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Articles on this Page
- 04/20/12--17:35: _Matthew Shipp Quart...
- 04/21/12--17:07: _The Illustrious The...
- 04/21/12--17:10: _The Contents Are (U...
- 04/22/12--17:16: _Winifred Atwell - H...
- 04/23/12--18:06: _Buckethead - Giant ...
- 04/24/12--17:10: _Herb Alpert - Rise,...
- 04/25/12--17:09: _Doyle Lawson & Quic...
- 04/25/12--17:12: _Los Kusis (Bolivia)...
- 04/25/12--17:16: _Arvo Pärt - Litany,...
- 04/26/12--17:04: _Sacros (Chile) - Sa...
- 04/27/12--17:47: _Mal Waldron Trio - ...
- 04/28/12--17:23: _Karl Richter Bach O...
- 04/28/12--17:24: _GoodThunder (US) - ...
- 04/29/12--17:10: _Toshiko-Mariano Qua...
- 04/30/12--17:22: _Jukka Tolonen (Finl...
- 05/01/12--17:21: _United Jazz + Rock ...
- 05/02/12--17:04: _Luciano Berio - Sin...
- 05/03/12--17:17: _Samson (UK) - Are Y...
- 05/04/12--17:06: _Jeff Palmer - Islan...
- 05/05/12--17:40: _Würzburger Perkussi...
- 04/20/12--17:35: Matthew Shipp Quartet - Pastoral Composure, 2000 (Avant-Garde Jazz)
- 04/21/12--17:10: The Contents Are (US) - Through You, 1967 (Psych)
- 04/22/12--17:16: Winifred Atwell - Honky Tonk Piano Party, 1962-1964 (Boogie-Woogie)
- 04/23/12--18:06: Buckethead - Giant Robot, 1994 (Avant-Rock)
- 04/24/12--17:10: Herb Alpert - Rise, 1979 (Jazz-Pop)
- 04/25/12--17:12: Los Kusis (Bolivia) - Pacha Mama, 1988 (South American Traditions)
- 04/25/12--17:16: Arvo Pärt - Litany, 1994 (Modern Composition)
- 04/26/12--17:04: Sacros (Chile) - Sacros, 1973 (Acid Folk)
- 04/27/12--17:47: Mal Waldron Trio - Black Glory, 1971 (Jazz/Post-Bop)
- 04/28/12--17:23: Karl Richter Bach Organ Recital - Toccata And Fugue, 1954
- 04/28/12--17:24: GoodThunder (US) - Good Thunder, 1972 (Art Rock)
- 04/29/12--17:10: Toshiko-Mariano Quartet - Live at Birdland, 1961 (Jazz)
- 05/02/12--17:04: Luciano Berio - Sinfonia/Eindrücke, 1969/1977 (Modern Composition)
- 05/03/12--17:17: Samson (UK) - Are You Samson?, 1969 (Art Rock)
- 05/04/12--17:06: Jeff Palmer - Island Universe, 1994 (Jazz)
- 05/05/12--17:40: Würzburger Perkussions Ensemble - Drums, 1987
1. Gesture 6:49
2. Visions 7:56
3. Prelude to a Kiss 4:38
4. Pastoral Composure 4:39
5. Progression 5:33
6. Frère Jacques 5:36
7. Merge 5:46
8. Inner Order 3:44
9. XTU 3:34
Roy Campbell - Flugelhorn, Trumpet
Matthew Shipp - Piano
William Parker - Bass
Gerald Cleaver - Drums
"Pastoral Composure is a rich and moving album that is one of the highlights of Matthew Shipp's array of recent releases. The pianist and composer is joined by trumpeter and flugelhorn player Roy Campbell, leading bassist William Parker, and drummer Gerald Cleaver, who are all strong contributors to this January, 2000, session. The album doesn't lose momentum from the dramatic opener, 'Gesture,' through the solo piano exposition - the shortest number and closer - 'XTU.' The first cut opens with Cleaver's unexpected military-like rolls on a loose snare that remain an integral sound throughout the piece. Cleaver is soon joined by Shipp and Parker who stir up a thunderstorm with dark, tense chords and percussive left-hand work on the piano and a constant buzzing from the bass. Campbell soon enters on trumpet to make this one of the quartet numbers on this album. The album's second piece, 'Visions,' will surprise naysayers with its straight-ahead seams on a jaunty form, and restrained (yet discernible) Shipp attitude. His fluid solo take on Ellington's The stormy feel of 'Gesture' returns with the title track, featuring Campbell's trumpet singing atop the churning waves of Cleaver and Parker, with Shipp providing a percussive counter-melody. Two tracks later comes the dark take on 'Frère Jacques' that has some near-maddening sections, as well as boggling chordal work by Shipp and interesting soloing from Campbell. While Matthew Shipp has come out with numerous releases these past several years, resulting in a slightly overwhelming catalogue, Pastoral Composure is a necessary listen for fans. It is also one of Shipp's more accessible albums, making it great place to start for those interested in checking out this important modern jazz pianist."
1. Pythagorean Xydiko Machine 3:24
2. Love Answers under Rain's Allure 8:49
3. The Shade Never Was 3:27
4. Ex Periculum 4:46
5. All Night I Heard the Birds Flying 12:55
6. Cool Shoes 3:07
7. Still Life 3:46
8. Song Without Words 4:12
9. Dancing in Bedlam 7:52
John P. Hoover - Saxophone
Shane Cadman - Saxophone
Scott McIntosh - Clarinet
Christine Dietrich - Cello
Paul Greenhaw - Piano
"The Illustrious Theater Orchestra was a chamber group founded in 1989 and based out of Cal State Fullerton. Led by saxophonist and keyboard player Shane W. Cadman, the group consisted of keyboard player Paul Greenhaw, cellist Christine Dietrich, baritone saxophonist John P. Hoover, and clarinetist Scott McIntosh. Unlike any other classical chamber ensemble of its time, the members of the Illustrious Theater Orchestra insisted on playing their own compositions, which were informed to a small extent by minimalism and unvaryingly tonal, though not new agey, and they did not venture into jazz-styled territory or indulge in improvisation. The compositions, often bearing bizarre, whimsical titles such as Hats Off to the Lemming People and Love Answers under Rain's Allure, were designed to reflect their own strengths as an ensemble and their love of certain harmonic combinations; Cadman's All Night I Heard the Birds Flying was conceived, for example, as a clarinet concerto for McIntosh. The Illustrious Theater Orchestra felt no pressure to make the music thornier just to conform to the established taste of the music conservatory environment of the time, nor to pretty it up to please the crystal worshipping pyramid power crowd - it is the perfect synthesis of classical chamber music and what used to be considered pop music.
