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FreeFall - LiveJournal.com

older | 1 | .... | 19 | 20 | (Page 21) | 22 | 23 | .... | 57 | newer

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    1. All the Fondest Wishes 1:41
    2. Annie 2:14
    3. The Captain 1:59
    4. The Promise 3:23
    5. Diane 2:53
    6. Never Mind 3:01
    7. I'll Walk Away 2:51
    8. C'mon Joe 2:15
    9. Love Song 2:10
    10. African Lullaby/Little Monk 2:12
    11. I Forgot to Tell You 3:33
    12. Passing Parade 2:13
    13. Nothing to Gain (All the Fondest Wishes) 2:28
    14. All the Fondest Wishes 1:05

    Biff Rose - Vocals, Piano
    Richard Davis - Bass
    Michael Leonard – Conductor
    Al Gorgoni – Conductor

    AMG:
    "An odd and goofy singer/songwriter who didn't fit in any comfortable niche when he emerged in the late 1960s, New Orleans pianist Biff Rose was like a vaudeville entertainer reincarnated as a spacy hippie. It isn't quite accurate to call him a rock artist, but he fits in rock about as well as anywhere else. If he's remembered by rock audiences at all, it's because David Bowie covered a Rose song - 'Fill Your Heart' (co-written by Rose and Paul Williams), from Rose's 1968 debut album - on Hunky Dory. Bowie also covered another song from that album, 'Buzz the Fuzz,' in live performances (it can be heard on a 1970 bootleg), and Tiny Tim did 'Fill Your Heart' on the B-side of 'Tiptoe Through the Tulips.'
    Musically, Rose was firmly in the pre-World War II camp, sounding like a Broadway songwriter with his jaunty piano and bouncy singalong melodies. These were delivered in a whiney voice that made it easy to envision scenes of cigar-chomping Tin Pan Alley publishers telling him, 'We like your songs, kid. But stick to writing, we'll get someone else to sing them.' Lyrically, he was a different story, with an arch and whimsical tone that both reflected and mocked the counterculture. When he sang about flowery love and idyllic free living, there were sarcastic and ironic undercurrents that made him hard to take seriously; at the same time, the words were too far out for him to get accepted by Broadway or the easy listening pop market.
    There can be no doubt that Rose influenced Bowie's early-'70s work, particularly Hunky Dory, which owed something to Rose's early albums in both the quasi-musical piano styles and thorny-rose lyrics. Bowie, of course, was a much better singer and a much harder rocker. History gives certain molds and stances to artists that might not be 100-percent accurate, and some Bowie fans, as well as critics who have considered his early work unremittingly hip and cutting-edge, may find the notion - that an effete musical satirist such as Rose affected Bowie's work - unacceptable. Certainly, relatively few Bowie fans would enjoy Rose's albums. Listening to the 1968 Rose LP The Thorn in Mrs. Rose's Side, however, it seems an inescapable conclusion that Bowie must have enjoyed the record and played it repeatedly, so much do some of its aspects (particularly the rolling piano arrangements and chipper orchestration) resemble the production employed on Hunky Dory.
    Rose achieved some renown in the late '60s via network television appearances, particularly on Johnny Carson's show, but was never more than a cult artist as far as selling records went. He recorded quite a bit throughout the '70s, totaling nearly ten albums, but wasn't heard from on record for nearly 20 years before emerging with a new album in the late '90s."



    Biff Rose

    or

    Biff Rose


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    1. Dawg's Bull 4:14
    2. Devlin' 5:06
    3. Minor Swing 3:36
    4. Dawgology 7:11
    5. Neon Tetra 6:29
    6. Janice 3:57
    7. Dawg-Ola 3:56
    8. 16/16 5:27

    David Grisman - Mandolin
    Tony Rice - Guitar
    Mike Marshall - Mandolin (3,4,8)
    Darol Anger - Violin (1,2,4,6,7), Violectra (5)
    Stéphane Grappelli - Violin (3,8)
    Todd Phillips - Bass (1,5)
    Eddie Gomez - Bass (3,4,8)
    Leonard Lasher - Bass (4)
    Buell Neidlinger - Bass (6,7)
    Bill Amatneek - Bass (6,7)

    AMG:
    "It's no wonder that mandolinist David Grisman came up with the name 'Dawg Music' to describe his style of playing, which draws from bluegrass, jazz, and many other forms of music. This 1978 recording has long been a favorite of Grisman's fans, as all of the compositions and performances have stood the test of time. Grisman's lively 'Dawg's Bull' and guitarist Tony Rice's upbeat 'Devlin'' set a high standard at the opening of the album, yet the remaining tracks continue to meet the high watermark of the first two songs. In addition to Rice's presence throughout the recording, Grisman utilizes five different bassists (only one song, 'Dawgology,' features two of them together), violinist Darol Anger, mandolinist Mike Marshall, and on two selections, the jazz violin master Stéphane Grappelli."



