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FreeFall - LiveJournal.com

older | 1 | .... | 16 | 17 | (Page 18) | 19 | 20 | .... | 57 | newer

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    Sonate da camera a tre, for 2 violins & violone (or harpsichord):
    1. In D major, Op. 2/1 6:31
    2. In F major, Op. 2/7 7:46
    3. In E major, Op. 2/10 7:13
    4. In G major ("Ciacona"), Op. 2/12 7:13
    5. In C major, Op. 4/1 7:08
    6. In A major, Op. 4/3 9:24
    7. In D major, Op. 4/4 8:00
    8. In G major, Op. 4/10 5:28


    Ensemble Aurora con strumenti originali



    Sonate a tre da Camera-dalle Opere II e IV

    or

    Sonate a tre da Camera-dalle Opere II e IV


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    1. Street Rat 2:51
    2. Rock and Roll Music 2:57
    3. We Can Work It Out 3:21
    4. Scored Out 2:46
    5. Road Hog 3:09
    6. Rain 4:02
    7. There 'Tis 3:06
    8. Let Me Be Your Lovemaker 5:57
    9. Countryman Stomp 2:20
    10. Drive My Car 3:42
    11. Queens and Nuns 3:05

    Steve Marriott - Guitar, Harmonica, Keyboards, Vocals
    Dave "Clem" Clempson - Guitar
    Tim Hinkley - Keyboards
    Greg Ridley - Bass
    Jerry Shirley - Drums
    Mel Collins - Horn

    AMG:
    "Even more undistinguished than Thunderbox, the limp blues-rock of Street Rats illustrates why Humble Pie threw in the towel after the release of this record. "



    Street Rats

    or

    Street Rats


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    1. Gymnopédie No 1, Variation 1 4:37
    2. Gymnopédie No 1, Variation 2 4:34
    3. Gnossienne No 3 4:27
    4. Gnossienne No 6 5:26
    5. Gnossienne No 2 4:21
    6. Gymnopédie No 1, Variation 3 5:07
    7. Gnossienne No 4 7:13
    8. Gnossienne No 5 4:15
    9. Gymnopédie No 1, Variation 4 3:46
    10. Gnossienne No 1 3:58
    11. Pas á pas 3:44

    Jacques Loussier - Piano
    Benoit Dunoyer de Segonzac - Bass
    André Arpino - Drums

    AMG:
    "b. 26 October 1934, Angers, France. A classically taught pianist, Loussier found a career in commercial popular music more lucrative. Then, in 1959, he hit upon the idea of performing the classical piano works of Johann Sebastian Bach in a quasi-jazz style. Together with Pierre Michelot and Christian Garros, the trio had enormous international success with the wider public. The concept, the low-key detached style, and possibly the huge commercial success, failed to endear the group to the hardcore jazz audience. In the mainstream, his interpretation of Bach is better known as the long-running music accompanying the award winning Benson & Hedges film and television advertisements of the 60s and 70s. In the 90s and beyond Loussier attempted the same crossover with the works of Satie, Bach, Chopin and Mozart."



    Gymnopedies / Gnossiennes

    or

    Gymnopedies / Gnossiennes


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    1. Changes
    2. I'm Coming Home
    3. Everything Is Changed
    4. Beginning
    5. Skæv
    6. Warning

    Søren Højbjerg - Guitar
    Jørgen Villadsen - Bass
    Henrik Laurvig - Drums, Vocal

    psychedelic-music.com:
    "Moses was formed in 1969 in Esbjerg, Denmark by Søren Højbjerg - guitar / Jørgen Villadsen - bass / Henrik Laurvig - drums and vocal
    Moses played their own heavy and punshy and stoned progressive blues. Their record 'Changes' from 1971 has now become cult in the collectors market.
    By the end of 1969 the band got a contact with the independant record company Spectator Records in Denmark and in the summer 1970 they recorded the only album, 'Changeas' in 2 days in the Spectator Record Studio in Ålborg, Denmark
    Finally the rarest and perhaps best album on the rare Danish Spectator label. The music is strongly influenced by the Cream and other hard Psychedelic guitar bands. It took us quiet a while to get a deal together and we are happy now to close the final chapter of the Spectator story with this great release of Moses. Extra heavy fuzz-guitar madness all over with strong bass and drums and great vocals."