For a time, this approach was viewed as fresh in some quarters, and the group got strong support from public radio, particularly at KCRW in Los Angeles where it was championed by Chris Douridas. The Illustrious Theater Orchestra self-produced two full-length CDs, Standing on the Shoulders of Giants (1993) and Pythagorean Xydiko Machine (1995), both of which were well received, although record stores found it difficult to figure out just where to stock them. Nevertheless, as the 1990s wore on, outside commitments began to tug at the members of the Illustrious Theater Orchestra, along with the realization that the new music scene in the United States was still too hostile to accept them on the kind of concert tour they could realistically book. After Cadman left the group, citing family commitments, the group struggled on for a while before finally disbanding. The Illustrious Theater Orchestra was mostly forgotten thereafter, but when the book is finally written on the transition from late modernism to twenty first century styles, it will figure as a prominent stepping stone between these two historical poles."
Pythagorean Xydiko Machine
Pythagorean Xydiko Machine
1. Country Roads: A Rising Socialite Who's Been Rejected 3:29
2. The Dream of My Predictions: To All the Lonely Hearts 3:13
3. Uni-Love: Universal Love - The Highest State the World Could Reach 3:13
4. Peace at Last: Freedom from Imperialism 2:07
5. In Trouble: To the Leaders ofOur Country 2:07
6. No Chance to Choose: Flower Children for Freedon vs. The Capitolist Est 2:11
7. Tonight in Venice: Melody from a Dream; Lyrics from a Trip 2:25
8. Unconcerned: A Pompous Producer 2:26
9. Don't Take My Freedom: A Prisoner in His Cell Wandering About the Outsi 1:55
10. Recurring Changes: Two LoversGoing in Opposite Directions 2:47
11. No Need to Be Blamed: PeopleDeceived by a Greedy, Corrupt Government 2:53
12. If You're Relaxing: The Nuclear Dilemma 1:52
13. Brother Abbot: A Man of FaithFighting Against the "War Machine" 2:49
14. I Don't Know [Bonus Track from Single] 2:54
15. Direction of Mind [Bonus Track from Single] 2:42
16. Future Days [Bonus Track from Single] 2:39
17. New Mexico [Bonus Track from Single] 2:15
Craig Hute - Guitar, Vocals
Dave Neumann - Guitar, Vocals
Larry Smith - Bass, Vocals
Paul Staack - Drums, Vocals
"Based in Davenport, IA, the Contents Are were a rock band whose music typified the grey zone between the era of garage rock and the dawn of psychedelia; what they were doing was less aggressive and more melodically adventurous than what the average band of high school kids was bashing out back in the day, with some tricky guitar interplay and excellent harmonies, but they hadn't evolved into full-blown lysergic experimentation when they recorded their sole album at Davenport's Fredlo studios in 1967. (Significantly, several members had previously played in a cover band specializing in surf tunes and British Invasion hits.) Lyrically, the Contents Are had moved well beyond the usual 'I'm bugged at my girl' stuff in terms of their themes, though the brief descriptions of the songs on the back cover tell you all you need to know - 'No Chance to Choose' concerns 'Flower children for freedom vs. the capitalist establishment,' 'No Need to Be Blamed,' is about 'People deceived by a greedy, corrupt government,' and 'In Trouble' sends a message 'To the leaders of our country.' In short, this ain't 'Louie Louie,' but Through You shows the Contents Are hadn't quite drifted into the outer stratosphere in the manner of the 13th Floor Elevators and other pioneers of the psychedelic sound, at least not when this was recorded. But there's still some thoroughly enjoyable mid-'60s guitar rock to be found here, and for the CD reissue on Shadoks Music, four songs from early singles have been added as bonus tracks (two of which, 'Future Days' and 'New Mexico,' suggest the boys had picked up a few pointers from the first Moby Grape album) as well as new liner notes from guitarist and songwriter Craig Hute. Given that the original album was supposedly pressed in a run of only 100 copies, this is certainly well worth a listen for fans of Midwest sounds of the '60s who are looking for new obscurities to explore."
1. Five Foot Two, Eyes of Blue/Dinah/A-Tisket A-Tisket 2:15
2. Bye Bye Blues/Let's Fall in Love/After You've Gone 2:09
3. I Cried For You/By the Light of the Silvery Moon/I'm Sorry 3:05
4. Basin Street Blues 2:49
5. Syncopated Clock 2:16
6. Bossa Nova Boogie 2:09
7. Chicago (That Toddlin' Town)/Cecilia/My Sweetie Went Away 2:10
8. Tiptoe Through the Tulips/Me and My Shadow/Them There Eyes 2:33
9. The Darktown Strutters Ball/Alexander's Ragtime Band/Bill ... 2:49
10. Mississippi Mud 1:51
11. C'est l'Anour 2:31
12. It Had to Be You/I'mSitting On Top of the World/Crying For... 2:18
13. Carolina in the Morning/Get Out and Get Under the Moon/Sleep... 2:12
14. If You Were the OnlyGirl in the World/I Don't Know Why 3:54
15. Sweet Georgia Brown/Broadway Melody/Lullaby of Broadway 2:20
16. My Blue Heaven/Am I Blue/Some of These Days 2:10
Winifred Atwell - Piano
"Winifred Atwell was one of the stars of the early British charts when they were introduced for the first time in the 1950s, playing an upright piano in a boogie-woogie style of ragtime. She was born on February 27, 1914, in Tunapuna on the island of Trinidad. Her father owned a pharmacy, and although the young Winifred was trained in chemistry and was expected to join the family business, she was always more interested in performing for U.S. servicemen either at the air base or a local club, Piarco. Having trained from a very early age on the piano, she was proficient enough to satisfy the troops stationed in the Caribbean, when someone asked her to play in the popular style of boogie-woogie. When she returned to the club, she had written the song 'Piarco Boogie,' which was later to be retitled 'Five Finger Boogie.' Atwell moved to America in the early '40s to study the piano with Alexander Borovsky and later to London, where she studied at the Royal Academy of Music and became the first female pianist to be awarded the highest grade for musicianship. Supplementing her income while studying, she played ragtime at various London clubs and was spotted at the Casino Theatre by entrepreneur Bernard Delfont, who signed her to a recording contract with Decca Records.