    Hot Dawg

    or

    Hot Dawg


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    1. Father moqueur 04:05
    2. Le 12 juillet 03:30
    3. Ego 03:04
    4. Les déjantés 06:23
    5. Fonque 02:54
    6. Les fous de bassan 04:29
    7. Messes basses : les matines 03:49
    8. Messes basses : Sextes 02:33
    9. Messes basses : Nones 03:06
    10. Messes basses : Les vepres 03:24
    11. Messes basses : Complies 03:02

    Christian Gentet
    Xavier Lugué
    Olivier Moret
    Etienne Roumanet
    Yves Torchinsky
    Jean-Philippe Viret

    discogs:
    "Ensemble created in 1981 by Christian Gentet, grouping six virtuosi both composers and performers. The ensemble plays a very personal music between contemporary classical music, jazz, soul and latino music."




    Transes Formations

    or

    Transes Formations


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    1. Rikyu: Excerpts 15:07
    2. Jose Torrés: Music of Training and Rest 4:41
    3. Black Rain: Funeral Music for string orchestra 4:09
    4. Face of Another: Waltz for String orchestra 2:06
    5. Harakiri: Excerpts 2:27
    6. Banished Orin: Excerpts 7:46
    7. Kaseki (The Fossil): Excerpts 3:45
    8. Empire of Passion: Excerpts 3:56
    9. Dodes'kaden: Excerpts 3:51
    10. Woman in the Dunes: Excerpts 6:43

    London Sinfonietta
    John Adams - Conductor

    AMG:
    "A spectacular assembly of Takemitsu's finest work for film (selected by him personally before his untimely death). Takemitsu was able to work in a wide variety of styles - pop arrangements, electronic music, modern choral melodies, his own unique avant-garde and poetic orchestral writing - and always produced notable and well-crafted composition; possibly the fact that he was largely self-taught enabled him to bypass many of the inhibitions of composers who are members of 'schools.' This collection of film scores demonstrates almost all of these styles: music from director Hiroshi Teshigahara's 'Rikyu' (including traditional songs, European Baroque era music, massive and dramatic sustained sounds), a suite for strings of music for three films - Teshigahara's 'José Torres' (with jazz underscoring shots of boxing rings and gyms in New York City), Teshigahara's 'The Face of Another' (with isolated soundforms and Kurt Weill-like tunes), and Shohei Imamura's 'Black Rain' (elegiac funeral music underscoring images of the Hiroshima bombing), music from 'Harakiri' for biwa, music from Masahiro Shinoda's 'Banished Orin,' 'Kaseki (The Fossil),' Nagisa Oshima's remarkable 'Empire of Passion,' music from 'Dodes'kaden, and the astonishing and highly emotional score for Teshigahara's 'Woman in the Dunes' in which Takemitsu electronically processed instrumental sounds to create wholly new timbres."



    Film Music

    or

    Film Music


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    1. (We Ain't Got) Nothin' Yet 2:10
    2. Love Seems Doomed 3:02
    3. Tobacco Road 4:30
    4. Queen of My Nights 2:52
    5. I'll Go Crazy 1:58
    6. Gotta Get Away 2:35
    7. Sometimes I Think About 3:35
    8. One by One 2:45
    9. Worried Life Blues 3:45
    10. She's Coming Home 2:36

    Peppy Thielheim - Guitar, Vocals
    Mike Esposito - Guitar
    Ralph Scala - Keyboards, Vocals
    Ron Gilbert - Bass
    Geoffrey Daking - Drums