    Changes

    or

    Changes


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    1. Dancing with Nature Spirits 20:29
    2. Anatolia 12:18
    3. Healing Song for Mother Earth 22:03
    4. Emenetions 7:43
    5. Time Warps 9:33

    Steve Gorn - Bansuri, Clarinet, Flute, Sax (Soprano)
    Michael Cain - Keyboards, Piano
    Jack DeJohnette - Drums, Percussion

    AMG:
    "For Jack DeJohnette's 1995 ECM release, the drummer teams up in an unusual trio with pianist Michael Cain (who has his own sound) and the atmospheric reeds of Steve Gorn (who is heard on soprano, clarinet and bansuri flute). The five group originals (two of which are over 20 minutes long) build gradually to a high level of intensity. Although there is no bass, the music swings in its own way and DeJohnnette's drums and percussion are consistently stimulating. This thoughtful but often-fiery music is worth a close listen."



    Dancing with Nature Spirits

    or

    Dancing with Nature Spirits


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    1. Watch Yourself 4:02
    2. Stone Crazy 7:11
    3. I Found a True Love 6:16
    4. First Time I Met the Blues 2:17
    5. Let Me Love You Baby 2:52
    6. No Lie 2:28
    7. I Got a Strange Feeling 3:05
    8. My Time After Awhile 2:59
    9. Ten Years Ago 2:36
    10. Broken-Hearted Blues 3:18

    Buddy Guy - Guitar, Vocals
    Jarrett Gibson - Sax (Tenor)
    Bob Neely - Sax (Tenor)
    Donald Hankins - Sax (Baritone)
    Leonard Caston - Piano
    Jack Myers - Bass
    Fred Below - Drums
    Al Duncan - Drums
    +
    Junior Wells - Harmonica, Vocals
    Lacy Gibson - Guitar
    Lafayette Leake - Piano
    Otis Spann - Piano
    Maurice White - Drums

    AMG:
    "This slim yet potent sampler of Guy's excellent early-'60s work for Chess will no doubt please newcomers looking for a bargain introduction to the blues guitarist/vocalist's prime sides. With his guitar tapped for maximum intensity, spiky and tremolo-heavy, and those vocals all pathos-rich screams and in-the-pocket bravado, Guy especially hits bedrock on the blues-personified narrative 'The First Time I Met the Blues' and the perennial 'My Time After a While'; from lean combo cuts to horn-rich swingers, the remaining tracks never stray too far from this high-quality mark. And ensuring a fine ride throughout, regal blues veterans like Junior Wells, Otis Spann, and Fred Below help provide the tasty accompaniment. A solid shot from one of Chicago blues' second-generation stars."



    I Was Walking Through the Woods

    or

    I Was Walking Through the Woods


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    AMG:
    "A male vocal quartet formed in December 1951 in Tokyo, Japan, by former members of a college singing group, comprising Hiroshi Takamizawa (b. 9 November 1933, Shizuoka, Japan; first tenor), Tôru Sasaki (b. 18 February 1932, Fukushima, Japan; second tenor), Tetsu Kihayâ (b. 8 November 1930, Tokyo, Japan; baritone) and Hajime Tôyama (b. 26 May 1930, Tokyo, Japan; bass). Formed as the first jazz vocal quartet in Japan, they signed with Teichiku Records in 1956 and energetically and increasingly expanded their repertoire, incorporating Russian folk-songs, Japanese children’s songs, Negro spirituals and popular songs in general, as illustrated by such hits as ‘Kachusha’, ‘Yamaotokono Uta’ (‘Song Of A Mountaineer’), ‘Yukiyama Sanka’ (‘Ode To A Snowy Mountain’), ‘Gin’irono Michi’ (‘Silvery Road’) and ‘Suzuran’ (‘Lily-Of-The-Valley’). Characterized by strikingly close harmony and middle-of-the-road smoothness that match their gentlemanship, the music of Dark Ducks has long been popular among the Japanese. This prize-winning group is still active without any hint of disbanding or retiring."



