Like Coleman, Berger is not as radical in the hearing as one might expect; both their musics are based on the core elements of swing and coherent melody.
Berger began playing piano in his native Germany at the age of ten. As a young adult, he landed a gig as house pianist for jam sessions at Club 54 in Heidelberg. There he accompanied such visiting American players as Leo Wright, Lex Humphries, and Don Ellis - learning, in the process, the complexities of modern jazz. Eventually, he took up vibes and in the early '60s developed an interest in free jazz. Berger earned a Ph.D. in musicology in 1963; two years later, he joined Don Cherry's Paris-based quintet. The group traveled to New York in 1966 to record Symphony for Improvisers on Blue Note. Berger stayed in the U.S. and recorded his first album under his own name for ESP later that year. From 1967-1971, Berger played educational demonstrations in public schools with pianist Horace Arnold's group, and led his own ensembles.
In 1972, he and Coleman formed the Creative Music Studio in Woodstock, NY (www.creativemusicstudio.org). The school was geared toward encouraging young students to explore their own creative ideas rather than imposing traditional jazz concepts upon them. Teachers at the school at various times included Jack DeJohnette, Sam Rivers, and Anthony Braxton, among many other prominent musicians. In the summer of 1982, Berger led a 28-piece big band at a 'Jazz and World Music' concert as part of that year's Kool Jazz Festival in New York. Berger cut back on his teaching, shutting down the CMS facility in the mid-'80s, although workshops, live performances, and other activities have continued into the 21st century, with the latest version of the CMS having attained nonprofit status as part of the Creative Music Foundation. A major endeavor of the foundation has been the CMS Archive Project (undertaken in collaboration with the Columbia University Center of Jazz Studies), including a series of CDs of historic recordings from the studio's heyday whose first volume saw limited-edition release to foundation members in February 2010, followed by a general release through Planet Arts Recordings in April of that year.
In the years immediately following the CMS' initial dissolution, however, Berger became more active as a player, first embarking on a world tour in 1985-1986, during which he served as a guest conductor and composer for the West German Radio Orchestra in Cologne. Berger also participated in percussion festivals in New Delhi and Bombay, and served as a pianist in a duo with the African percussionist Baba Olatunji. Berger continued recording in subsequent years, although not prolifically, working as a sideman on sessions with guitarist John McLaughlin, saxophonist Lee Konitz, and bassist Alan Silva. (He had also played on Carla Bley's late-'60s recording of Escalator Over the Hill.) Of Berger's later recordings as leader, 1987's Transit (with Ed Blackwell and Dave Holland) and 1990's Around - both on Black Saint - are well worth seeking out. During the '90s, Berger led several more dates for a variety of labels, and during the new millennium he emerged as an arranger, often working in conjunction with producer/bassist Bill Laswell, for pop/rock and world music artists including such notables as Jeff Buckley, Natalie Merchant, Better Than Ezra, the Cardigans, Shin Terai, and Angélique Kidjo."
1. 01. Introitus - In medio ecclesie 6:30
2. 02. Kyrie 2:40
3. 03. Gloria 9:25
4. 04. Graduale - Os iusti 8:03
5. 05. Allelulia - Antoni, compar inclite 6:25
6. 06. Credo 10:25
7. 07. Offertorium - Veritas mea 3:09
8. 08. Sanctus 7:30
9. 09. Agnus Dei 4:55
10. 10. Communio - Domine, quinque talenta 3:05
11. Hymnus: Veni creator spiritus 6:28
Alexander Blachly - Conductor
"Guillaume Dufay commenced a meteoric musical career as a simple choirboy at Cambrai Cathedral in 1409. Before his death, Dufay would lead the papal chapel, consort with popes and dukes, collaborate with Donatello and Brunelleschi, and be reckoned the first composer of the Renaissance. His birthdate is unknown - the suggestion 1397 stems from the date of his priestly ordination - but his lengthy contact with Cambrai Cathedral and the Vatican, combined with evidence internal to his music, means that his life is quite well documented. His choirboy service apparently lasted until his voice broke in 1413 or 1414, when he was given a small chaplaincy. His early musical training came from choirmasters Nicholas Malin and the composer Richard Loqueville. The unusual gift of a book (the Doctrinale) in 1411 or 1412 testifies to the boy's intellectual abilities.
