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FreeFall - LiveJournal.com

older | 1 | .... | 12 | 13 | (Page 14) | 15 | 16 | .... | 57 | newer

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    1. Preacherman 4:44
    2. Time to Face the Sun 4:05
    3. Beware 4:09
    4. We Gonna Have a Party 3:25
    5. Don't 6:16
    6. Chant to Mother Earth 2:02
    7. We Are out Together 2:47
    8. Miss Sagitt 4:48
    9. Blo 5:27
    10. It's Gonna Be a Good Day 4:17
    11. Native Doctor 5:18
    12. Do It You'll Like It 3:43
    13. Don't Take Her Away from Me 4:31
    14. Whole Lot of Shit 5:16
    15. Atide 3:03

    Berkely "Ike" Jones - Guitar, Vocals
    Segun Bucknor - Piano
    Joni Haastrup - Organ
    Mike Odumusu - Bass, Vocals
    Laolu "Akins" Akintobi - Conga, Drums, Vocals
    Friday Pozo - Conga

    AMG:
    "Blo fused the Afrobeat rhythms of their native Nigeria with the mind-expanding psychedelia and funk of late-'60s Western rock to forge a wholly original sound embracing the full spectrum of black music. The roots of the group lay in the Clusters, already one of the most popular Nigerian highlife acts of the mid-'60s even prior to a stint as the support band for the Sierra Leonean pop superstar Geraldo Pino, once dubbed 'the West African James Brown.' In 1970, guitarist Berkely 'Ike' Jones, bassist Mike 'Gbenga' Odumosu, and drummer Laolu 'Akins' Akintobi left the Clusters to join Afrocollection with twin sisters Kehinde and Taiwo Lijadu (featured a decade later on the British television show The Tube), moving away from their highlife roots to explore a more pronounced Afro-Rock approach. While performing at the Lagos club Batakuto, Afrocollection jammed with Ginger Baker, the renowned drummer from the British blues-rock supergroup Cream; in late 1971, the members of Afrocollection joined Baker in forming the jazz-rock ensemble Salt, making their live debut the following year alongside the legendary Fela Kuti.
    Despite a series of well-received live appearances throughout Western Europe and North America, the Salt project proved short-lived, and in late 1972, Jones, Odumosu, and Akintobi formed Blo, touring relentlessly in the months to come, prior to recording their EMI Nigeria label debut Blo: Chapter One. Drawing equally on the pioneering Afrobeat of Fela and Tony Allen as well as the American psych-rock of bands like the Grateful Dead and the Byrds, the record failed to live up to EMI's commercial expectations, and after signing to Afrodisia, Blo resurfaced in 1975 with Phase 2, pushing further into funk and R&B territory. Grand Funk Railroad and the Isley Brothers were the primary influences on the trio's third LP, Phase 3, but as lackluster sales continued to dog the group, Blo faced greater corporate pressure to reflect contemporary musical trends - specifically, disco, a shift culminating with 1980's Bulky Backside, recorded in London. Blo dissolved following the 1982 release of Back in Time; the retrospective Phases 1972-1982 appeared on the Afro Strut label in 2001."



    Chapters And Phases

    or

    Chapters And Phases


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    1. Got To Be Lovin You
    2. Rendez-vous
    3. Lover With Stature
    4. Fancy Meeting You
    5. Marja's Tune
    6. Babies
    7. Mutual Feeling
    8. Soul Touch
    9. Life Goes On
    10. Living Off The Love
    11. The Love I Gave
    12. Who Are You?
    13. Will They Be Listening?

    Erik Tagg - Vocals
    Art Osbone – Saxophone, Flute
    Jeff Richey - Saxophone, Flute
    Scott Walker – Trumper, Flugelhorn
    Wayne Harrison – Trombone
    Adam Palma Jr.– Guitar
    Hans Vermeulen - Guitar
    Bert Liggon – Piano
    Larry Tagg – Bass, Backing Vocals
    George Lawrence III – Drums
    Ron Snyder – Percussion
    Wim Van De Beck - Percussion
    Anita Meyer - Backing Vocals
    Dianne Marchal - Backing Vocals
    Jan Vermeulen - Backing Vocals
    Kristine Holcombe - Backing Vocals
    Martha Pendleton - Backing Vocals
    Noary Hayns - Backing Vocals

    discogs:
    "Eric Tagg began his musical career in the Netherlands as band member of Beehive (1973-1974) and Rainbow Train (1975-1979). During the 1980s he is best known for his work with Lee Ritenour. He has also released several solo albums since 1975."



    Rendez-Vous

    or

    Rendez-Vous


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    1. Que Ves el Cielo
    2. Amor de Primavera
    3. Parvas
    4. Marcapiel
    5. Frazada de Cactus
    6. Plegaria Para un Nino Dormido
    7. Sicocisne
    8. Cereza del Zar
    9. Pequeno Angel
    10. La Herida de Paris

    Spinetta - Guitarras y voces
    Mono Fontana - Teclados y especies
    Javier Malosetti - Bajo
    Jota Morelli - Batería