In 1946 Atwell met the comedian Lew Levisohn, who was to become her husband. Levinsohn suggested that an original sound and stage presentation might be achieved if Atwell first played a classical piece on a concert grand piano and then a ragtime on a battered upright, which they purchased in a junk shop for £2.50. This would become known as Atwell's 'other piano,' and would travel with her around the world, even to the Sydney Opera House. Both pianos would be very slightly detuned to give a faint off-key sound, and this originality was one of the stepping stones to her successful career. She also appeared cheerful with a dazzling smile and a warm personality, and in Britain during the late '40s, dominated by rationing after World War II, it was a welcome relief to be entertained by this very special lady. One of her recordings that became extremely popular in the early '50s was actually written in the 1920s by George Botsford and titled 'Black and White Rag,' which received an enormous amount of radio play and would later become famous as the signature tune for the BBC snooker series Pot Black.
When Britain introduced pop charts in November 1952, Atwell was one of the first black artists to hit the Top Ten and the first instrumentalist in the chart, with the song 'Britannia Rag.' The hits continued throughout the 1950s, including 'Coronation Rag' in the summer of 1953 to celebrate Queen Elizabeth II's coronation, and at Christmas she recorded the first of her piano medleys of music hall songs under the title 'Let's Have a Party,' which included 'If You Knew Susie,' 'The More We Are Together,' 'Knees Up Mother Brown,' 'Daisy Bell,' 'Boomps a Daisy,' and 'She Was One of the Early Birds.' Setting a trend that would continue on all of her medleys, side one of the single was an uptempo rag while the B-side was a slightly slower medley. Reverting to her classical training, she hit the charts in 1954 with Rachmaninov's 18th Variation on a Theme by Paganini, and at Christmas she achieved her first number one hit with another medley, 'Let's Have Another Party.' The mid-'50s were a period of peak popularity for her in Britain, with Atwell playing at the Royal Variety Show and even at a private party for the Queen, where a personal encore of 'Roll Out the Barrel' was requested.
Her breakthrough performance in the U.S.A. was due to have been as a guest on The Ed Sullivan Show in 1956, but she was confronted with racist opposition to the idea of a black woman appearing as a guest, and the show was never even recorded. She encountered no such problems in Australia, where she visited in 1956 and became equally as popular. Back in Britain in that year she enjoyed her second number one single, a version of the French song 'Poor People of Paris.' After this hit, her massive popularity diminished with the two-pronged attack from the rise of rock & roll and a new young British pianist, Russ Conway, who began to have hit records with the same style of honky tonk/ragtime playing, and she found the Top Ten of the singles chart a difficult goal to reach, apart from her subsequent Christmas season medleys 'Let's Have a Ding Dong,' 'Make It a Party,' and 'Piano Party.' She was also exceedingly popular in Australia and was an outspoken critic of the plight of the Aborigines, and eventually she and her husband settled in Sydney. When Lew Levisohn died in 1977, she considered relocating back to Trinidad but remained in Australia. Tragedy struck in the early '80s when a fire destroyed her home in Narrabeen and she suffered a heart attack shortly afterwards. She died on February 28, 1983."
Honky Tonk Piano Party
Honky Tonk Piano Party
1. Doomride 0:57
2. Welcome to Bucketheadland 3:42
3. I Come in Peace 6:03
4. Buckethead's Toy Store 8:02
5. Want Some Slaw? 4:30
6. Warweb 3:06
7. Aquabot 5:56
8. Binge and Grab 5:17
9. Pure Imagination 1:49
10. Buckethead's Chamber of Horrors 4:48
11. Onions Unleased 2:20
12. Chicken 1:07
13. I Love My Parents 4:13
14. Buckethead's T.V. Show 3:18
15. Robot Transmission 2:59
16. Pirate's Life for Me 1:01
17. Post Office Buddy 6:40
18. Star Wars 1:54
19. Last Train to Bucketheadland 5:47
Buckethead - Bass, Guitar, Vocoder
Iggy Pop - Vocals
Julian Schnabel - Vocals
Bootsy Collins - Bass
Sly Dunbar - Drum Loop
Ted Parsons - Drums
Jerome Brailey - Drums
Bill Laswell - Sound Effects
Karl Berger - Conductor, String Arrangements
"A Japan-only rehash of much of the material (or similar rearrangements thereof) from Bucketheadland, marred further by bad production and the presence of nameless studio musicians backing Buckethead's manic guitar solos, which remain the album's only high point."