    The Russian Soul

    or

    The Russian Soul


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    1. Flora 4:19
    2. Towards the Center 19:56
    3. Famine 13:43
    4. Bug-Mudra 15:13

    Karol Bennett - Voices
    Rose Moss - Voices
    Mary King - Mezzo-Soprano (Vocal)
    Judith Rees - Soprano (Vocal)
    Terry Edwards - Bass (Vocal)
    Jayn Rosenfeld - Flute
    Jean Kopperud - Clarinet
    Joseph Chung - Synclavier
    David Starobin - Guitar
    Oren Fader - Guitar
    Elizabeth Difelice - Keyboards
    Linda Quan - Violin
    Christopher Finckel - Cello
    Darryl Runswick - Bass
    Daniel Druckman - Electronic Percussion
    Daniel Kennedy - Electronic Percussion
    Electric Phoenix
    New York New Music Ensemble
    Robert Black - Conductor

    AMG:
    "Four works by concert composer Tod Machover are featured on Flora. The title track represents his only composition to date intended for pre-recording, and is comprised of a computer-altered tape of soprano Karol Bennett. On the most fascinating piece, 'Bug-Mudra,' Machover controls the action with a 'data-glove,' which allows him to connect to players via his 'hyper-instrument' system; as acoustic guitarist David Starobin, electronic guitarist Oren Fader and percussionist Daniel Kennedy perform, they are conducted by Machover, whose glove allows him to determine the song's overall sound."



    Flora

    or

    Flora


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    1. Ano Koro
    2. No.1 No Ballard
    3. Akuma Ni Kurutte
    4. Koi Shigure
    5. Shuumatsu
    6. Bus Doori
    7. Majyo No Kisetsu
    8. Houkago No Namikimichi
    9. Apple Pie
    10. Shishunki
    11. One Man Band


    Yoshihiro Kai - Vocal, Guitar
    Nobukazu Ohmori - Guitar, Chorus
    Ichiro Tanaka - Guitar
    Hideo Matsufuji - Drums, Chorus




    Limelight: Early Kai Band

    or

    Limelight: Early Kai Band


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    1. Birth of the Blues 1:51
    2. You Must Have Been a Beautiful Baby 2:14
    3. Chinatown, My Chinatown 1:46
    4. The Surrey With the Fringe on Top 3:03
    5. Too Young for the Blues 2:08
    6. You Took Advantage of Me 2:40
    7. Nice Work If You Can Get It 1:49
    8. Long Ago (And Far Away) 2:26
    9. They Didn't Believe Me 2:43
    10. Rockin' Chair 2:13
    11. I Thought About You 2:11
    12. My Baby Just Cares for Me 2:20
    13. Skylark 2:31
    14. Button up Your Overcoat 1:59
    15. Shadow Waltz 2:55
    16. Jeepers Creepers 2:05
    17. Lulu's Back in Town 2:56
    18. Clap Yo' Hands 2:53

    Clark Burroughs - tenor
    Bob Strasen - baritone
    Bob Morse - baritone
    Gene Puerling - bass-baritone

    AMG:
    "This doesn't have anything from their most popular albums (made for Columbia in the late 1950s), drawing from LPs they cut for Starlite between 1954 and 1956 (as well as their 1953 debut EP for Trend). The Hi-Lo's had already hit their artistic stride in the mid-1950s, however, and this album is jammed with their energetic adaptations of standards like 'Birth of the Blues,' 'Jeepers Creepers,' 'Nice Work If You Can Get It,' and 'My Baby Just Cares for Me.' Although an influence on the Beach Boys and the Mamas and the Papas, it's fair to say that solid rock fans will not enjoy the work of The Hi-Lo's, whose arrangements and approach are very much of the pre-rock era, nearly as much as the music of the groups they influenced."