    AMG:
    "The Blues Magoos sound less like psychedelic visionaries than a solid garage band with a taste for the blues on their debut album, Psychedelic Lollipop, though the lysergic reference of the title certainly put them ahead of the curve in 1966, when LSD was still obscure enough to be legal in much of the United States. The album leads off with the group's first and only major hit single, '(We Ain't Got) Nothin' Yet,' and unlike most albums released by one-hit wonders of the mid-'60s, the single isn't the most exciting song here. That honor goes to the Magoos' cover of J.D. Loudermilk's 'Tobacco Road' (which Lenny Kaye selected for his iconic garage rock compilation Nuggets), featuring some gutsy guitar work from Mike Esposito and Emil 'Peppy' Thielhelm and impressive organ swells from Ralph Scala as the tune leans into a major rave-up midway through. Outside of that, Psychedelic Lollipop rarely sounds like a classic, but it's solid stuff - the covers are chosen and played well (including a committed take on James Brown's 'I'll Go Crazy'), the originals show the band knew their way around rock & roll, R&B, and blues with no small aplomb, and the band could stretch out on numbers like 'Sometimes I Think About,' 'Worried Life Blues,' and 'Tobacco Road', while generating excitement and not losing the plot. Psychedelic Lollipop doesn't sound like the work of a great band, but certainly like one who were better than average, and considering how many bands who cranked out a single like '(We Ain't Got) Nothin' Yet' ended up making albums clogged with filler, it says a lot that even the weakest tracks here show this group had talent, ideas, and the know-how to make them work in the studio."



    Psychedelic Lollipop

    or

    Psychedelic Lollipop


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    1. I Can't Hardly Walk
    2. Dutch Schultz
    3. Thrown or Was Pushed
    4. Epistrophy
    5. Harlem Nocturne
    6. Stompin' at the Corona
    7. Take 'em to the Cleaners
    8. Ballad
    9. Iguana
    10. Coney Island
    11. Juice of Peculiar
    12. Good Night

    John Lurie - Sax (Alto)
    Arto Lindsay - Guitar
    Dana Vicek - Guitar
    Evan Lurie - Keyboards
    Steve Picollo - Bass
    Anton Fier - Drums

    AMG:
    "Erratic, but the live venue makes this the most interesting of their sets. "



    Live 79-81

    or

    Live 79-81


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    Wiki:
    "Takeshi Terauchi , born January 17, 1939 in Tsuchiura, Ibaraki Prefecture, Japan), also known as Terry, is a Japanese surf rock guitarist. His preferred guitar is a White Mosrite. His guitar sound is characterized by frenetic picking, heavy use of vibrato and frequent use of his guitars tremolo arm.
    Terauchi started his career playing rhythm guitar for a country and Western act 'Jimmy Tokita and The Mountain Playboys', which had bassist Chosuke Ikariya. In 1962 he formed his first group, The Blue Jeans. However, in 1966 he left the group and formed The Bunnys with whom he played. In May 1967, he also established his own company named 'Teraon'. He won the 'arrangement award' with the song 'Let's Go Unmei' at the 9th Japan Record Awards in 1967. He left the Bunnys in 1968. He reformed the Blue Jeans in 1969 and the band has been active until today.
    On November 26, 2008, Takeshi Terauchi and the Blue Jeans released album Mr. Legend from King Records."



    Takeshi Terauchi & His Blue Jeans

    or

    Takeshi Terauchi & His Blue Jeans


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    1. Part I 7:38
    2. Part II 5:38
    3. Part III, IV 7:52
    4. Part V 3:26
    5. Part VI 7:38
    6. Part VII 8:17

    Jan Garbarek - Sax (Soprano), Sax (Tenor)
    Manfred Hoffbauer - Clarinet, Flute
    Martin Kunster - Horn (English), Oboe
    Eberhard Weber - Bass, Synthesizer
    Ralf Hübner - Drums, Piano

    AMG:
    "Though not strictly a jazz bassist and certainly one of the least flamboyant improvisers, Eberhard Weber is among Europe's finest bassists. His style doesn't embrace either a bluesy orientation or an animated, energetic approach. Weber's influences are primarily European, notably contemporary classical and new music. His technique of using contrasting ostinato patterns in different voices was taken from composer Steve Reich. He's also made innovations in bass design. Weber added an extra string to his electric bass at the top in the early '70s; this extended its range and gave it a deeper, more striking sound. He added yet another string above that in the late '70s. Weber once doubled on cello but dropped it to concentrate on acoustic and electric bass. Weber's father taught him cello at six, and he began to play bass at 16. He worked in school orchestras, dance bands, and local jazz groups. He met Wolfgang Dauner while participating in the Dusseldorf Amateur Jazz Festival in the early '60s; they worked together over the next eight years, both as a duo and in the group Et Cetera. Weber worked with Dave Pike in the early '70s, and co-led the band Spectrum with Volker Kriegel. His early-'70s album The Colours of Chloe was one of ECM's most acclaimed. He formed the group Colours in 1974 and toured America in 1976, 1978, and 1979, heading it until 1981. Weber also played from the mid-'70s to the early '80s with the United Jazz and Rock Ensemble. During the '80s, Weber worked and recorded with Jan Garbarek and also wrote film scores and gave solo concerts. He continued recording with ECM, both with his group and with other musicians such as Gary Burton. Weber has several ECM titles available on CD, including 1993's Pendulum, 2001's Endless Days, and 2007s Stages of a Long Journey."