    AMG:
    "From Latin pop/rock to fusion and for more than two decades singer/songwriter and guitarist Luis Alberto Spinetta participated in some of the most interesting alternative ensembles in the Argentinian rock scene. The talented musician started getting seriously involved in music in 1968 after joining Emilio del Guercio, Edelmiro Molinari, and Rodolfo García in a band called Almendra, making their debut with a single featuring 'El Mundo Entre las Manos' and 'Tema de Pototo,' followed by a self-titled album released in 1970 including the 'rock en español' classic 'Muchacha Ojos de Papel.'
    Spinetta began his solo career in 1971 with Spinettalandia y Sus Amigos aka La Búsqueda de la Estrella. In addition, Pescado Rabioso and Invisible became his first experimental outfits. In 1980 he moved to the U.S. to make the English-titled Only Love Can Sustain, recorded in New York City and Los Angeles, California. After collaborations with local rock icons Charly García and León Gieco, Fito Páez teamed up with him to produce a double album called La La La. Director Pablo César asked him to compose the soundtrack for his movie Fuego Gris before assembling Los Socios del Desierto with drummer Daniel Wirtz and bassist Marcelo Torres. After being stricken with lung cancer, Luis Alberto Spinetta died in Buenos Aires in February 2012 at the age of 62."



    Exactas

    or

    Exactas


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    1. Gibraltar 10:19
    2. I Told Jesus 7:38
    3. Salt Song 7:15
    4. I Haven't Got Anything Betterto Do 4:34
    5. Storm 7:34
    6. Vera Cruz 5:04

    Stanley Turrentine - Sax (Tenor)
    Hubert Laws - Flute
    Romeo Penque - Flute
    Jerome Richardson - Flute
    George Marge - Flute
    Eric Gale - Guitar
    Sivuca - Guitar
    Curtis Turrentine - Guitar
    Deodato - Keyboards
    Horace Parlan - Keyboards
    Richard Tee - Keyboards
    Russell George - Bass
    Ron Carter - Bass
    Billy Cobham - Drums
    Airto Moreira - Drums, Percussion
    João Palma - Percussion
    Dom Um Romão - Percussion
    Harold Coletta - Viola, Violin
    Joseph Malin - Violin
    Paul Gershman - Violin
    Leo Kahn - Violin
    Harry Katzman - Violin
    Julie Held - Violin
    Julius Brand - Violin
    Alan Shulman - Cello
    Charles McCracken - Cello
    Patricia Smith - Voices
    Margaret Branch - Voices
    Brenda Bryant - Voices
    Creed Taylor - Producer
    Rudy Van Gelder - Engineer

    AMG:
    "Stanley Turrentine's stint with Creed Taylor's CTI label may not have produced any out-and-out classics on the level of the very best LPs by Freddie Hubbard, Hubert Laws, or George Benson, but the bluesy tenorist's output was consistently strong and worthwhile for all but the most stridently anti-fusion listeners. Salt Song was Turrentine's second album for CTI, and while it's perhaps just a small cut below his debut Sugar, it's another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic. In general, keyboardist Eumir Deodato's arrangements have plenty of light funk and Brazilian underpinnings, the latter often courtesy of percussionist Airto Moreira. The first three cuts are the most memorable, beginning with a ten-minute exploration of the abrupt time signature shifts of Freddie Hubbard's 'Gibraltar.' Though a hard bop version might have returned to the theme a little less often, Turrentine's solo sections are full of ideas, befitting one of his favorite pieces of the period; plus, guitarist Eric Gale shines as both a rhythm and lead player. The traditional gospel tune 'I Told Jesus' features Turrentine at his bluesiest and earthiest, with snatches of ethereal choir vocals floating up behind him. Milton Nascimento's title track, naturally, has the strongest Brazilian flavor of the program, and Turrentine skillfully negotiates its frequent shifts in and out of double time. The 1997 CD reissue also includes Nascimento's 'Vera Cruz' as a bonus track. All in all, Salt Song has dated well, partly because the arrangements don't overemphasize electric piano, but mostly on the strength of Turrentine's always-soulful playing."



    Salt Song

    or

    Salt Song


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    1. How Does That Grab You, Darlin'? 2:30
    2. Day Tripper 3:01
    3. The Last of the Secret Agents 2:46
    4. Your Groovy Self 2:57
    5. In Our Time 2:40
    6. Love Is Strange 3:14
    7. Call Me 2:50
    8. Good Time Girl 3:22
    9. Sorry 'Bout That 2:57
    10. Zodiac Blues 3:13
    11. You Only Live Twice 2:57
    12. The City Never Sleeps at Night 2:51
    13. So Long, Babe 3:07
    14. Happy 2:31
    15. Geronimo 2:04
    16. These Boots Are Made for Walkin' 2:44

    AMG:
    "Compilations that can't seem to decide whether they're greatest-hits anthologies or rarities collections don't really satisfy anybody, and that's the predicament in which this Nancy Sinatra CD finds itself. There are some hard-to-locate tracks here, like the campy, Lee Hazlewood-penned 'Your Groovy Self,' from the soundtrack to Elvis Presley's Speedway movie; the sub-standard Hazlewood composition 'Happy,' which made #74 in 1968, and eludes most Nancy Sinatra greatest-hits compilations; and the dispensable 'Geronimo,' which Sinatra sang in the 1965 movie The Ghost in the Invisible Bikini. There are also a couple of unreleased tracks: an inessential Sinatra-Hazlewood duet cover of 'Love Is Strange,' and the forced astrology satire 'Zodiac Blues,' produced by Mickie Most. It's likely, though, that the fan who likes Nancy Sinatra enough to seek such rarities has most or all of the rest of the tracks, which mix a few of her smaller hit singles with LP cuts. First- or second-time Sinatra purchasers will be disappointed to find just one big hit, 'These Boots Are Made For Walkin',' and possibly dismayed if they move on to greatest-hits collections and find that songs like 'You Only Live Twice' (presented here in its single version) and 'So Long, Babe' are duplicated. A better Sinatra rarities disc could probably be assembled, if that was the primary intention."