1. 1980 2:25
2. Rise 7:37
3. Behind the Rain 5:34
4. Rotation 5:12
5. Street Life 5:01
6. Love Is 4:28
7. Angelina 4:13
8. Aranjuez (Mon Amour) (A-Ron-Ways) 6:42
Herb Alpert - Flugelhorn, Trumpet
Tom Scott - Lyre, Lyricon
Bob Findley - Trumpet
Bill Reichenbach Jr. - Trombone
Ben Barrett - Strings
Tommy Tedesco - Balalaika, Batucada, Lute
Tim May - Guitar
Carlos Rios - Guitar
Chris Pinnick - Guitar
Jay Dee Maness - Guitar (Steel)
Pete Jolly - Accordion
Joe Sample - Piano
Michael Boddicker - Synthesizer
Michel Colombier - Piano, Synthesizer Bass
Andy Armer - Clavinet, Fender Rhodes, Piano, Synthesizer
Michael Lang - Fender Rhodes, Piano
Bob Magnusson - Bass
James Jamerson, Jr. - Bass
Abraham Laboriel, Sr. - Bass, Guitar (Acoustic)
Jerry Knight - Bass
Louis Johnson - Bass
Harvey Mason, Sr. - Drums
Steve Schaeffer - Drums, Percussion
Randy Badazz - Drums, Moog Synthesizer, Percussion, Producer
John Bergamo - Percussion
Manolo - Percussion
Julius Wechter - Marimba
"If the 12' single of Herb Alpert's 'Rise' hadn't taken over the charts the way it did back in 1979, one wonders if anyone would have gotten around to checking out the Tijuana Brass, or if Alpert would have gone down in the books as the guy who had a number one with a Burt Bacharach tune ('This Guy's in Love with You'). Instead, the cut energized the entire dance club generation with DJs looking for new grooves and even ended up being used by Sean 'Puffy' Combs on the Notorious B.I.G.'s Hypnotise, albeit in a drastically re-morphed form. The single began as a disc track composed by Alpert's nephew Randy and his pal Andy Armer. Alpert suggested they slow the groove way down and turn it into a slow mover. They issued it without an album to go with it, simply as a single on A&M. Club DJs picked up on it and began using duplicate copies either to let the percussion break go on a bit longer before trumpet kicked in, or playing one copy just behind another, creating a call and response melody with the trumpet and the rhythm section. After the single stormed the charts and stayed there all summer, eventually hitting the number one spot, Alpert, Armer and friends went about assembling an album to capitalize on it.
They did well: Rise hit number six on the Billboard pop chart. The rest of the tracks are a slew of originals and covers. The set opens with a small pomp and circumstance intro called '1980' that Alpert composed for the Olympics that year, assisted by the late Michel Colombier on keyboards. Alpert also composed the ballad-turned-Latin-dancefloor fire walker 'Behind the Rain,' (originally composed for Gato Barbieri's Caliente! album) that has its own appeal in the 21st century with chorus-like backing vocals. Other tracks include the Armer and Randy Alpert 'Rotation.' This cut, introduced by hand percussion, bells and shakers is another soulful groover with a killer, soft-spoken keyboard line that's lite funk and hypnotic. A looped synth line enters in place of a bassline. Handclaps, fingersnaps, and Alpert's trumpet from the distance play a melody not unlike the one on the 'Lonely Bull.' Effects, washes, reverb, and mild distortion create a futuristic backdrop to this otherwise beautifully melodic tune. Alpert plays his in the pocket soul-drenched melody lines over the top and one of the first 'chillout' tunes was born. The 2007 version of the album includes an alternate version with digital delay on the trumpet as a bonus track. Speaking of bonus cuts, Alpert recorded an updated version of Rodrigo's 'Aranjuez' introduced by a steel string playing the flamenco intro and backed by hand percussion and the popping bassline of Jerry Knight to full-on 1/2 disco tempo, creating another melodic classic for the floor complete with marimba played by Julius Wechter from (where else?) the Tijuana Brass! The handclap and vocal whoop-up in the middle adds to the celebratory nature of this version. By its end the tune is unrecognizable and has become a disco anthem with strings, with Steve Schaeffer beating the hell out his kit and keyboard loops layered on top of one another. It's still an amazing thing to hear nearly 30 years later."
1. Mighty Mississippi 2:26
2. How Long Have I Been Waiting 2:30
3. Happy on My Way 1:55
4. Thinking About You 2:27
5. I'll Be With You 3:22
6. On and On 2:34
7. He Put a Rainbow in the Clouds for Me 2:32
8. I'd Rather Die Young 2:14
9. A Touch of Pennsylvania 4:21
10. Don't Cross the River 2:50
11. Shady Grove 1:33
12. Misr'y River 2:50
13. Georgia Girl 3:05
14. Till the Rivers All Run Dry 3:41
15. Rocking on the Waves 2:51
16. Yellow River 3:14
17. Poet With Wings 2:51
18. Kentucky Song 2:52
19. Calm the Storm 1:45
20. I'll Be Around Somewhere 2:25
21. Heart of a Little Mountain Girl 2:49
22. The Lonesome River 3:58
Doyle Lawson - Mandolin, Vocals
Jimmy Haley - Guitar, Vocals
Terry Baucom - Banjo, Vocals
Lou Reid - Bass, Vocals
Sam Bush - Fiddle
Jerry Douglas - Dobro
Mike Auldridge - Dobro
Bobby Hicks - Fiddle
"What has always set Doyle Lawson's groups apart from other progressive bluegrass outfits is their equal focus on both vocal and instrumental virtuosity. Where colleagues like the Country Gentlemen, the Seldom Scene, and the New Grass Revival tended to emphasize unusual repertoire and instrumental pyrotechnics, Lawson's band, even with its kaleidoscopically shifting membership, has always maintained a consistent dual focus on fiery playing and tight, rich, gospel-flavored harmonies. The Original Band compiles the first two albums (Doyle Lawson & Quicksilver and Quicksilver Rides Again) that Lawson made with his own group after leaving the Country Gentlemen in 1979, and it will probably stand as the definitive document of his early work as a bandleader. There are blistering versions of Bill Monroe's 'On and On' and the traditional 'Shady Grove,' the forward-looking 'A Touch of Pennsylvania,' and several absolutely stunning gospel numbers, including the standard 'He Put a Rainbow in the Clouds for Me' and 'Calm the Storm.' If you had to limit your bluegrass collection to only 20 discs, this would have to be one of them."
The Original Band
The Original Band
1. Manchay Kusi 4:13
2. Hijos del Sol 4:30
3. Cuatro Forasteros 4:10
4. Amada Mía 2:54
5. Ulu Pica 3:03
6. Flor de Santa Cruz 3:15
7. Supaycito 2:56
8. Valles de Tarija 3:35
9. Waylla Hichu 3:34
10. Walaychito 3:04
11. Compañeros 4:01
12. 3 Para 6 3:20
13. Amorose Palomita 3:50
14. Pachamama 3:22
Salustio Herbas B.