    Nice Work If You Can Get It...

    or

    Nice Work If You Can Get It...


    0 0


    1. Der Kriegsshofer (The War Trucker) 2:31
    2. Nign 3:06
    3. Der Balegole & Ikh Bin a Balegole (I'm a Coach Driver) 2:31
    4. Come to Me 2:34
    5. Volt Ikh Hobn Gilderne Fliglen (I Wish I Had Golden Wings) 2:16
    6. Rojz, Rojz, VI Vait Bistu (Rose, Rose, How Far You Are) 2:12
    7. Take Your Troubles With Patience 2:37
    8. Vosik (Lord, Bestow Your Mercy) 3:08
    9. Vekhol Karney 3:07
    10. Geyen Zey in Shwartes Reyen (Black Columns Are Moving) 3:35
    11. Sjlof Zje Majn Fejgele (Sleep My Little Bird) 4:13
    12. Abi Gezint (I Wish You Good Health) 4:34
    13. Tsen Brider (Ten Brothers) 2:01
    14. Ghetto Songs 7:12
    15. Nign Fun Ropshitz 3:49
    16. Nign Fun Ropshitz/Mazl Tov (Nign from Ropshitz/Luck to You) 2:26
    17. Tanzlidl Fun Porshitz (Little Dance from Ropshitz) 2:33

    Zahava Seewald - Vocals
    Martin Weinberg - Accordion
    Renaud Lhonest - Violin
    Joanna Samek - Viola

    AMG:
    "Almost entirely accordion and strings, Abi Gezint! presents Psamim's beautiful arrangements of traditional Jewish music. The songs come from various times and cultures: from the 1930s, from over 50 years before that (tracks 15-17), from the Middle East, and from Russia. The material includes a cradle song ('Sjlof Zje Majn Fejgele'), an original composition based on three ghetto songs, and a song whose text is drawn from The Book of Psalms ('Vekhol Karney'). This last is one of only three tunes featuring the voice of Zahava Seewald. The string section achieves a classic beauty that touches on an ancient nostalgia. The impressive musicianship of Psamim yields songs that are delicately crafted with a formal, almost devotional treatment."



    Abi Gezint

    or

    Abi Gezint


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    1. Someone to Talk My Troubles To 2:42
    2. Born in the Country 4:24
    3. Rock Me, Baby 4:37
    4. Walking Slow Behind You 2:08
    5. Young Girl's Dream 2:55
    6. Mistreated 4:32
    7. Louisville Lou 2:26
    8. Country Girl Blues 3:37
    9. Contemporary Blues 4:03
    10. Black and Blue 2:37
    11. You Were on My Mind 3:27
    12. Two Hoboes 2:49
    13. Woman Blue 5:42
    14. Jelly Roll Lord 2:50
    15. Me and My Chauffeur 2:54
    16. Mama Keeps Her Man at Home 2:28
    17. Long Old Road 5:01

    Judy Roderick - Guitar, Vocals
    Dick Weissman - Guitar
    Artie Traum - Guitar
    Paul Griffin - Piano
    Russ Savakus - Bass
    Todd Sommer - Drums