    You Go Go Girl

    or

    You Go Go Girl


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    1. Fei Hua Dian Chui.
    2. Sai Shang Qu.
    3. Ni Shang Yu Yi Qu.
    4. Si Lang Tan Mu.
    5. Aobao Hui.
    6. Zhu Shi Wo De Ban Zhu

    Cheng Shui-Cheng – Pipa

    Wiki:
    "The pipa is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12–26. Another Chinese four-string plucked lute is the liuqin, which looks like a smaller version of the pipa.
    The pipa is one of the most popular Chinese instruments and has been played for almost two thousand years in China. Several related instruments in East and Southeast Asia are derived from the pipa; these include the Japanese biwa, the Vietnamese đàn tỳ bà, and the Korean bipa. The Korean instrument is the only one of the three that is no longer used; examples survive in museums, but attempts to revive that instrument failed."



    L'art du Pipa Chinois

    or

    L'art du Pipa Chinois


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    1. Cello Concerto No. 2 33:30
    2. Partita, for harpsichord, electric guitar, bass guitar, harp, double-bass & orchestra 17:39

    Mstislav Rostropovich – Cello (1)
    Annemarie Schmeisser – Harp (2)
    Elzbieta Stefanska-Lukowicz – Harpsichord (2)
    Helga Bohnstedt – Electric Guitar (2)
    Norbert Brenner – Double Bass (2)
    Wolfgang Bargel – Bass Guitar (2)
    Sinfonieorchester Des Südwestfunks
    Krzysztof Penderecki - Conductor

    AMG:
    "Premiered by soloist Mstislav Rostropovich and the Berlin Philharmonic, this concerto was composed in 1982. This dramatic, energetic work opens with the two main motifs of the piece - a pulsating line that descends gradually accumulating notes into a tone cluster and a brooding melody built on two repetitions of each tone (somewhat recalling romantic or 'gypsy' style playing). Great variety is achieved through unique orchestrations - fragmenting the melody into statement-like passages, having the percussion imitate melodic material with non-pitched instruments, etc. The orchestra complements and supports the musical developments of the soloist, rather than acting as a contrasting adversary. As in all of Penderecki's work, the music is well-defined and the gestures easily distinguished - punctuations at beginnings and ends of gestures and doublings of the 'softer' timbred instruments with percussion sounds are a Penderecki characteristic that help in this definition.

    Composed in 1971, this dynamic composition is set for harpsichord and an orchestra of 9 woodwinds, 22 strings, celesta and various percussion instruments. At the onset, long tones a semi-tone apart begin pulsing, followed by clusters, tremolo tones, fast cycles and whirls of sound in similar pulsations. The harpsichord solos on fast cyucles in different rhythms, backed up by splattering horns, and a wildly avant-garde jazz ombo of amplified instruments. The pulsations then start to fragment in many directions, and fiery cycles shoot off ffrom the winds. This falls apart into glassy sounds, and soon the sawing of strings becomes insistent again. Not to be forgotten, the harpsichordist sounding like Cecil Taylor on speed, comes in again with a wild solo, and the small band develops multi-rhythmic chops, soon taken over by the orchestra. All comes to a halt for a harpsichord solo equally built on fast bi-tonal exercise arpeggios interspersed with chops. This is again taken up by the orchestra, which mutates the texture into a heavenly shimmer. The harpsichordist's energy wanes into almost arhythmical obsession with a passage of clusters, joined by tiny bells and rattling percussion. A breath. Tiny bells, small percussion begins in slow pulse and swells to a faster pulse (that Japanese Zen gesture), this idea is then imitated by the orchestra in uncoordinated sections of high strings and basses. Tubular bells then take over the arhythmical shake, this modulating into the amplified guitar and percussive strings. The harpsichord comes in with a low tone, and immediately speaks in prose-like passages quickly turning into whirls. This spreads out to the orchestra, who follow with many variations on the idea of trills and quick random runs from the bass to the high treble - in between, deep brass come in, the strings chop (like Herrmann's 'Psycho' music), the combo chops, the whole orchestra pulsates each in their own rhythm. Eventually, this settles down in a few repetitions of a single note in the harpsichord. The high strings appear from the silence with a high pitched pulsation accompanied by a slowly sliding tone underneath, like a siren. Very quietly, the deep bass intone a few low tones. The piece is over. An incredibly energetic experience that seems to have had a narrative, but that story is whatever has been evoked in each listener's mind."


    Concerto Pour Violoncelle Et Orchestre No. 2 / Partita

    or

    Concerto Pour Violoncelle Et Orchestre No. 2 / Partita


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    1. Boku No Okuri Mono
    2. Yomigaeru Hitotoki
    3. Kare No Hohoemi
    4. Suiyoubi No Gogo
    5. Chikyuu Ha Semakunarimashita
    6. Demo Mou Hana Ha Iranai
    7. Arukou
    8. Honno Sukoshi No Aida Dake
    9. Hari Wasureta Shashin
    10. Shizuka Na Hirusagari
    11. Sawayaka Na Asa Wo Mukaerutame Ni

    Kazumasa Oda - Vocal and Keyboard
    Yasuhiro Suzuki - Vocal and Guitars
    Kazuhiko Matsuo - Vocal, Guitar and Harmonica
    Hitoshi Shimizu - Vocal and Bass
    Hitose "Jiro" Oma - Drums and Percussion