1. Litany, for ATTB soloists, chorus & orchestra 22:45
2. Psalom, for string orchestra 6:45
3. Trisagion, for string orchestra 11:53
David James - Counter Tenor (Vocal)
John Potter - Tenor (Vocal)
Rogers Covey-Crump - Tenor (Vocal)
Gordon Jones - Bass (Vocal)
Lithuanian Chamber Orchestra
Tallinn Chamber Orchestra
Estonian Philharmonic Chamber Choir
Tõnu Kaljuste - Conductor
Saulius Sondeckis - Conductor
"Undoubtedly linked to his deep religious convictions, much of Arvo Pärt's music seems to explore, challenge, and even alter perceptions of time-to perhaps intimate the eternal within a given frame of mortal time. Works like Festina Lente and Cantus in Memory of Benjamin Britten are structured as fractals or holograms: we are presented with the same musical material layered on top of itself, moving concurrently at several different rates of speed. We are thus able to view the musical figure in simulated three-dimensional time, from various angles and distances. In these works, time is treated as matter. Pärt's Litany: Prayers of St. John Chrysostom for Each Hour of the Day and Night, is a different kind of exploration, one whose subject is not the fluid material of time, but the containers (clocks, calendars, lifetimes) that the mortal mind stores that material in.
Composed in 1994, the work calls for a full orchestra, ATTB soloists, and choir. It takes as its text a set of prayers attributed to John Chrysostom, a fourth-century saint. As the title suggests, there are twenty-four prayers in all, most of them short, proverbial utterances of a few words. The work is built upon Pärt's signature 'tintinnabular' technique, a kind of proto-minimalist concept that retains an omnipresent sense of tonal center while disregarding the traditional 'functionality' of harmonic progressions. The texture is well suited to devotional music, as it maintains a generally serene harmonic stability while allowing a unique kind of expression-providing a force against which dissonance can resist. The technique relies on the combination of two lines, conveniently identified in Paul Hillier's authoritative book as 'M-(melodic) voices' and T-(tintinnabular) voices.' The M-voice follows a stepwise contour that is based on the length of individual words; thus, a longer word will generally be set to a broader melodic curve. These lines are set in a kind of counterpoint to the T-voices, which leap between tonic chord tones above and below the M-voices. For Pärt, this duality has all kinds of religious overtones. The composer sees the M-voice as representing carnality, mortality, and sin. The T-voice is associated with spirituality, godliness, and redemption. The Litany is thus a complex matrix of musical devices and well as musical symbols.
Though it certainly doesn't approach the length of time represented, the work marks off divisions of 'time' with musical cues. The first four 'hours' are each introduced by a descending scale that grows by one note with each subsequent prayer. After the descending scale, the choir holds one or more pitches, according to the number of that particular hour, while a soloist sings the prayer text. During the next four hours (five through eight), pizzicato scales of between five and eight notes (again, corresponding to the number of the prayer) announce the hour. The numerical cues from the first eight prayers are employed in combination to mark the remaining prayers of the first half. In the second half, the timpani counts down, announcing each odd-numbered hour by repeating a figure the appropriate number of times. The even-numbered hours are signaled by an ever-growing scalar figure in the woodwinds.
This entire series is set within an overarching harmonic cycle. The first half begins on a high B, under which an E minor harmony is established. The second half moves to C# minor, but at the end drops to B, indicating the full circle of the earth's rotation and the return to the beginning of the cycle."
1. Aum 0:26
2. En Primavera 3:02
3. Manos Duras 3:34
4. Le Realidad 3:57
5. Paloma de Plumas Blancas 5:06
6. Diosa del Mar 2:38
7. Quetzalcoatl 4:15
8. Cobre, Pobres, Viejos 2:34
9. Su Herencia 4:41
10. Iluso Que Sueñas 2:21
Patricio Panussis - guitar, vocals
Hernan Valdovinos - bass, vocals
Tomas R. Herrera - percussion
"Sacros recorded the debut LP on the state label IRT and the production was destroyed by the militaries. Only very few copies survived from destruction.
The music goes in the same direction as Los Jaivas, Los Blops and El Congreso (all from Chile) and Lula Cortez from Brazil. It has a great 12 string Rickenbacker sounds, effects, great vocals and rhythms with an experimental touch. You can call this easy one of the rarest albums from Latin America since only a handful of copies survived."
1. M.C. 0:35
2. Sieg Haile 17:39
3. La Glorie du Noir 9:43
4. The Call 6:38
5. Rock My Soul 6:36
Mal Waldron - Piano
Jimmy Woode - Bass
Pierre Favre - Drums
"This CD reissues one of the first Enja recordings, a trio outing for pianist Mal Waldron, bassist Jimmy Woode and drummer Pierre Favre. Waldron has continued to evolve through the decades while keeping his basic sound. A master at using repetition and brooding chords, Waldron is in excellent form on five of his originals plus Woode's brief 'M.C,' playing with a knowledge of the avant-garde but still connected to the hard bop tradition."
1. Toccata And Fugue In D Minor, BWV 565
2. Toccata And Fugue In G Minor, BWV 542
3. Passcaglia And Fugue In C Minor, BWV 582
4. Chorale Prelude, BWV 645
Karl Richter - Organ
"Karl Richter was regarded as one of the great Bach conductors of the twentieth century, noted for solid regularity in rhythms and a serious approach to the music, though he was not given to following the changing pronouncements of musicologists concerning historical accuracy in performance.
He was brought up in the tradition of German Protestant religious music; his father was a minister in the central German regions near where Johann Sebastian Bach had lived. Richter learned piano and organ, and as he approached his 12th birthday entered the Kreuzschule school in Dresden. After World War II, he entered the Leipzig Conservatory, where he studied with Rudolf Mauersberger, and also studied at the Leipzig Institute for Sacred Music, where he learned Bach interpretation from Karl Straube and Günther Ramin. Very soon he was appointed choirmaster of the Christuskirche in Leipzig at the age of 20, and in 1947 became the organist of the Thomanerkirche, both institutions with strong Bach traditions.