    Chorus

    or

    Chorus


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    1. The Bells Are Tolling 2:37
    2. What Are They Doing in Heaven Today? 4:32
    3. Memories of My Mother 2:56
    4. Every Knee Has Got to Bow 3:18
    5. Don't Let Nobody Turn You Around 2:31
    6. Wait on the Lord AKA He's My Rock, My Sword, My Shield AKA Wait on ... 2:11
    7. I John Saw the Number 2:18
    8. In the Old Time Way 2:26
    9. At the Gates of the City 2:26
    10. My Work on Earth Will Soon Be Done 1:57
    11. I'll Be So Happy 2:44
    12. Hide Me in Thy Bosom 4:25

    acerecords:
    "Those of you who first caught the Fairfield Four at the Meltdown Festival at London's South Bank in 1995 will remember how beautifully pure, raw and rootsy the a cappella gospel quartet sounded. Well if that moved you, this CD reissue of the Fairfield Four's last truly magnificent LP, Bells Are Tolling, will transport you straight through the portals of the Pearly Gates. The Fairfield Four are Nashville's premier aggregation, considered by scholars to be at the top of their field.
    Founded as a family trio at the Sunday school of the Fairfield Baptist Church on Hermitage Avenue in the early 1920s, the quartet won a Colonial Coffee Company contest to appear on a regular radio spot at Nashville's powerful 50,000 watt WLAC. Sponsored by Sunway Vitamins, their CBS network hook-up broadcasts were heard throughout the United States. The quartet, who sang in a style that embraced both the older gospel jubilees and the newer emotional extemporisations, became extremely popular in the South and Midwest and acquired a prestige with the public no other quartet could match.
    By the 1940s, they were touring extensively and on the home front hosted major gospel extravaganzas at the Ryman Auditorium featuring the major luminaries of the day. Their first recordings were made in 1946 for Bullet on Lower Broad Street, Nashville. Seminal members in the group then were lead tenors Sam McCrary and John Battle, baritone Willie Frank Lewis, tenor George Gracy, basso Rufus Carrethers and his brother Harold. By the time the group had switched to the Delta label, McCrary and Lewis had recruited a super-group composed of baritone James Hill of Bessamer, Alabama, tenor/house-wrecker Edward Preacher Thomas from Louisiana, tenor Preston York from Atlanta plus basso-supreme Isaac 'Dickie' Freeman from St John's, Alabama. With this all-star line-up the group became invincible in 'Battles of Song' against other leading quartets.
    A rift occurred in 1950, and Thomas, Freeman and Hill defected to the Skylarks. McCrary struggled to keep a fully professional group on the road and by late 1958 was compelled to press-gang an excellent young group, the Silver Quintet of Gary, Indiana (who had recorded for Vee Jay in Chicago) and make them into the Fairfield Four.
    Under Hoss Allen's supervision the new group cut at least two sessions at Nashville's famous RCA Victor Studios in late spring 1960. The lead singers here are Sam McCrary, Clarence Mills and Joe Henderson (who soon had a U.S. Top 10 hit with the Brook Benton-like Snap Your Fingers). As a cappella was fast becoming a thing of the past, a three-piece rhythm section was added to the mix. The result was an exciting, fervent collection of both new and old standards on an album for Hy Weiss's Old Town label that, due to unwarranted poor sales, became as rare as hen's teeth. This long overdue release serves to justly rectify the matter."



    The Bells Are Tolling

    or

    The Bells Are Tolling


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    1. Squeeze Me 3:22
    2. Gringo en Mexico 3:18
    3. Cool River 2:50
    4. I'm a Woman 4:06
    5. Sweetheart 3:03
    6. Honey Babe Blues 3:02
    7. If You Haven't Any Hay 2:43
    8. Oh Papa 3:16
    9. It Ain't the Meat (It's the Motion) 2:59
    10. Play Something Sweet (Brickyard Blues) 4:29
    11. Travelin' Shoes (Traditional) 2:23

    Maria Muldaur - Vocals
    Bud Shank - Sax (Alto), Saxophone
    Harry "Sweets" Edison - Trumpet
    Snooky Young - Trumpet
    David Grisman - Mandolin
    Dr. John - Keyboards, Marimba, Piano
    Ray Brown - Bass
    Linda Ronstadt - Vocals
    and others...