    AMG:
    "Mixing Simon & Garfunkel's acoustic influence with traditional harmonies, Off Course were among the founding fathers of Japanese folk-rock. The band enjoyed a 25-year career run until finally dissolving in 1989, but its influence is still felt in later acts such as Yuzu or Kobukuro.
    The group was formed in 1964 by a bunch of high schoolers including keyboardist Kazumasa Oda and guitarist Yashiro Suzuki who teamed up to play at a local festival. They continued to play together on holidays, and appeared at festivals in the following years even though Oda and Suzuki were both in college; nevertheless, the two won runner-up at a Yamaha Light Music Contest contest in 1969. Inspired, the band made it to the finals of LMC Nationwide Grand Prix Competition the same year, and even though they ended up in second place again, they got a recording contract with Toshiba EMI. The group debuted in 1970 with the single 'Gunshou no Naka De' released under the name the Off Course derived from 'of course' with another 'f' added). It didn't ignite the charts, and the band spent the next couple of years straightening things up: bassist Michio Jimeshi quit in 1972, and was replaced by Kazuyuki Kobayashi, who stuck around for only a year, Kouji Yoshida joined as a backup vocalist, and the moniker was shortened to 'Off Course.' The band debuted live in 1972, and had their first LP, Off Course 1: Boku no Okurimono, released in 1973. They released five more albums in 1974-1978 (recording with Janet's drummer Jiro Ooma since 1976), and eventually cracked the Top 20 with the album Fairway (1978) and the single 'Sayonara' (1979), which charted at number two. In 1979, Kazuhiko Matsuo (guitar, harmonica) and Hitoshi Shimizu (bass) were added to the lineup. The success of 'Sayonara' finally allowed Off Course to break through to the big time: they had two more Top Ten singles in 1980-1981, and We Are (1980), their eighth album, was the band's first full-length to top the Oricon cahrts, followed by three more in the next two years. The group even played in L.A., and Japanese TV featured them in documentaries. In 1980, Oda, Suzuki, and Ooma also produced albums by other artists (Oda worked with Iruka).
    However, rumors of the band's breakup began to circulate in 1982. After a Budokan show, Off Course announced a hiatus of their live activities, and Suzuki left in 1983 to start a solo career, but the band, which switched to the Funhouse label, continued to record and had another number one release with The Best Year of My Life. In 1985, Off Course made another foray into America, recording the'English' album Back Streets of Tokyo, which had no impact on the Western charts, but topped the Oricon. The band also played at Live Aid. In 1986, Matsuo released his first solo record, and Oda and Shimizu followed suit; the band held together for a couple more years and put out two more albums, but threw in the towel in 1989 after a gig at the Tokyo Dome. Since then, the label released half-a-dozen compilations of their music, and in 1999, Matsuo, Shimizu, and Ooma established the Acoustic Beatles Club, but the members stubbornly resisted all suggestions of an Off Course reunion."



    Boku No Okurimono

    or

    Boku No Okurimono


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    1. Noisy Flowers 6:42
    2. Like It Feels 11:16
    3. Official Silence 8:54
    4. Refined Poverty 9:04
    5. Make Hot and Give 7:56
    6. The Mockingbird Sin 12:13
    7. Dirty in the Right Places 8:10

    Henry Threadgill - Sax (Alto)
    Mark Taylor - French Horn
    Edwin Rodriguez - Tuba
    Marcus Rojas - Tuba
    Ed Cherry - Guitar
    Brandon Ross - Guitar
    Ayodele Aubert - Guitar (Classical)
    James Emery - Guitar (Soprano), Guitar (Steel)
    Myra Melford - Piano
    Diedre Murray - Cello
    Michelle Kinney - Cello
    Dixon Tourre - Cello
    Pheeroan akLaff - Drums
    Bill Laswell - Producer

    AMG:
    "This 1995 release represents one of three fine recordings that modern jazz saxophonist/composer Henry Threadgill recorded for Columbia Records, although few actually perceived that he would enjoy a longstanding tenure with a market-driven major label. However, Threadgill continued to pursue his deeply stylized craft, consisting of intricately formulated arrangements solidified by the pumping bottom-end work of tubaists Marcus Rojas and Edwin Rodriguez, while electric guitarist Brandon Ross' often blistering attack provides a rough-hewn edge. Throughout, the listener is treated to climactically based motifs featuring the leader's geometrically constructed lines, drummer Pheeroan Aklaff's powerfully executed polyrhythms, and the ensemble's semi-austere chamber-like strings, keys, and acoustic guitar-based thematic variations. Threadgill also incorporates march-like beats into his rather divergent arsenal, as the band's intensity level could perhaps rival some of the '90's most prolific rock, funk, or fusion bands. Overall, Makin' a Move signifies yet another fascinating glimpse of Threadgill's exclusive artistry."