He left East Germany in 1950 to live in West Germany and settled in Munich, where he was organist of the Markuskirche and started teaching that same year at the Hochschule für Musik of Munich. He organized the Munich Bach Choir in 1951, and in 1953 added to it the Munich Bach Orchestra. His performances naturally centered on Bach and under Richter his musicians and singers became one of the most renowned organizations specializing in the music of the great German master and his era.
The formation of the Munich Bach Chorus and Orchestra reflected a growing international interest in music of the Baroque and, sparked by the advent of the LP record, the notion of integral series of composers' works. Deutsche Grammophon's Archiv label was the first of such historic specialty sub-labels. Richter and his Bach Choir and Orchestra became a major pillar of that label and recorded numerous Bach choral works, gaining international recognition.
They toured frequently, and Richter also played and recorded often as an organist and harpsichordist. In 1968, Richter made one of his most dramatic guest conducting tours when he conducted the St. John Passion and the B minor Mass in both Moscow and Leningrad at a time when religious music of any sort was rarely heard in the Soviet Union.
Although his regularity of tempo (some called it inflexibility) placed him apart from the Romantic manner of performing Bach, Richter's performances otherwise retained the Romantic era's approach, stressing the solemnity of Bach's music and including dramatic large-scale dynamic contrasts. Newer research and the growing popularity of 'original' or 'period' instrument performances did not affect his interpretations, which used modern instruments. In some respects, younger interpreters who emerged in the 1970s considered him the representative of an approach against which they were reacting.
Later in his career, Richter enlarged his repertory to conduct Classical, and even Romantic, era works, but tended to remain known primarily as a Baroque specialist. He is best remembered for his mastery of Baroque choral/orchestral works of the largest scale, where his architectural approach to the music is most effective. His recordings of the Bach Passions, oratorios, B minor Mass, and Magnificat, as well as Handel oratorios such as the Messiah, are considered his most important contribution to the Baroque discography."
Toccata And Fugue
Toccata And Fugue
1. I Can't Get Through To You 3:18
2. For A Breath 5.35
3. Moonship 2.46
4. Home Again 6.48
5. Sentries 2.36
6. P.O.W 6.50
7. Rollin' Up My Mind 4.11
8. Barking At The Ants 6.39
James Cahoon Lindsay - Lead vocals, Percussion
David Hanson - Guitars, Vocals
Wayne Cook - Keyboards
Bill Rhodes - Bass Guitar
John Desautels - Drums
"GoodThunder was a progressive rock band that formed in 1972 as James Cahoon Lindsay (vocals and percussion), John Desautels (drums), David Hanson (guitars and vocals), Bill Rhodes (bass), and Wayne Cook (keyboard). Other members include Fritz Richmond (engineering), Rick Rodrigues (cover art), Lorrie Sullivan (photography), and Robert Heimall (art direction). Not much is known about this band except the information you find on the back cover of their first and only album. If you don't listen to it, the only thing that stands out on this album is the fact that famous producer Paul A. Rothchild (who produced albums by The Doors, Janis Joplin, and Rush just to name a few) produced this album. Most of the core band went on to join AOR band L.A. Jets, then most of L.A. Jets went on to record under the name 1994. Both L.A. Jets and 1994 included GoodThunder members John Desautels, Bill Rhodes, Terry Linvill, and included singer/songwriter Karen Lawrence. Wayne Cook went on to play keyboards with Steppenwolf and co-wrote the instrumental 'Lip Service' from the Skullduggery album. Wayne Cook also played keyboards with Player on their first two albums, he filled in as keyboardist for Alice Cooper for a few shows, but was never a permanent member."
1. Deep River 4:44
2. Song of the Farm 6:00
3. Blues for Father 8:30
4. When You Meet Her 5:54
5. Elegy 9:57
6. When Johnny Comes Marching Home 7:41
7. Tempus Fugit 5:32
8. Blues for Father 5:31
Charlie Mariano – alto saxophone
Toshiko Akiyoshi – piano
Gene Cherico – bass
Eddie Marshall – drums
"Live at Birdand by the Toshiko - Mariano Quartet is a jazz album recorded at the Birdland Club in New York City on two separate occasions in 1960 and 1961. It was released on CD in 1991 by the European Fresh Sound label."
Live at Birdland
Live at Birdland
1. Aurora Borealis 12:56
2. Starfish 6:17
3. The Sea 8:22
4. The Hook 8:36
5. Jimi 9:30
6. Django 2:34
7. Hysterica 6:33
8. Tiger 7:02
9. Silva the Cat 4:49
10. Windermere Avenue 7:15
Jukka Tolonen – guitar, piano
Esa Kotilainen – Minimoog, clavinet, accordion
Heikki Virtanen – bass
Esko Rosnell – drums, percussion
Seppo Paakkunainen – baritone saxophone (1-4)
Jan Kling – tenor saxophone (1-4)
Pekka Pöyry – alto saxophone, soprano saxophone, flute (1-4)
Torgny Nilsson – trombone (1-4)
Bertil Löfgren – trumpet (1-4)
Pekka Pöyry – alto saxophone, soprano saxophone, flute (5-10)
Pekka Pohjola – bass (8)
Sakari Kukko – soprano saxophone, flute (8)
"Jukka Tolonen (born April 16, 1952, Helsinki) is a Finnish jazz guitarist. Tolonen became famous as guitarist for the band Tasavallan Presidentti. While making several solo albums and projects he also played on albums Tombstone Valentine (1970) and Fairyport (1971) by Wigwam.
Tolonen is a virtuoso guitarist who is highly respected in his native Finland as well as in Sweden where he has lived for long periods. Among Tolonen's side projects are Guitarras Del Norte, Trio Tolonen, and Jukka Tolonen Band (JTB). He has used many different guitars over the years, such as the Gibson ES-335 and Ibanez Artist. Since the 90's he has used Finnish handmade instruments by Ruokangas Guitars (electric) and Lottonen Guitars (acoustic).
Tolonen contributed to Six Complete (2006), the latest album by Tasavallan Presidentti.