Cambrai's famous bishop Pierre d'Ailly took an active part in the Council of Constance (1414-1418), and Dufay's presence in his retinue could explain several points: his absence from Cambrai from November 1414, his early exposure to English music, and his contacts with the Malatesta family. After a brief tenure as subdeacon in Cambrai's St.-Géry, Dufay took up service with the Malatesta in Pesaro/Rimini. Two lavish wedding pieces, another motet, and a number of chansons date from this service, probably from 1420-1424. The health of his mother caused Dufay to return North, likely settling briefly in Laon, but the composer left for Italy again in 1426, bidding farewell to the fine wines of his homeland in the autobiographical Adieu ces bons vins.
Dufay stayed for some months in Bologna in the retinue of Cardinal Louis Aleman, possibly beginning his law degree there, but by December 1428 he had assumed a lucrative post in the Papal Chapel. Under Pope Martin V, the Chapel singers enjoyed a strong salary as well as the opportunity to hold several absentee benefice incomes; the musicians' fortunes improved further under the patronage of his successor, Eugenius IV (for whom Dufay wrote three more motets). However, Roman political turmoil helped push Dufay into the waiting arms of the Ducal Court of Savoy in 1433. As choirmaster there, his compositional life flourished, yielding a large cycle of hymn settings and many mature songs. A 1435 promotion to first singer (and choirmaster) lured him back to the Papal Chapel, now resident in Medicean Florence; among other pieces, Dufay gave the City of the Lily Nuper rosarum flores for the completion of Ghiberti's dome and the consecration of her Cathedral.
Dufay returned to a canonicate at Cambrai Cathedral by December 1439, where he remained for most of the remainder of his life. Only a trip to Italy in 1450, possibly to contribute the St. Anthony Mass for the dedication of Donatello's altar in Padua, and a final period of Savoyard service from 1452 to 1458, broke this semi-retirement. He took on a number of administrative tasks, such as ambassador to the Court of Burgundy (with which he apparently maintained a lifelong relationship), and musically led the petit vicaires as well as supervising the recopying of the Cathedral's chantbooks. He also composed several late cantus firmus masses, a lost requiem, and a plainchant Marian Office. At his death in 1474, Dufay left a sizable fortune (including cash, jewelry, furniture, and books), as well as musical provisions for his own memorial services. He also left an outstanding musical reputation and an exceptionally long shadow upon generations of composers to come."
Messe fuer Heiligen Antonius von Padua
Messe fuer Heiligen Antonius von Padua
1. Double Sight
2. Fredereek Hernando
3. No Smokes
4. Man In Yellow
5. The Trial Of Elmer Fudd
6. Goin' Places
7. Something On Your Mind
8. We Don't Want Nobody Around
9. Lament In 'A'
10. Hold On
11. Use Your Imagination
Alan Young - Guitar, Vocals
Jimmy McCulloch - Guitar, Vocals
Jack McCulloch - Drums
Billy Scenters - Bass
"Featuring young teenage prodigy Jimmy McCulloch (later of Thunderclap Newman, Stone the Crows, and Wings) on guitar, One in a Million's 1967 single 'Double Sight'/'Fredereek Hernando' was one of the very greatest obscure British psychedelic singles. Both sides are included on this CD, along with both tracks from their previous, far less impressive single and seven previously unreleased cuts. 'Double Sight' was simply one of the greatest Who circa-1966-1967 soundalike songs ever, and while 'Fredereek Hernando' went in a somewhat different direction with its monkish harmonies and crunching freakbeat, it was almost as good. While it's something of a cliché for pet collector bands like these to be unable to match their one capture of lightning in a bottle in the rest of their repertoire, that is, alas, true of One in a Million. Though taken altogether this material could have comprised an actual LP back in the late '60s, it just doesn't sound like the band was ready for that honor. The remainder of the group's output was pretty average mod rock with occasional psychedelic spice, and sometimes quite derivative of the Who (though 'Something on Your Mind' sounds like a Troggs outtake). The sound is disappointingly thin at times, and the previously unissued 'No Smokes,' apparently intended as a 1967 single, is an annoyingly tuneless, agonizingly sung ode to nicotine withdrawal. No band that came up with something as killer as 'Double Sight' can be written off, but other than that song and its flipside, this is for freakbeat/U.K. psychedelic completists."