    Makin' A Move

    or

    Makin' A Move


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    Thomas Tallis: In jejunio et fletu 4:30
    Thomas Tallis: Te lucis ante terminum (Procul recedant somnia) 2:22
    Thomas Tallis: Audivi vocem 4:04
    Christopher Tye: Omnes Gentes, Plaudite Manibus 5:07
    Christopher Tye: Missa Sine Nomine 7:11
    John Sheppard: Gaudete Celicole Omnes for 4 voices 2005 5:59
    John Sheppard: Beati omnes 6:42
    Thomas Tallis: Salvator mundi 2:35
    John Sheppard: Laudate pueri Dominum 6:15
    John Sheppard: Aeterne Rex Altissime 4:10
    Christopher Tye: In pace in idipsum 5:02

    David James - Counter Tenor
    Rogers Covey-Crump - Tenor
    Steven Harrold - Tenor
    Gordon Jones - Baritone
    Robert MacDonald - Bass

    AMG:
    "The Hilliard Ensemble is a highly accomplished male vocal quartet, specializing in Medieval, Renaissance, and 20th Century avant garde music.
    The group was founded in 1974, primarily to explore pre-Baroque music. As the Early Music movement spread in England in the 1970s, they came to be in demand for the purity of their voices and blends and their close attention to authenticity in performing style.
    While the core group has been four male voices, they have on occasion expanded through temporary additions of other singers, especially on recordings made in the 1980s.
    The group was named in honor of English miniaturist Nicholas Hilliard (c. 1537-1619) and perhaps also in oblique reference to conductor Paul Hillier, who has worked frequently with them and did much of their early program planning. In 1990 the core personnel of the Ensemble were David James (countertenor), Rogers Covey-Crump and John Potter (tenors) and Gordon Jones (baritone), a line-up that remained consistent through the decade. They are a co-operative group, planning their programs and deciding on interpretations by consensus.
    While the group¹s main repertory is pre-1600 music (which mostly appears on the Hyperion Records label) they also have an association with ECM New Series records, on which they have sung music of avant garde composers such as Arvo Part, Heinz Holliger, Edward Cowie, John Tavener, Gavin Bryars, and John Casken., and collaborated with Norwegian saxophonist Jan Garbarek on a Jazz oriented release called Officium."



    Audivi Vocem

    or

    Audivi Vocem


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    1. Heroica 4:19
    2. Help This Lonely World 3:51
    3. Carnival 5:59
    4. Love Song 6:11
    5. 7 Flowers Street 2:54
    6. One Minute Prayer 0:47
    7. Lonely Violin Crying For Peace 3:12
    8. Stampede 5:35
    9. Soon The War Is Over 7:53
    10. Why I Didn't Win The Lottery 4:28
    11. Everything Will Be OK 3:20
    12. Genesis 4:37
    13. Good To Be Together 4:39
    14. Party Inside 2:55
    15. Green Scooter On The Way To Asia 6:18

    David Bachar - vocals, harmonica
    Yonathan (Johnny) Stern - vocals, 12-string guitar
    Efrayim Barak - guitars
    Tony Brower - violin, mandolin
    David (Doody) Rosenthal - synthesizer, percussion & effects
    Ady Weiss - keyboards
    Ehud (Udy) Tamir - bass
    David Shanan - drums

    progarchives:
    "Israeli progressive rock band from the 70's, hailing from Tel Aviv & Ramat-Gan. They managed to complete only one (English-sung) album, called 'Peace', in 1975. The band disbanded due to low sales in Israel and no international interest in their music. Zingale's chief talents were Tony Brower (violin) and Adi Weiss (keyboards), but also Udi Tamir's bass is worthy of mention. The lyrics were inspired by the painful memories of the Israeli 'Yom Kippur' war in 1973 (some of the band members fought that war, and lost relatives & friends), and are concerned with the importance of global peace.
    Zingale's album has been reissued on CD in 1992, with some Hebrew-sung bonus tracks that were intended for their next Israeli album. There's also a later digipack version of that same reissue. The sound quality is below average, since the master tapes were not found at the time. There are rumours of a planned remaster using newly found master tapes, but it hadn't materialized it."



    Peace

    or

    Peace


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    1. Gone With The Wind
    2. All The Things You Are
    3. Have You Met Miss Jones
    4. My One And Only Love
    5. Night And Day
    6. My Ideal
    7. Where Or When
    8. Gone With The Wind [alternate take 1]
    9. Gone With The Wind [alternate take 2]
    10. Have You Met Miss Jones [alternate take]

    Ben Webster - Sax (Tenor)
    Art Tatum - Piano
    Red Callender - Bass
    Bill Douglass - Drums

    AMG:
    "The only album-length collaboration between pianist Art Tatum and tenor saxophonist Ben Webster (accompanied by a rhythm section of Red Callender, bass, and Bill Douglass, drums) was this September 11, 1956, session under the auspices of Norman Granz's Verve Records label. (It was also Tatum's last recording session before his death.) Granz probably suggested the repertoire of standards by the likes of Kern and Hammerstein, Rodgers & Hart, and Cole Porter, but the melodies, of course, only provide a framework. On each track, Tatum leads things off, with Callender and Douglass coming in discreetly (and low in the mix). Then, at a certain point, Webster appears in the foreground, playing comparatively few notes and sticking much more to the melody than his partner. This is a good approach, since Tatum never subsides to simple comping; he just keeps soloing away under Webster's rich tenor tones until Webster stops playing, and then keeps on to the end. So, although this is billed as a group effort, it's not a group of equals or really one in which the players are cooperating with each other. Tatum might as well be playing solo, since he takes very little account of what's happening around him. Granz makes it work by varying the volume of the different instruments in the mix, and the result is a fascinating study in contrasts."