In May 2008 Tolonen was found guilty of stabbing his girlfriend and was sentenced to 27 months in jail for aggravated assault. When released in 2010 he told the media that he was quitting guitar playing due to osteoarthritis. While in prison Jukka Tolonen dedicated his life to Jesus Christ, and in 2011 he released 'Juudan Leijona' ('Lion of Judah'), a CD of traditional Finnish hymns in which he sings and plays piano, occasionally accompanied by other instruments and voices."
1. Feuerwerzmusik, Suite In 3 8:29
2. Seriously Deep 6:59
3. Raga Yagapriya 8:43
4. Balance 5:25
5. Voices Behind Locked Doors 5:20
6. Midnight Oil 5:17
7. Raving Raven 6:52
8. Randy 7:46
9. Ganz Schön Heiss Man 9:10
1. Gone With The Weed 5:27
2. Stumbling Henry's Divorce March 7:18
3. Sicilian Steal 6:57
4. Pale Smile 3:58
5. Albert's Song 0:13
6. Yin 5:41
7. To An Elfin Princess 5:40
8. Wart G'Schwind 9:06
Barbara Thompson - Flute ,Sax (Soprano), Sax (Tenor)
Charlie Mariano - Nagaswaran, ,Sax (Soprano), Sax (Alto)
Ack van Rooyen - Trumpet, Flugelhorn
Ian Carr - Trumpet
Albert Mangeldsorff - Trombone
Volker Kriegel - Guitar
Wolfgang Dauner - Keyboards
Eberhard Weber - Bass
Jon Hiseman - Drums
Kenny Wheeler - Trumpet, Flugelhorn (Round Seven)
"The United Jazz + Rock Ensemble (abbr. 'United' or 'URJE') developed from a group of jazz musicians that was formed for a 1974 to 1975 television show of Süddeutscher Rundfunk (South German Broadcasting). Almost all future members of 'United' were present from the beginning.
The group played mostly original compositions ranging from jazz to rock. Charlie Mariano's experience with Indian music occasionally brought in ethnic elements. Because all band members extensively played in their own bands before and after UJRE was formed, the ensemble was often called the 'Band of Band Leaders'. Some of the members hold teaching positions with various musical colleges.
During the twenty seven years of its existence the band produced fourteen albums, all of them on Mood Records.
In 2002, the group went on their 'Farewell Tour 2002'. Among the reasons was Barbara Thompson's suffering from Parkinson's disease.
The final cast of 2002 was Wolfgang Dauner (piano), Barbara Thompson (saxophone), Jon Hiseman (drums), Dave King (bass), Ian Carr (trumpet), Volker Kriegel (guitar), Rüdiger Baldauf (trumpet), Ack van Rooyen (trumpet, fluegelhorn), Albert Mangelsdorff (trombone), Christof Lauer (saxophone)
Former members include Eberhard Weber, bass, Kenny Wheeler, trumpet, Johannes Faber, trumpet, Charlie Mariano, saxophone and ethnic instruments, Christof Lauer, saxophone, Thorsten Benkenstein, trumpet, Peter O'Mara, guitar."
Sinfonia, for 8 amplified voices & orchestra:
1. I 6:20
2. II 5:01
3. III. In ruhig fliessender Bewegung 12:26
4. IV 3:25
6. Eindrücke, for orchestra 10:15
New Swingle Singers
Orchestre National de France
Pierre Boulez - Conductor
"Luciano Berio was one of the most important Italian composers of the second half of the twentieth century, a leader of the international avant-garde who has managed to write music that is communicative and pleasing to audiences. He received musical instruction from his father and grandfather, organists in Oneglia, and continued musical training through his school years. After World War II he went to Milan to study law but also became a composition pupil with Ghedini, a composer known for his interest in many styles. He passed that interest on to Berio, who started his career as a neo-Classicist.
While in school Berio met met a remarkable American singer, Cathy Berberian. They married and went to the U.S. on their honeymoon. At Tanglewood, he met his famous countryman Luigi Dallapiccola, who was teaching there. From him, Berio learned to work with the 12-tone system and also absorbed an interest in working with sound as a musical parameter. He met the electronic music pioneers Ussachevsky and Luening, which furthered his interest in sound. This led him, on his return to Europe, to seek out Bruno Maderna, Henri Pousseur, and Karlheinz Stockhausen, leaders of the European avant-garde who were also interested in electronic music.
In 1955 Berio and Bruno Maderna founded a Studio di Fonologia at a Milan radio station; it was the first electronic music studio in Italy. Berio became very active there, organizing concerts and also publishing a new music journal, both under the name Incontri musicali. He resigned his position with the studio in 1961, worn out by overwork, red tape, and political infighting.
Berio explored the frontiers of sound, particularly vocal sound, thanks to his association with Berberian. She was willing and able to produce a remarkable variety of extended techniques with her voice, which she did with the utmost musicianship. But Berberian was also able to win audiences with her superior showmanship. Representative of Berio's vocal writing is Sequenza III for solo voice, which portrays 44 emotional states in seven and a half minutes and includes conventional singing, coughs, sighs, sobs, and a sound Berio called 'girl-bird.' The work Omaggio a Joyce used Berberian's voice as the source sounds for a tape music piece. The more traditional Folk Songs was a display piece for her facility with languages. Berio's noteworthy, ongoing series of solo instrumental works - many in theSequenza series - have often explored the timbral possbilities of a particular instrument.
In the 1960s Berio taught at Tanglewood, Dartington, Darmstadt, Harvard, Juilliard, and Mills College, Oakland, CA. By the end of the decade, his marriage to Berberian had ended, and he returned to Europe. One of his most remarkable 'American' compositions was Sinfonia (1969), a striking work built on the principles of quotation and collage. Back in Italy, he produced a series of television programs to popularize modern music. He was appointed to the board of IRCAM in Paris and wrote other notable works, such as Voci and Coro. In 1987 he founded Tempo Reale, a research institute in Milan. One of his many important later works is Renderings, which utilizes the fragmentary posthumous sketches of Schubert's Tenth Symphony with clouds of sound that eventually coalesce into syntactic units. Berio died in Rome in 2003."