    AMG:
    "Maria Muldaur's follow-up to her gold-selling debut album includes her second (and final) hit single 'I'm a Woman' and presents a pleasant folk-blues mixture of material including everything from contemporary songs by Wendy Waldman and Anna McGarrigle to Skip James blues tunes and Fats Waller's 'Squeeze Me,' all given Muldaur's earthy, enthusiastic treatment."



    Waitress In The Donut Shop

    or

    Waitress In The Donut Shop


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    1. Concerto for piano & orchestra "The Moor's Concerto" 37:57
    Wings of the Highest Tower for orchestra:
    2. I. The Forge Of Freedom 8:16
    3. II. The Heros Are Fallen 4:59
    4. III. The Fathers Of Invention 5:17

    Kazuko Hayami - Piano
    The Moscow Symphony
    Konstantin Krimets - Conductor

    AMG:
    "Meyer Kupferman was a versatile and eclectic composer who incorporated diverse elements in his works, from aleatoric music and jazz to Impressionism, from serial music and atonality to Romanticism. He wrote works in most genres, including opera, ballet, symphonies, concertos, film scores, chamber, vocal, and choral music.
    Kupferman was born in New York City on July 3, 1926. He exhibited talent as a child, first showing interest in the violin but then taking up the clarinet at age 10. He soon taught himself piano, as well, then later studied music at New York's High School of Music and Art. Though he pursued music studies at Queens College, he learned composition on his own.
    Around the mid-'40s Kupferman served as an arranger for several jazz bands. His first opera, In a Garden (1948), drew considerable attention at its first performances at the Tanglewood Festival and later at the Edinburgh Festival. In 1951 he joined the faculty at Sarah Lawrence College, teaching composition and chamber music. He eventually became chairman of the music department, serving in that capacity for five terms.
    In 1961 he began composition on one of his largest and best-known collections of works, the Cycle of Infinities, a group of 34 chambers pieces, which he concluded in 1984. By the 1970s he was regularly receiving prestigious commissions: for the Kansas City Philharmonic he wrote his cantata, Comicus Americanus (1970); for the Hudson Valley Philharmonic he composed his Symphony No. 10, FDR (1982), as well as his famous Jazz Symphony (1988).
    Kupferman received many citations and grants throughout this period, including a Guggenheim Fellowship in 1975 and an American Academy and Institute of Arts and Letters grant in 1981. In 1990 Kupferman traveled to Lithuania to take part in a recording of his Jazz Symphony and Challenger (1983), despite warnings of grave hardship there, owing to Soviet economic sanctions. Two years later, Kupferman's provocative book Atonal Jazz was published by Dorn Publications. The composer retired from Sarah Lawrence in 1994, concluding 43 years of service as a professor of music.
    That same year he produced his Concerto for Guitar and Orchestra, premiered in Mexico by soloist Roberto Limón, a close friend who commissioned four guitar concertos in all from the composer. Kupferman remained active in his last years, turning out such works as the 2002 orchestral piece Invisible Borders."



    The Moor's Concerto/Wings of the Highest Tower

    or

    The Moor's Concerto/Wings of the Highest Tower


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    1. Introduction 1:52
    2. Feathered Fish 2:32
    3. Flight of the Dragon Lady 2:33
    4. Wonderful Day 2:18
    5. I Need You 2:43
    6. Oz Lee Eaves Drops 2:30
    7. Bad Day 2:16
    8. Morning Fire 2:36
    9. What Can I Do for You (First Half) 2:42
    10. What Can I Do for You (The Other Half) 6:51

    Jeff Knowlen - Vocals, Harmonica, Guitar
    Randy Holden - Lead Guitar
    Geoff Western - Rhythm Guitar
    Larry Brown - Bass
    Danny Woods - Drums