    The Tatum Group Masterpieces

    or

    The Tatum Group Masterpieces


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    1. La Prueba De La Manzana 2:38
    2. Invocacion A Lo Mejor De La Humanidad 5:02
    3. El Perro De Pavlov 4:49
    4. A Cada Paso Puedes Cambiar Un Detino 4:06
    5. La Etica Del Verdugo 6:01
    6. La Maternidad Del Alacran6:01
    7. No Puedo Ser Lo Que No Quiero Ser 3:35
    8. La Profecia De Las Plaga 4:19
    9. La Busqueda De La Verdad En Si Mismo 7:49
    10. Desprendimento 2:31

    Ricardo Moreno - guitars, keyboards
    Ricardo Ortegon - guitar
    Nohemi D'Rubin - bass, vocals
    Victor Baldovinos - drums

    AMG:
    "Released on a small local label, De Todos Uno allowed Iconoclasta to briefly reach out to progressive rock circles. Despite a cold, surgical production, the album contains strong instrumentals and a few nice songs, too. Spanish lyrics and prominent use of Spanish guitar give the music more of a local flavor than, say, Cast's mainstreamed neo-prog songs. The strength of De Todos Uno resides in the fluidity and ease of the many odd-metered instrumentals. Tracks like 'La Maternidad del Alacrán,' 'La Prueba de la Manzana,' and 'La Profecia de las Plagas' really groove. Ricardo Ortegon's choice of lead guitar lines is often puzzling, a note or two regularly (and deliberately) falling just outside of the chosen tonality. Ricardo Moreno wrote all the material and supplied keyboards and acoustic guitar. Bassist Nohemi D'rubin doubles as the group's singer. Her relatively low-range voice is not something to die for, but it has warmth and conviction to compensate for a certain lack of power. Drummer Victor Baldovinos does a convincing job, but his drums sound dry and lifeless. Each track contains catchy themes (à la mid-period Genesis) that counterbalance the jazz-rock inspired rhythmical complexity, striking a really nice balance. If you can overlook the misled production, this is a fine album, although maybe not worth the effort and money you will need to invest in order to put your hands on it."



    De Todos Uno

    or

    De Todos Uno


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    1. Kilometre Heure
    2. Terre de Feu
    3. Nutella
    4. Miroir Des Yeux
    5. Canal grande
    6. Victims
    7. En Un Clin D'oil
    8. Smog
    9. Enfin

    Marc Vallée - guitars
    Eric Lonesworth - cello
    Clermont Bouliane - vibes, synth, piano
    Jean-François Martel - bass
    Mario Blouin - drums, percussion

    progarchives:
    "A few years after the Quebec prog boom was out, and all that remained was OFFENBACH (by then not prog anymore) and its non-prog offshoot CORBEAU, the scene was all but dead if you'll except the jazz group UZEB (going famous world-wide) and the future-slightly-proggy (in the late 90's) THE BOX. Out of the blue appeared in 85, this jazzy-prog band called Contrevent that released their first album Jeu De Paume, which as you can probably guess went totally unnoticed. This guitar-dominated quintet also featuring violin/cello and vibes (with the Paradis brothers in the rhythm section) developed a fairly smooth-going instrumental fusion that presented constant progression and could've found place on the ECM Label catalogue even if it lacked a bit of energy as so typical of the 80's. The lack of profile didn't stop the fairly-different (only guitarist and main-songwriter Vallée was left) group from releasing four years later, Youkali, much in the same vein as its predecessor, without much more success than the local jazz-scene.
    The group reappeared (again much different) in 93 with their last effort Terre De Feu (tierra del fuego), this time with a fairly different sound too. Alas, although the prog movement was slowly rising from its ashes (even locally, as VISIBLE WIND had now appeared), the band was on its last leg and would fold quietly. Sadly none of their three albums were ever reissued in the CD format, but the vinyl albums should still be financially accessible to prospective progheads and fusionheads. Marc Vallée has kept making music for movie and theatres, and his musical creations have shifted to an acoustic world-folk."



    Terre De Feu

    or

    Terre De Feu


    0 0


    1. Oh Lord, Stand by Me 2:45
    2. You Got to Move 2:29
    3. Lord Have Mercy 2:14
    4. Living for My Jesus 2:28
    5. Precious Lord 2:38
    6. I'll Fly Away 2:07
    7. This May Be the Last Time 2:30
    8. Alone and Motherless 2:02
    9. Since I Met Jesus 2:41
    10. Our Father's Praying Ground 2:16
    11. Broken Heart of Mine 2:33
    12. Here Am I 2:25
    13. Marching up to Zion 1:59
    14. Servant's Prayer Amen 2:07
    15. Count Me In 2:02
    16. When I Lost My Mother (Something About the Lord Is Mighty Sweet) 2:47
    17. There Is a Fountain 3:05
    18. I've Been Born Again 2:47
    19. He'll Be There 2:52
    20. Think About Me 2:47
    21. Does Jesus Care? 2:42
    22. Fix It Jesus 3:00
    23. Goodbye Mother 2:42
    24. I've Got a Home 2:09

    Rev. Sammy Lewis
    Clarence Fountain
    George Scott
    Olice Thomas
    Johnny Fields

    AMG:
    "Two of this seminal gospel group's Specialty albums on one compact disc. Compiled by musicologist Dr. Demento (under his real name Barret Hansen), this collection offers several of the group's original singles, all of them chock-full of fervent vocalizing from lead singers Clarence Fountain and the Rev. Samuel K. Lewis. This is the perfect introduction to these wonderful musicians and some of the most passionate gospel singing you're likely to encounter."