1. All the Things You Are 7:29
2. The Way You Look Tonight 5:57
3. Who? 4:00
4. The Song Is You 5:49
5. I Won't Dance 8:53
6. Ol' Man River 3:41
7. Long Ago (And Far Away) 7:17
8. Smoke Gets in Your Eyes 4:54
9. Yesterdays 6:10
10. Dearly Beloved 4:37
11. I'm Old Fashioned 6:00
Adam Makowicz - Piano
George Mraz - Bass
Alan Dawson - Drums
"Adam Makowicz interprets 11 well-known Jerome Kern compositions on his trio date with bassist George Mraz and drummer Alan Dawson. The pianist's arrangements are full of surprising turns and twists and his unpredictable flights result in some of the familiar songs being given unusual treatments. Stimulating and occasionally exciting music."
The Music of Jerome Kern
The Music of Jerome Kern
1. Kleiner Krieger 1:05
2. King Minos 4:30
3. Morgengruß 2:55
4. Würfelspiel 3:00
5. Gutes Land 5:13
6. Einsjäger & Siebenjäger 19:30
7. King Minos II (Bonus Track) 1:55
8. Wo bist Du (Bonus Track) 5:42
Florian Fricke - piano, spinet
Daniel Fichelscher - guitars, percussion
Djung Yun - vocals
"Released in 1974, Einsjäger & Siebenjäger (Earth & Sky) is a further rock entrenchment for Popol Vuh. Florian Fricke's piano is more percussively present with its runs and large chord voicings rippling throughout each composition. In addition, Daniel Fichelscher's electric guitar picks up where Conny Veit's left off, taking the bluesy space rock solo style into new territory by incorporating Eastern scales into the main body of his blues phrasing. There are five short compositions on the first side, which merely prepare the listener for the mind-blowing title cut, which takes up the entirety of side two. Here, in addition to the swirling organic percussion and pianism of Fricke and the loping, often singing guitar lines that repeat hypnotically with rock & roll tension, the vocals of the amazing Djong Yun become the catalyst for the other musicians to spiral off into extended improvisations. This is certainly one of the most beautiful albums Popol Vuh issued in the 1970s, and remains a watermark for their trademark of melding beauty and free-flowing composition."
Einsjäger & Siebenjäger
Einsjäger & Siebenjäger
1. Spaces ( Infinite ) 9:16
2. Rene`s Theme 4:06
3. Gloria`s Step 4:29
4. Wrong Is Right 9:00
5. Chris 9:31
6. New Year`s Day In LA, 1968 0:20
Larry Coryell - guitars
John McLaughlin - guitars
Chick Corea - electric piano
Miroslav Vitous - double bass
Billy Cobham - drums
"This album features the pioneer fusion guitarist Larry Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time. 'Rene's Theme' is a guitar duet with McLaughlin, while 'Gloria's Steps' (a Scott LaFaro composition) has Coryell, Vitous and Cobham jamming as a trio. Chick Corea sits in on electric keyboard for 'Chris,' and the 20-second closer ('New Year's Day in Los Angeles -- 1968') finds Coryell playing alone. Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for."