    AMG:
    "This album has been kicking around for ages, first in cut-out bins in the 1970s and subsequently on want lists, ever since 'Mr. Pharmacist' (which was not on this long-player) turned up on Rhino's Nuggets, Vol. 12. It turns out to be not at all bad, if not exactly distinguished -- the Other Half were a much better garage band than they were a psychedelic outfit, their frantic, crunchy rockers (which dominate this record) being far more memorable and impressive than their efforts at trippy, spaced out, languid psych ('Wonderful Day'). 'I Need You,' and 'Feathered Fish' give lead guitarist Randy Holden the opportunity to stretch out in the best Jeff Beck manner (circa the Yardbirds' Roger the Engineer), and even their more primitive numbers, such as 'Oz Lee Eaves Drops,' are good showcases for the group. Holden and rhythm guitarist Geoff Westen also get into some entertaining faux mandolin sounds on 'Morning Fire,' but when the band tries to get too serious, as on the two-part 'What Can I Do for You,' the results are fairly dire, which makes the last ten minutes of the original LP (which didn't even run 30 minutes) easily dispensable."



    The Other Half

    or

    The Other Half


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    1. Sub Structure 4:51
    2. Hello Julius 4:11
    3. Blues for E.L.C. 6:07
    4. Lament 10:53
    5. Blues by Monk 11:46
    6. Ecorah Suite 9:58
    7. Cool Eddie 12:07

    1. Chisai Sake Kao 7:33
    2. Introduction to the Blues 5:29
    3. We've Been Around 2:56
    4. Screamer 6:41
    5. I Know the Scenery by Heart 6:54
    6. Cricket Song Poem 12:20
    7. Love in the Open Suite 19:00

    Warren Smith - Drums
    George Barrow - Clarinet (Bass), Sax (Tenor)
    Al Gibbons - Sax (Tenor)
    Sharon Freeman - French Horn
    Vincent Chancey - French Horn
    Julius Watkins - French Horn
    Jimmy Owens - Flugelhorn, Trumpet
    Norman Spiller - Trumpet
    Johnny Coles - Trumpet
    Jack Jeffers - Trombone (Bass), Trumpet
    Garnett Brown - Trombone
    Howard Johnson - Baritone, Tuba
    Bross Townsend - Piano
    Herb Bushler - Bass
    Greg Maker - Bass, Ebo
    Omar Clay - Drums, Percussion, Vibraphone, Vocals
    Kenyatte Abdur-Rahman - Percussion

    AMG:
    "Ambitious but short-lived group of improvisers who recorded on Musicians cooperative Strata-East. They made two albums in early '70s; works were designed for the sessions and were sprawling, intense pieces. Drummer Warren Smith was nominal leader for first release; he was also involved with the second, as were other stalwarts like Howard Johnson, Herb Bushler, Jack Jeffers and Bross Townsend."



    Composer's Workshop Ensemble

    or

    Composer's Workshop Ensemble


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    1. Purple Vishnu 8:10
    2. Benigni 5:26
    3. Kabalogy 4:28
    4. H.W.N. (Pt. 1) 2:08
    5. H.W.N. (Pt. 2) 2:47
    6. Ok Dear, Who? 4:28
    7. Amy's Solo 6:10
    8. The Frank Zappa Memorial Bris 1:00
    9. Burkan Cocek 5:36
    10. Satmer Hakafos Nign #3 2:15
    11. Giuliani Über Alles 2:50

    Greg Wall - Saxophone
    Frank London - Trumpet
    David Fiuczynski - Guitar
    Fima Ephron - Bass
    Aaron Alexander - Drums

    AMG:
    "The multicultural synergy that this New York avant-klezmer band attempts on their third album is apparent even in the song titles: 'Purple Vishnu,' 'Benigni' (Roberto?), and 'The Frank Zappa Memorial Bris.' The music is just as far-ranging. The opener, 'Purple Vishnu,' suggests what Bitches Brew might have sounded like had Miles Davis been born in an Eastern European shtetl, while part one of 'H.W.N.' sounds like a variation on synagogue chanting and 'Burkan Cocek' flirts with ska rhythms. Ironically enough, the title track doesn't betray much Jewish influence at all. It's just a classically beautiful tune. The common denominator here is the telepathic interplay of the band (captured with warmth and depth by producer Kramer) and the catchy but challenging songwriting. Only the dated throwaway 'Giuliani Uber Alles' falls flat."



    Kabalogy

    or

    Kabalogy


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    1. Biafra 80 (Intro) (3:50
    2. Tels Quels 6:55
    3. Dignit? 9:35
    4. Le soir du Diable 4:32
    5. Caricatures 12:46
    6. Biafra 80 (Final) 2:22

    Jean Michel Brezovar - solo guitar, acoustic guitar, flute, vocals
    Christian Decamps - lead vocals, organ Hammond, piano
    Daniel Haas - bass guitar
    Gerald Jelsch - drums, percussion
    Francis Decamps - organ special effects

    Wiki:
    "Caricatures is the first album by the French progressive rock band Ange, released in 1972."