    Oh Lord, Stand By Me/Marching Up To Zion

    or

    Oh Lord, Stand By Me/Marching Up To Zion


    0 0


    Ingvar Lidholm: Sonata for flute 9:40
    Arne Mellnäs: Family Flute, for 10 flutes 6:12
    Åke Hermansson: Suoni d'un flauto for alto flute, Op. 6 3:07
    Åke Hermansson: Flauto d'inverno for bass flute, Op. 16 3:13
    Erland von Koch: Monologue No.1 for flute 5:50
    Erland von Koch: Cantilena e vivo, for organ 2:41
    Øistein Sommerseldt: Divertimento, Op. 9 for solo flute 7:42
    Øistein Sommerseldt: Vårlåter, Op. 44, for solo flute 7:08
    Sverre Bergh: Pan for flute solo 3:40
    Leif Thybo: Aria con variazioni for 4 flutes 6:05
    Erkki Salmenhaara: Preludi, iskelmä ja fuuga soolohuilulle 12:02
    Leonid Bashmakov: Fantasia for flutes 6:51
    Tauno Marttinen: Ilman, Virgin of the Air, for piccolo 3:02

    Gunilla von Bahr - Flute
    Robert von Bahr - Flute

    AMG:
    "A ubiquitous flutist at the beginning of the digital age thanks to her many LPs and CDs for BIS, Gunilla von Bahr saw her recording career wane after her divorce from Robert von Bahr, who ran that label. Gunilla by no means retired, though; she continued to perform and increased her activities as an educator and music administrator. She began learning the flute at age eight, and by 14, she was playing in an amateur orchestra in Malmö. She studied at the University College of Music in Malmö and then at the Royal College of Music in Stockholm, whereupon she spent five years playing in Sweden's various orchestras before going freelance as a soloist. Von Bahr mastered all four varieties of the flute, and although her repertory extended back to the Baroque era, she eventually focused much of her attention on new music, with more than two dozen composers writing music especially for her. In the mid-'70s, she began making recordings for BIS. The eclectic collections issued under the title Sun Flute were especially successful, some selling more than 100,000 copies each. From 1987 to 1990, she was the director of Kronoberg's regional music organization, then served from 1990 to 1995 as director of the Malmö Symphony Orchestra. Von Bahr was the artistic director of the Norrtelje Chamber Music Festival from 1991 to 2000, and founded the Baltic Academy Foundation. In 2000, she became rector of Stockholm's Royal College of Music."



    Nordic Solo Flute Music

    or

    Nordic Solo Flute Music


    0 0


    1-5. Sextet, for percussion, piano & synthesizers
    6. Six Marimbas (rearranged version of "Six Pianos")

    Bob Becker - Crotale, Drums (Bass), Marimba, Stick, Tamtam, Vibraphone
    Russ Hartenberger - Crotale, Drums (Bass), Marimba, Stick, Tamtam, Vibraphone
    Garry Kvistad - Crotale, Drums (Bass), Marimba, Stick, Tamtam, Vibraphone
    Glen Velez - Crotale, Drums (Bass), Marimba, Stick, Tamtam, Vibraphone
    Edmund Niemann - Piano, Synthesizer
    Nurit Tilles - Piano, Synthesizer
    Kory Grossman - Marimba
    James Preiss - Marimba
    Bill Ruyle - Marimba
    William Trigg - Marimba

    AMG:
    "Although Reich's music during the '80s, as he gained in popularity, was increasingly written for larger, lusher ensembles (with, oftentimes, the concomitant loss of 'edge'), he occasionally and happily reverted to more contained compositions such as those included here. 'Sextet' is pared down to four percussionists and two keyboardists (the latter including synthesizers) and evokes early pieces of Reich's Drumming while incorporating his ongoing use of longer melodic lines. In five sections, it tends toward a buoyant and jazzy bubbliness, percolating with all manner of busy interaction and wonderfully intermeshed rhythms. One of the new techniques employed is having the vibraphonists bow their instruments, generating long, ghostly tones reminiscent of musical saws but cleaner and more precise. Since this cannot be done quickly, Reich writes patterns that interweave between performers, achieving a kind of hocketing effect where, by playing only every third or fourth note in a rhythmic line, the ensemble can produce what the listener perceives as a fast tempo even as each individual is playing slowly. The closing section is pure effervescent bliss. 'Six Marimbas,' scored for, unsurprisingly, six marimbas, sounds even closer to the pieces that originally brought Reich to renown and is, in fact, a rescoring of his 'Six Pianos' from 1973. The pure, luscious tones of the marimbas make it even more successful than the original and the work is played with obvious delight and rigor by the percussion ensemble Nexus, who includes several members of Reich's working band of the early '70s. In sum, Sextet/Six Marimbas is one of the finest releases of mid-career Reich, entirely without the pretensions that marred some of his other work from the period, and is highly recommended."



    Sextet/Six Marimbas

    or

    Sextet/Six Marimbas


    0 0


    1. A Million Grains of Sand 2:39
    2. "... When In the Course of Human Events" (Draft Beer, Not Students) 1:50
    3. Interpolitation: We Shall Overcome 1:44
    4. Rose of Smiling Faces 4:16
    5. Behind the Mind 2:18
    6. The Subway Ride Thru Inner Space 2:43
    7. Butterfly Dream 1:38
    8. My Rainbow Life 2:51
    9. The Center of My Soul 2:26
    10. Watered Down Soul 2:37
    11. Red Roses Will Weep 2:20
    12. Mind Bender 2:28
    13. Grok! 1:31

    Rusty Evans - vocals
    David Bromberg - guitar
    ???