1. Traffic 3:27
2. Sleep 2:20
3. Journey 3:10
4. Fair 8:44
5. The End Song 4:44
6. Mars 4:46
7. Venus 2:56
8. Saturn 3:49
9. Poem for Sam 4:25
10. Wool and Water 4:24
Ian Kewley - French Horn
Paul Ford - Trumpet
Les Jones - Guitar
Norman Findley - Organ
Mike Delaney - Drums
Les Olbinson - Percussion
"Originally released in November 1969 on Andrew Loog Oldham's subsidiary to his failing Immediate, Samson sank without trace, which was about as much as could be expected. Oldham's seemingly careless attitude of not even releasing a single to wet the record buyer's appetite however is now easier understood: Immediate was at its end; within weeks of Samson's debut release Oldham's empire went bankrupt! As the band were eagerly recording their carefully calculated work, Oldham had a lot more to worry about than whether the next album released on his subsidiary would be a big seller. With little assistance from the label, and practically no promotion, it's not surprising that the album had such low sales figures. But the poor turnover of this admittedly tackily sleeved album is by no means an indicator of the music contained within. Samson brought into their music a successful blend of harmonies which sound akin to the Gregorian psych-era choral vocal parts of the Pretty Things and the Zombies, a touch of Deep Purple circa Shades of Purple, and a hint of the increasingly popular concept album. For sake of classification, their blending of Kinks-ish psych-pop with more progressive elements is befitting of the title progressive pop - a contemporary handle used to describe everything from the Fox's For Fox Sake, Caravan's early work, and fellow north country lads the Koobas' 1969 album. If the later songs compiled on the superb Rubbles series appeal to you, Samson are well worth investigating."
Are You Samson?
Are You Samson?
1. All Cracked Up 6:22
2. Loophole 6:25
3. Spot Check 7:07
4. Amerigo 9:01
5. Count Sirloin 6:43
6. Octopia 7:29
7. Geminied [Take 2] 7:49
8. Warrior Not Worrier 5:35
9. Boomer Rang 12:28
10. Five Fingers 5:14
Arthur Blythe - Sax (Alto)
John Abercrombie - Guitar
Jeff Palmer - Organ (Hammond)
Rashied Ali - Drums
"Although the instrumentation on this CD might lead one to think that the music on the session is a typical organ date from the 1960s (with alto used instead of tenor), the first moments of the opening 'All Cracked Up' immediately changes one's expectations. Organist Jeff Palmer does his best to blow away any thoughts of Jimmy Smith as he plays harmonically advanced and sometimes nearly atonal improvisations. The music is quite adventurous (although often swinging) with plenty of fiery interaction between the musicians. Altoist Arthur Blythe's highly original tone (which sometimes sounds halfway between Cannonball Adderley and Eric Dolphy) fits in perfectly with Palmer and the eccentric soloing of guitarist John Abercrombie. It is a particular joy to hear the legendary drummer Rashied Ali (still best-known for being a member of John Coltrane's Quintet during 1966-67) playing at the peak of his powers after nearly 30 years of general obscurity. But it is Jeff Palmer who deserves the bulk of the credit for this set's success. He contributed all ten pieces and is one of the few organists around today who has managed to escape from the dominant Jimmy Smith influence, developing a style that is even beyond Larry Young. The music on his CD is sometimes quite dark and mildly disturbing but it is also quite often extroverted and full of wild spirits; even 'Amerigo' (which is basically a blues) is unpredictable. Jeff Palmer's best recording thus far, Island Universe is highly recommended."
Rolf Liebermann: Exchanges 3:00
Osvaldo Lacerda: Brazilian Miniatures 4:32
Siegfried Fink: Beat the Beat 4:51
Siegfried Fink: Plaisanterie, 4 etudes 15:06
Henry Cowell: Ostinato Pianissimo 3:16
John Cage: She is Asleep 4:32
Dmitry Shostakovich: The Nose 3:28
Joan Guinjoán: Prisma 4:13
Anestis Logothetis: Katarakt 3:59
André Jolivet: Suite en Concert 15:04
Jeff BeerJoachim Sponsel
Dagmar Becker - Flute
Eulália Solé - Piano
"Siegfried Fink (born February 8, 1928 in Zerbst/Germany, died May 3, 2006 in Würzburg/Germany) was a German percussionist, composer and professor. He is recognized as an important figure in the development of the professional percussion scene in Germany after World War II.
From 1948 to 1951, Fink studied timpanis and percussion in the class of Alfred Wagner at the University of Music in Weimar (Germany). He also studied composition in the class of Helmut Riethmüller at the same institution. After several orchestral and teaching positions in Weimar, Magdeburg, Lübeck and Hannover, he attained a permanent teaching position for timpanis and percussion at the Bavarian University of Music (Bayerisches Staatskonservatorium für Musik) in Würzburg/Germany. In the year 1974, he was promoted to a full professor and became head of the renowned Studio für Perkussion in Würzburg. He held this position until his retirement in the year 1993.
Under the guidance of Fink, the Studio für Perkussion in Würzburg became one of the world's most renowned schools for percussion. He educated more than 100 students and developed new teaching methods and new ways of playing percussion instruments, especially concerning contemporary art music. In the professional German percussion scene, Fink was known as Der Percussion-Papst (The pope of percussion).
For his achievements in art music and teaching, he has been awarded the Bundesverdienstkreuz (Order of Merit of the Federal Republic of Germany), received several art prizes and was honoured with doctorates of the Universities for Music of Sofia and Barcelona. For his life work in teaching he received the Lifetime Achievement in Education Award from the Percussive Arts Society of the US.
His artistic and creative work is documented in more than 20 disc recordings (mostly LP). Fink also conducted several percussion groups. He founded numerous percussion editions in cooperation with several European publishers. Under his guidance the first curriculum for teaching percussion instruments in German music schools has been developed.
Fink composed more than 160 pieces of music intended both for study and performance purposes. His music comprises solo works as well as chamber music, ballet music and movie scores. Many of his students received prizes at international competitions and became internationally known percussionists."