    Caricatures

    or

    Caricatures


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    1. Princess Swallow 7:10
    2. Benny's Bag 5:59
    3. Prelude To Tornado 8:43
    4. Mu-Jiko Mu-Ihan 7:39
    5. Marine Snow 5:59
    6. The Lonely Bassman Blues 4:37
    7. Portrait In Blue 4:54

    Seiji Tada - Sax (Alto), Flute
    Tetsuro Kawashima - Sax (Tenor)
    Yoshiro Okazaki - Trumpet
    Junko Onishi - Piano
    Shigeo Aramaki - Bass
    Dairiki Hara - Drums

    AMG:
    "With the release of her 1993 Blue Note debut Cruisin', pianist Junko Onishi arrived as one of the most promising of Japan-born jazz musicians. Growing up in Tokyo, Onishi received classical piano lessons but became quite interested in jazz. She studied at Berklee and after three years moved to New York. Already a well-developed player, Onishi worked with Joe Henderson, Betty Carter, Kenny Garrett, and Mingus Dynasty before recording her debut as a leader. She considers her style to be based on Duke Ellington, Thelonious Monk, and Ornette Coleman; her other recordings from the '90s include 1994's Live at the Village Vanguard, 1995's Piano Quintet Suite, and 1999's Fragile. After Fragile, Onishi took a break from releasing albums to focus on developing her music. She returned over ten years later with 2009's Musical Moments. She followed that up a year later with her 2010 Verve debut, Baroque, which featured several Onishi originals as well as interpretations of some 20th century classical pieces, including 'The Three Penny Opera'."



    Jazz Workshop

    or

    Jazz Workshop


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    1. Light Flight 3:19
    2. Once I Had a Sweetheart 4:43
    3. Spring Time Promises 4:09
    4. Lyke-Wake Dirge 3:36
    5. Train Song 4:47
    6. Hunting Song 6:44
    7. Sally Go Round the Roses 3:40
    8. The Cuckoo 4:30
    9. House Carpenter 5:32
    10. Sally Go Round the Roses 3:40
    11. Sally Go Round the Roses 3:42
    12. Cold Mountain 2:02
    13. I Saw an Angel 2:52

    Jacqui McShee - vocals
    Bert Jansch - guitar, banjo, vocals
    John Renbourn - guitars, sitar, vocals
    Danny Thomson - double bass
    Terry Cox - drums, percussion, glockenspiel, vocals

    AMG:
    "Although Sweet Child is usually cited as the group's high-water mark, Basket of Light finds them at their most progressive and exciting. Highlights of this album - which actually reached the Top Five in the U.K. - include the buzzing jazz dynamics of 'Light Flight,' their moving rendition of the traditional folk song 'Once I Had a Sweetheart,' their reinvention of the girl group smash 'Sally Go Round the Roses,' and 'Springtime Promises,' one of their finest original tunes."



    Basket Of Light

    or

    Basket Of Light


    0 0


    1. Ntoro I 8:40
    2, Jongo 4:53
    3. Aho 9:42
    4. Kpledzo 7:58
    5. Ntoro II 9:17

    Jack DeJohnette - Synthesizers
    Lester Bowie - Trumpet

    AMG:
    "The music on this obscure LP was used as the soundtrack for a video program. Jack DeJohnette is heard on synthesizers and is usually joined by trumpeter Lester Bowie. The performances are moody and has its colorful moments although most of it does not stand alone without the film all that well. Superior background music, recommended mostly to Jack DeJohnette completists."



    Zebra

    or

    Zebra


    0 0


    1. Foundations - Build Me Up Buttercup
    2. Pickettywitch - That Same Old Feeling
    3. Rockin' Berries - When I Reach For The Top
    4. Flying Machine - Smile A Little Smile For Me (single version)
    5. Geno Washington - My Little Chickadee
    6. Paper Dolls - Something Here In My Heart
    7. David Essex - Just For Tonight
    8. Marmalade - Baby Make It Soon
    9. Tina Tott - Burning In The Background Of My Mind
    10. Foundations - Baby, Now That I Found You
    11. New Formula - My Baby's Coming Home
    12. Long John Baldry - Mexico
    13. Jefferson - Baby Take Me In Your Arms
    14. Feminine Touch - Some Things Take A Little Time
    15. Pickettywitch - (It's Like A) Sad Old Kinda Movie
    16. Saffrons - Baby, Baby I Can't Let You Go
    17. Foundations - Back On My Feet Again
    18. Sandra Barry - Stop! Thief!
    19. Long John Baldry - It's Too Late Now
    20. Committee - Sleep Tight Honey
    21. Carl Wayne - You're A Star
    22. Paper Dolls - All The Time In The World
    23. Foundations - Come On Back To Me
    24. Flying Machine - Marie Take A Chance
    25. Long John Baldry - Let The Heartaches Begin