    AMG:
    "One of the finest white folk/blues singers of the early to mid-'60s, Judy Roderick developed a loyal following, fostered by her concert and club appearances at the best-known venues on the East Coast - the Second Fret (Philly), Club 47 (Cambridge), and Cafe Au Go Go (New York City). Her album releases on Columbia and Vanguard Records were critically acclaimed. By 1966, Roderick had begun to write music in collaboration with lyricist Bill Ashford and signed with Atlantic/Atco records in 1970, for whom she recorded one album of original material, Nevada Jukebox, with her band, 60,000,000 Buffalo.
    Roderick attended the University of Colorado, and worked at the available music rooms in Boulder and Denver, including the Attic, where she crossed paths with fellow working musicians Judy Collins and David Crosby, among others. She moved to New York City and signed with Columbia Records in 1963, recording two albums, only one of which was released. Ain't Nothin' But the Blues was an eclectic mix of traditional acoustic folk tunes and large arrangements of blues tunes. This album includes early contributions on harmonica by John Hammond. The second album was considered by Roderick to be an artistic debacle, and led to her leaving the label. It remains unreleased.
    Roderick was quickly signed by Vanguard Records, were she recorded the stunning Woman Blue in 1965. She was featured on one volume of the Newport Folk Festival recordings released by the label. She spent the next several years sharing venues with Eric Anderson, Vince Martin, Fred Neil, Tim Hardin, the Youngbloods, and others. In 1969, she returned to Colorado, signed with Atlantic, formed 60,000,000 Buffalo, and in 1971 recorded the seminal rock album Nevada Jukebox with producer Bill Szymczyk. The band broke up the next year.
    Roderick spent her last years in Montana. 'Floods of South Dakota,' co-written with Bill Ashford, was recorded by Tim and Mollie O'Brien on their album Remember Me. Their performance of the song received a Grammy nomination. Roderick's last recordings were on a privately released cassette and featured Mac Rebennack on several tracks. Judy Roderick died of diabetic complications in 1992."



    Woman Blue

    or

    Woman Blue


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    1. Yuki 6:20
    2. Step by Step 6:06
    3. Dance the Palace 5:48
    4. Peace in My Heart 5:03
    5. Viola Da Samba 4:36
    6. Intro to Dream Dancer 2:20
    7. Dream Dancer 8:35
    8. Ancient Bells 6:28

    Meg Okura - violin, viola, vocals
    Yukari - flutes
    Megumi Yonezawa - piano
    Jennifer Vincnent - cello, bass
    Satoshi Takeishi - percussion
    +
    Dave Eggar - cello

    Wiki:
    "Meg Okura (born August 9, 1973) is a jazz violinist, ehru player, composer and leader of the Pan Asian Chamber Jazz Ensemble, based in New York City. She is also a member of the band Pharaoh's Daughter, led by Basya Schechter.
    Okura was born in Tokyo, Japan. She has bachelor's and master's degrees from The Juilliard School, and worked with jazz and pop legends such as Michael Brecker, Lee Konitz, Dianne Reeves, Steve Swallow, David Bowie and Mariko Takahashi. Okura has also been the featured violinist in the Cirque du Soleil shows Varekai, Corteo and Wintuk.
    Okura has received numerous honors and awards both as composer and violinist, including American Composers Forum Jerome Composers Commissioning Program (JCCP), Independent Music Awards, Meet the Composer Metlife Creative Connections Grant, UAI/NYC Urban Artist Initiative / NYC, American University Saxophone Symposium Composition Contest."



    Meg Okura's Pan Asian Chamber Jazz Ensemble

    or

    Meg Okura's Pan Asian Chamber Jazz Ensemble


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    1. Egyptian Tomb 6:46
    2. Trials of a City 6:05
    3. Keep on Juggin' 11:29
    4. Woe Is Me 7:08
    5. India 22:17
    6. Going Down to Mongoli 5:26
    7. Lazy Days 2:10
    8. Blanket in My Muesli 16:01

    Ian Whiteman - Fender Rhodes, Flute, Sax (Alto), Vocals
    Martin Stone - Guitar
    Alan King - Guitar, Vocals
    Mike Evans - Bass
    Roger Powell - Drums, Percussion

    AMG:
    "Sunbeam’s 2010 release Tasting The Life: Live 1971 documents a concert from Mighty Baby on February 20, 1971, when they were the opening act for Quintessence, and adds two bonus tracks from an appearance at Glastonbury later that year for good measure. The source tapes are a little rough - it’s a bit flat, feedback leaks in on occasion, sometimes the keyboard bleeds, and the vocals peak out - but the group’s elliptical charms are evident via these winding, exploratory jams. These performances aren’t particularly purposeful - “India” reaches a whopping 22 minutes without going anywhere in particular, but there’s a choogling energy to their boogie that sits in interesting contrast to their jazz- and world-inflected improvisations. The fidelity and indulgence certainly whittles the audience for this down to the dedicated, but those committed fans will find Tasting the Life worth their while."