1. The Gorgon 4:11
2. The Gorgon Speaks 5:48
3. The Conquering Gorgon 3:16
4. Lion of Judah 6:00
5. I Shall Not Remove 4:03
6. Natty Dread in a Greenwich Town 6:00
7. Forward Natty Dread 5:12
8. Dance in a Greenwich Farm: Pt. 2-The Chalice Blaze, Pt. 3-Danci 7:04
9. Two Face Rasta 5:21
10. Righteous Rastaman 4:40
11. Bandulu/Hard Time 7:10
Cornel Campbell - Vocals
Tommy McCook - Sax (Tenor)
Lennox Brown - Sax (Alto)
Bobby Ellis - Trumpet
Earl "Chinna" Smith - Guitar
Tony Chin - Guitar
Aston Barrett - Guitar
Earl Lindo - Organ
Ian "Willy" Winter - Piano
Bernard Touter Harvey - Organ, Piano
George Fullwood - Bass
Earl "Bagga" Walker - Bass
Robbie Shakespeare - Bass
Carlton "Carly" Barrett - Drums
Santa Davis - Drums
"Most Blood & Fire releases should be considered essential purchases for any fan of golden-era reggae, but this one is even better than most. Cornel Campbell is one of the best reggae singers ever recorded - a sweet-toned falsettist with effortless intonation and a cool, assured delivery that is incredibly easy on the ear. The centerpiece of this collection is the three-part 'Gorgon' series of singles produced by the legendary Bunny 'Striker' Lee, all featuring the 'flying cymbals' style of drumming popular at the time. 'The Gorgon' having been a huge hit, it was followed quickly by 'The Gorgon Speaks' and 'The Conquering Gorgon,' all three of which are presented here (the first two in extended versions, the second in its original version and then again in a Rastafarian variation titled 'Lion of Judah'). Almost equally important, though, are 'Natty Dread in a Greenwich Town' (an answer record to Bob Marley's 'Natty Dread') and 'Dance in a Greenwich Town,' the latter in a megamix format that incorporates a deejay version by Dr. Alimantado and a dub version mixed by King Tubby. But really, just about every track reaches the same standard - there is not a single weak cut or boring moment on this spectacular album."
I Shall Not Remove
I Shall Not Remove
1. Adagio - Molto andante - Cantabile 10:38
2. Largo, Cantabile 11:05
3. Allegro, Sempre ben marcato 4:24
4. Deciso - Espressivo ma non tenuto 11:32
5. Largo - Tranquillo 12:36
"The essay in the program booklet for this release of Górecki's String Quartet No. 3 (...songs were sung), makes much of a supposed caesura in Górecki's creative output following the phenomenal success of Nonesuch's 1992 release of this Third Symphony, with soprano Dawn Upshaw, which elevated him practically to the level of a pop star. The essay implies that his meteoric rise to being one of the most famous and popular contemporary composers may have produced a creative crisis that caused him to wait until 2005 to finally deliver the score of his Third Quartet, which he had written in the winter of 1994-1995. In fact, Górecki's sudden notoriety seems to have had little effect on his creativity; between 1993 and 2004, he wrote 16 opus numbers.
The String Quartet No. 3 inhabits much the same musical and emotional universe as the composer's Third Symphony and the earlier string quartets - an overwhelming sense of sadness followed by a cathartic peacefulness, created by the use of figural repetition; predominantly slow tempos, which are very occasionally punctuated by faster, often ironic, outbursts; the use of melancholy, folk-like melodies; and mildly dissonant minor key chorale-like textures that tend toward harmonic stasis. The five-movement quartet is constructed in a loose arch form, with material from the first movements repeated in the last movements and an ending that mirrors the beginning. The composer throws in enough surprises, such as a surprisingly stolid and romantic theme that appears in the third and fourth movements, to relieve the quartet's darkness. The response to the composer's Third Symphony will be a good indicator of the listener's appreciation of this quartet because it shares so many qualities with that work. The Kronos Quartet, which commissioned the piece, gives it a technically superlative and emotionally wrenching performance. Nonesuch's sound is intimate and warm, with excellent balance."