    AMG:
    "The one and only Freak Scene record is just one chapter in the strange saga of entrepreneurial psychedelic pioneer/journeyman Rusty Evans, whose first album was the Deep's 1966 release Psychedelic Moods. Like that project, the Freak Scene was strictly a studio outing staffed by sidemen, not a full-fledged band at all. Nevertheless, Psychedelic Psoul's reputation as a psych-exploitation album is unjust; while the trippy themes and production techniques employed here would become clichés of psychedelic-era rock, they weren't clichés in 1967, when the style was still in its infancy. In fact, a strong case could be made for Evans being ahead of the curve. 'Mind Bender,' for instance, with its Dadaist recitations, throbbing pulse, and scrappy guitars, predated the Velvet Underground's very similar 'Murder Mystery' by a couple of years. The combination of tape manipulation and exotic world music influences on the short instrumental 'Grok!' seems rather prescient in retrospect as well. Besides, even if the most cynical opinions turned out to be true, and the backwards guitars, fuzztones, and 'far out' effects overflowing from most of the tracks on Psychedelic Psoul were incorporated strictly in the interest of bandwagon-jumping, it was all done skillfully enough that it doesn't really matter, especially so many decades after the fact. Psychedelic Psoul stands as an evocative sonic time capsule, although 'topical' spoken word pieces like 'When in the Course of Human Events' admittedly haven't aged as well as the album's more conventional, melodic compositions. Followers of Evans' journey - after the Freak Scene, he went on to make an excellent, atmospheric psych-folk album under the alias Marcus - may be interested to note that Psychedelic Psoul's opening track, 'A Million Grains of Sand,' appeared in different versions on both Psychedelic Moods and the Marcus album."



    Psychedelic Psoul

    or

    Psychedelic Psoul


    0 0


    1. Mr. Smoothie 6:07
    2. Just Foolin' Around 6:18
    3. Song from the Old Country 8:11
    4. We've Been Here All the Time 9:00
    5. A Time for Sobriety 9:43
    6. The Necessary Blues 13:35

    George Adams - Sax (Tenor)
    Don Pullen - Piano
    Cameron Brown - Bass
    Dannie Richmond - Drums

    AMG:
    "Yes, this is a career breakthrough in a sense, for the Don Pullen/George Adams Quartet finally got a chance to record for a major American label after several Europe-only opuses. They seemed genuinely thrilled about it, for the supercharged leadoff track 'Mr. Smoothie' sure sounds like a breakthrough with its ebullient mood. While grounded in hard-swinging post-bop, soul-jazz, and the blues, Adams and Pullen use the mainstream as a base for taking off into free regions at times, Adams with his gritty, combustible tenor, Pullen his trademark piano clusters. They can also groove in a melodic yet highly charged fashion on 'Song From the Old Country' and reflect yearningly in the opening bars of 'A Time for Sobriety.' Drummer Dannie Richmond adds his Mingus-trained flexibility and drive, fluidly teamed with bassist Cameron Brown. Throughout the record, the band's creativity burns at white heat, making this disc a good first choice for newcomers to Pullen."



    Breakthrough

    or

    Breakthrough


    0 0


    1. Prvni a posledni 2:43
    2. Mezi dvema mosty 3:04
    3. Seih des Todes Blasses Bild 1:47
    4. Na vychod I-IV 3:24
    5. Tlukot 5:16
    6. Zvirete 0:49
    7. Co tady snim 1:01
    8. Trpytiva chladna ruka 2:24
    9. Prvni a druhy 3:06
    10. Hrdlem 1:35
    11. Vzadu v zahrade 3:33
    12. Otec vzpomene 2:33
    13. Vedeni kone 2:34
    14. Z jedne strany na druhou 2:35

    Jan Brabec - bicí nástroje, piano, zpěv, vibrafon, zvonkohra
    Ladislav Leština - housle, klavír, zpěv
    Vít Brukner - klavír, zpěv, vibrafon
    Andrea Landovská - zpěv, zvonkohra, bicí

    AMG:
    "Recorded with very little means in 1986 and released as a samizdat (illegal) cassette the same year, Z Jedné Strany Na Druhou is a stunning work. For his first solo effort, Plastic People of the Universe's drummer Jan Brabec wrote an assortment of beautiful, languid acoustic songs. Ladislav Lestina plays violin, Brabec and Andrea Landovská sing, and all three plus Vít Brukner alternate with one another on piano, xylophone, drums, and small percussion (mainly bells and cymbals). The breathing tempos, romantic piano lines, and singing style all relate to the form of the art song, bringing to mind Dagmar Krause's Commuters project and News From Babel, but also the 20th century American contemporary songs of Ernst Bacon and Jack Beeson. But this album also projects an uncanny solemnity that fans of Plastic People of the Universe will recognize, only it is not coupled with gloomy music, but instead with very elegant melodies and sparse arrangements. Landovská's voice, although not that of a thoroughly trained classical singer, stays on pitch and conveys enough emotion to seduce, while forming a perfect pair with the exacerbated lyricism of the violin ('Tlukot' stands out in that regard). It seems the album has been recorded with only a couple of microphones picking up the ambient sound. The piano comes from afar and is not particularly well tuned, while some of the subtleties of the percussion work get lost before they reach a microphone, but for the lack of hi-fi quality the listener gains an intimate atmosphere that works admirably well for this particular music. Reissued on CD in 1999 as part of Black Point's Archiv series."



    Z jedne strany na druhou

    or

    Z jedne strany na druhou


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