    Tasting the Life: Live 1971

    or

    Tasting the Life: Live 1971


    0 0


    1. Hyottoko - 7:32
    2. Lion - 21:39
    3. Matatabi - 8:40
    4. Mucho de Shogyo - 5:17
    5. Sorimachi Kiro - 16:59
    6. P-chan - 9:36
    7. Senzu - 1:59

    Daisuke Fuwa - conductor, bass
    Hiroaki Katayama - tenor sax
    Tetsu Hirosawa - tenor sax
    Kunihiro Izumi - alto sax, soprano sax
    Yoshiyuki Kawaguchi - alto sax, tenor sax
    Keiko Komori - alto sax
    Ryuichi Yoshida - baritone sax
    Yoichiro Kita - trumpet
    Nobuhiro Nakane - trombone
    Toshihiro Koike - trombone
    Naoki Hanashima - bass clarinet
    Aya Murodate - flute, vocal
    Daisuke Takaoka - tuba
    Yuji Katsui - violin
    Akihiro Ishiwatari - guitar
    Takayuki Kato - guitar
    Hiroyuki Otsuka - guitar
    Takeshi Shibuya - organ
    Ayako Sasaki - keyboards, vocal
    Hiroshi Higo - bass
    Shiro Onuma - drums
    Yasuhiro Yoshigaki - drums
    Masahiro Uemura - drums
    Takayuki Matsumura - percussion
    Mari Sekine - percussion

    Wiki:
    "Shibusashirazu (roughly, 'we don't understand/are unaffected by cool'), often lengthened to Shibusashirazu Orchestra, is a popular Japanese free jazz orchestra. The group was formed in 1989 by bassist Daisuke Fuwa and since then many of Japan's best free jazz musicians, Butoh dancers and other performance artists have passed through the orchestra.
    The majority of the group's original work is composed and arranged by Daisuke Fuwa. Their style stems from the free jazz movement of the 60s, with the influence of 80s punk and No Wave. Although featuring extended free improvisation, there is also an element of rock music that makes the orchestra more accessible to a wider audience than a lot of other free jazz.
    In 2007 they signed to Avex Trax, one of Japan's leading labels for commercial pop and dance music.
    The orchestra performed four times in a row at the annual Fuji Rock Festival from 2000 and have also performed at the Glastonbury Festival in 2002. They tour Europe frequently although are not well known in the United States."



    Shibu-Hata

    or

    Shibu-Hata


    0 0


    1. Sunday Morning 2:20
    2. Sun 2:36
    3. Love Songs 2:37
    4. Thoughts 2:25
    5. Don't Go Away 2:04
    6. Take a Picture 3:08
    7. What Can I Give You? 2:31
    8. Think of Rain 2:25
    9. Can You Tell 2:34
    10. Someone I Know 2:46
    11. Love 5:26
    12. I Think a Lot About You 2:19
    13. It's Alright Now 2:04
    14. Timothy Gone 1:49

    Margo Guryan - Vocals
    Phil Bodner - Oboe
    Paul Griffith - Keyboards
    Kirk Hamilton - Bass, Flute
    Buddy Sultzman - Drums