1. Soubindoor 6:21
2. Bala Djan 10:28
3. Bana 6:18
4. Cherif 8:29
5. Afrique du Sud 9:12
6. Mamaya 10:13
7. Waratiki 6:05
Jali Musa Jawara - Guitar, Kora, Vocals
Camara Aboubacar - Guitar
Kalifa Camara - Balafon, Marimba
Mariama Diabaté - Vocals
"The half-brother of influential kora player Mory Kante and the cousin of guitarist Kante Manfila, Jali Musa Jawara (now known as Djeli Moussa Diawara) has expanded upon his family's musical legacy. A former member of his brother's band, Jawara has demonstrated his own music vision with several groundbreaking albums. While the traditional music of West Africa remains the foundation of his sound, Jawara has increasingly incorporated elements of electronic music, pop, jazz and hip hop. Jawara's debut album, Flamenkora, recorded solo on kora, guitar, percussion and vocals, was a showcase of his diverse skills. Jawara's masterpiece remains his 1983 album, Fote Mogobon. Rated A- in Robert Christgau's Consumer Guide, the album was praised by music historian Charlie Gillett as having 'achieved the status of a classic'. The album has been subsequently re-issued as Yaismika on the Hannibal label and Direct From West Africa on the Go! Disc label. A Native of Mali, Jawara resides in Abidjian, where his music is less subject to governmental censorship."
1. Life Child 6:39
2. Oh Mister 3:01
3. And The Whole World 3:48
4. Quasar One 6:45
5. You're The Only One Joe 2:20
6. Earth-People 5:28
7. Molecular Delusions 4:02
8. Balloon 4:31
9. Dying Swan Year 2000 0:46
10. Jesus Come Back 4:01
11. Journey To The Inside 6:06
12. Balloon (UK Single) 4:30
13. Muddy Water (UK Single) 3:47
14. Jesus Come Back (UK Single) 4:02
15. Hello Mister (UK Single) 3:02
Ramases and his wife (Sel) - wrote and sing all songs and lyrics
Eric Stewart - lead guitar, Moog synthesizer
Lol Creme - lead guitar, Moog synthetizer
Graham Gouldman - guitar, bass guitar
Kevin Godley - drums, flutes
Martin Raphael - sitar
"Although Ramases' debut album is best known today for featuring the infant 10cc as accompanying musicians (the 1990 Repertoire reissue even flags their involvement on the front cover), it is, in fact, deserving of considerably more attention than even that merits. Insistent, percolating rhythms float across a lightly funky soundscape, building with an intensity that ebbs and flows with every track and begging comparison with some of the other, darker folk devils that danced around the fringes of the early-'70s British underground. Comus, Gravy Train, and Dr. Strangely Strange all inhabit similar musical caverns, even as they strained toward new peaks of uniqueness, and Ramases shares that ambition - and occasionally even surpasses it. The opening 'Lifechild' sets the scene, one of two songs (the other is 'Balloon,' later in the set) that all but strap you aboard the spacecraft blasting off from Roger Dean's excellent sleeve design. From there, the journey does occasionally stray into territory that 10cc would enlarge upon - or that they had already visited via their earlier Hotlegs excursions: 'Oh Mister' is certainly the disinherited second cousin of 'Um Wah Um Who,' while 'And the Whole World' could easily have become one of those insidious little ballads that Kevin Godley used to sing so sweetly. Again, however, it is misleading to emphasize such connections - Space Hymns was Ramases' show from start to finish, a mass of musical eccentricities that spend the entire album colliding with one another, without once disintegrating into chaos or nonsense. A beautifully atmospheric album, then, Space Hymns remains one of the most musically and lyrically intriguing releases of an age where darkness and atmosphere genuinely meant something to their exponents. If Current 93 had been making records in 1971, this would be one of their greatest."