    1. David Garrick - Rainbow
    2. The Foundations - Any Old Time (You're Lonely And Sad)
    3. The Intentions - There's Nobody I'd Sooner Love
    4. Bright Winter - Dreamin'
    5. The Paper Dolls - My Life (Is In Your Hands)
    6. The Sweetcorn - Catch Me, Catch Me
    7. Pickettywitch - You Got Me So I Don't Know
    8. The Saffrons - Give Me Time
    9. Jefferson - Love Grows (Where My Rosemary Goes)
    10. David Lincoln - Hold Back The Day Break
    11. The Foundations - I Can Take Or Leave Your Loving
    12. The Committee - Memories Of Melinda
    13. The Flying Machine - Send My Baby Home Again
    14. Tina Tott - Take Away The Emptiness Too
    15. Fitz & Dennis - Two Hearts Are Better Than One
    16. Long John Baldry - Hey Lord, You Made The Night Too Long
    17. Sandra Barry - I Won't Try To Change Your Mind
    18. The Foundations - Mr. Personality Man
    19. Jimmy James - Better By Far
    20. Geno Washington - Alison Please
    21. Pickettywitch - There He Goes
    22. Carl Wayne - Bluebird
    23. The Paper Dolls - Someday
    24. The Foundations - In The Bad Bad Old Days (Before You...)
    25. The Flying Machine - Look At Me, Look At Me

    cduniverse:
    "Buttercups Rainbows songs Full title, 'Buttercups & Rainbows (The Songs Of Macauley & Macleod)'. Buttercups Rainbows album The first compilation to pay tribute to Pye Records songwriters who churned out the hits in the latter half of the sixties & drew comparisons to the Motown hit factory. Buttercups Rainbows CD music Featuring many of the pairs' biggest hits from major acts along with numerous rare obscurities & hidden gems never before issued on CD."



    Buttercups & Rainbows

    or

    Buttercups & Rainbows


    0 0


    1. You Know We've Learned 4:12
    2. Who Has the Last Laugh Now 5:36
    3. Peter's Jones 4:11
    4. That's the Way We Make Our Music 3:15
    5. Damn That Rock & Roll: Bo Diddley/Diddley Daddy 3:36
    6. Natural High 4:52
    7. I Need Your Love 1:09
    8. Tell It to My Face 3:15
    9. Ran It in the Ground 4:52
    10. Never Let You Go 5:37
    11. Girl (You Look So Fine) 2:38
    12. Judy, Judy 2:44
    13. Sadie Mae 3:02
    14. Take These Chains 2:53
    15. You Don't Mean Nothin' 3:39
    16. Little Green Apples 9:14

    Eddie Summers - Congas, Drums, Piano, Vibraphone, Vocals
    Mike Vernon - Castanets, Glockenspiel
    Pip Williams - Horn (Alto)
    Gene Cipriano - Cor Anglais
    Charles Love - Guitar, Vocals
    Gordon DeWitte - Organ
    Charles McCormick - Bass, Vocals
    Melvin Webb - Congas, Drums, Timbales
    Roger Durham - Percussion, Vocals
    Samuel Boghossian - Violin
    Nathan Kaproff - Viola
    Dan Neufeld - Viola
    Erno Neufeld - Violin

    AMG:
    "The bulk of this is their debut album from 1972, featuring everything from a Bo Diddley medley to gospel-bred harmonies to Hendrix-derived guitar licks. Plus the hit, a beautiful fusion of all the above in the form of a sweet'n'dreamy soul ballad. The best early-'70s Isley Brothers album that the Isley Brothers didn't make themselves. (And believe me, there were plenty trying.) This reissue includes a previously uncollected 1972 single ('Girl (You Look So Fine)'/'Judy, Judy') and four outtakes, including a bizarre yet respectful 'Little Green Apples.' The annotation by Wayne Edwards is superb, and the discography complete."



    Natural High

    or

    Natural High


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