    AMG:
    "Routinely selling for huge sums of money on the vinyl market and making its way into the collections of pop fanatics as far afield as Japan, Take a Picture has taken on a dynamic life of its own since its 1968 release, especially for an album that went relatively unheard at the time. It is not difficult to figure out what all the retroactive acclaim is about once you hear the sweet, delicate strain of gently kaleidoscopic music on the sole album from Margo Guryan. It is the soft pop of which gauzy dreams are made, full of the hazy changes and transitory variations of autumn, an album that you invariably want to wrap up in. Better than most similar efforts from the time, the album maintains a vibrant resonance outside the milieu in which it was created because the songcraft is not only infectious but also highly intelligent, and because Guryan's performance is so delicious. Perhaps a bit too thin and breathy for mass consumption, her voice is an acquired taste in an era loaded with wispy pop princesses, not to mention brassy belters such as Grace Slick, Janis Joplin, and Mama Cass. Once you accept its whispery invitation, though, Guryan's singing, equal parts girl group innocence and seductive torch, envelops you. The thing that really elevates her above many of her contemporaries and competitors for the soft rock tiara, though, is her wonderfully idiosyncratic songwriting capabilities. A classically trained pianist and jazz composer by education and trade, her songs are much more than your standard pop fare. Although the song structures are simplistic on a superficial level (which should have made them perfect nuggets for commercial radio play in 1968), the arrangements beneath them are anything but. There are all kinds of intriguing things going on with or underneath the melody, either instrumentally (hammy trombones, old-tavern piano, touches of sitar) or via affect. Just when you think a chorus or hook is as ethereal as it could possibly be, Guryan tweaks it just slightly enough that it rises even higher and takes you to an even more elevated emotional plane. She manages the difficult trick of cajoling something already beautiful to something truly sublime. There is also an expert, fluid balance of juxtapositions within the music. Tempos are shifted frequently but seamlessly, and Guryan's chord progressions tend to switch from balladic choices during the slower verses to sly and unconventional jazz progressions during the quicker paced breaks and bridges, with the influence of bossa nova particularly heavy in many of the tunes. Her classical background is spliced into the mix as well, generically via the orchestral splashes of various songs, but more explicitly on 'Someone I Know,' where her own pop melody is superimposed over the chorale of Bach's 'Jesu, Joy of Man's Desiring.' The two fit perfectly, point and counterpoint, like the complex pocket symphonies of Brian Wilson, a huge influence, and far more interesting with each listen. Other highlights include her own version of 'Sunday Morning,' the breezily kittenish 'Sun,' and the tough go-go groove of 'Don't Go Away,' but really every song is a gem. The CD reissue, housed in a handsome special edition digipak with a 12-page booklet that contains a brief biography, liner notes, and lyrics, also includes three stellar bonus publisher's demos that mark a significant addition an album that was already one of the most endearing cult soft rock records from an era full of them."



    Take a Picture

    or

    Take a Picture


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    1. Mtiuluri Namgerebi (Mtiul Mountaineer Tune) 4:45
    2. Massi Vardi (The Rose Garden) 1:56
    3. Popurri Tushuri Melodiebis Temebze (Potpourri of Melodies from Tushin) 3:05
    4. Kolkhuri Liriuli (Lyrical Song of Kolkhis) 2:05
    5. Okribuli Sakhumaro (Jocular Song of Okribi) 2:07
    6. Simhera Gazapkhulze (Spring Song) 3:38
    7. Tushuri Satrpialo (Tushin Love Song) 2:07
    8. Popurri (Potpourri) 1:28
    9. Vazkatsis Datireba (Mournful Ceremony) 4:04
    10. Satrpialo (Love Song) 3:12
    11. Popurri Kartuli Melodiebis Temebze (Potpourri of Melodies from Kartuli) 2:15
    12. Datchrilis Simhera (Song of a Wounded Man) 2:32
    13. Mtiuluri Satrpialo (Mtiuli Love Song) 3:09
    14. Imeruli Lashkruli (Imereti Martial Song) 1:42
    15. Mtskhemsis Simhera (Shepherd's Song) 2:05
    16. Ruminuli Melodiebi "Lark" (Rumanian Melody "Lark") 2:01
    17. Shavtvala Gogona (Oh girl with black eyes) 4:22
    18. Kartuli Satsekvao Melodiebi (Kartuli Dance melody) 2:12
    <
    AMG:
    "The music and dance traditions of Soviet Georgia have been preserved through the performances and recordings of the Kolkheti Ensemble. Attracting attention since 1987, when they won first prize in an international festival of folklore in Austria, the Shavtvala Gogona-led group showcases the diversity of Georgian culture. In addition to singing traditional songs, the ensemble displays a mastery of traditional dances including heroic tiptoe male dances, virtuoso warrior dances, and graceful women's dances."



    Oh, Black-Eyed Girl

    or

    Oh, Black-Eyed Girl


    0 0


    1. Son Op.74: Lentamente
    2. Son Op.74: Scherzando
    3. Son Op.74: Quasi Ipnotico
    4. Son Op.74: Moderato
    5. Var Little Star, Op.46
    6. Trio No.2 Op.18
    7. Hard Edge (Conjunto Instrumental)

    Concertus Novo
    Jose Miguel Rodilla - Conductor

    manuelsecodearpe.com:
    "Both personality and work of Manuel Seco de Arpe (Madrid, 1958) have reached, in equal shares, maturity and acceptance.
    Seco’s musical talent has been discovered after multiple awards since 1980. He is a very representative man of his generation (1961), with a strong individuality that is able to withstand any external pressure. He knows his will in every case, and he avoids a serious threat: meaningless composing. Academically trained in Madrid by Anton Garcia Abril and Carmelo Bernaola, the figure and expressive impulse of the basque musician exerted a strong appeal for Seco that never created a following role.
    He goes to Italy as “Premio Roma”, and he works with Franco Donatoni, whose craft disciplines, passion for detail, constructivist will and apparently contradictory musical thinking features are admired by him. I never omit, writing about Seco, his fond work alongside Samuel Rubio and Miguel Querol, that revealed him key aspects of the Renaissance and Baroque time.
    Manuel Seco, within his plurality of procedures, strength of ideas, and the elegance of his thinking, takes the liberty of manipulating history, while waving conscience and emotion through music with no other reference than his own personal and strong voice."



    Concertus Novo

    or

    Concertus Novo


    0 0


    1. Itt Az Idő (Hungaria Rock And Roll Mix) 6:10
    2. Hotel Menthol 3:32
    3. Várni Rád Egy Éjen Át 3:36
    4. Szexbomba Rumba 3:12
    5. Ciao Marina 3:51
    6 Fenyő Miklós & Szandi – Lesz Twist, Igen 3:02
    7. Limbó Hintó 3:45
    8. Multimilliomos Jazz-Dobos 3:13
    9. Casino Twist 2:49
    10. Neonparádé 2:33
    11. Gyere, Gyere Juli 3:03
    12. Duci Juci 2:37

    Fenyő Miklós
    - ének, billentyűs hangszerek, dobprogram, zongora, elektromos orgona, vokál
    Novai Gábor - ének, basszusgitár, vokál
    Kékes Zoltán - gitár, vokál
    Fekete Gyula - ének, tenor szaxofon,bariton szaxofon, harmónika, vokál
    Szikora Róbert - ének, dob, vokál
    Dolly - ének, vokál



    Aranyalbum

    or

    Aranyalbum


    0 0


    1. B.K. 8:55
    2. R.B. 8:19
    3. C.T., J.L. 18:27

    Henry Threadgill - Flute, Sax
    Fred Hopkins - Bass
    Steve McCall - Bells, Drums

    AMG:
    "The Chicago trio Air was at a high point on this 1980 date, thanks in part to remarkable percussive foundations provided by the late Steve McCall and his interaction with bassist Fred Hopkins, plus the amazing solos and versatility of nominal leader Henry Threadgill. Besides alto and tenor sax, flute, and bass flute, Threadgill plays his own unique instrument called the hubkaphone and makes it just as memorable a weapon as the other horns."


    Air Mail

    or

    Air Mail


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