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FreeFall - LiveJournal.com

older | 1 | .... | 23 | 24 | (Page 25) | 26 | 27 | .... | 57 | newer

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    1. The Black-Hats Fight Song 3:24
    2. Train A-Travellin' 7:07
    3. The Death of Emmett Till 5:44
    4. The Jews-Whore Marie Saunders 2:15
    5. It's Alright Ma (I'm Only Bleeding) 2:37
    6. Masters of War 2:56
    7. Song of a German Mother 2:57
    8. John Brown 7:52
    9. Cannon Song 2:01
    10. Hollywood 1:26

    1. North Country Blues 3:31
    2. Song of the Invigorating Effect of Money 5:44
    3. Song of the Inadequacy of Man's Higerhnature 1:35
    4. Mandelay 7:00
    5. Nana's Lied 3:40
    6. Like a Rolling Stone 5:55
    7. Pirate Jenny 5:29
    8. God in Mahagonny 4:49
    9. I'd Sure Hate to Be You on That Dreadful Day 1:54
    10. Blowin' in the Wind 4:05
    11. Perhaps Song 2:41
    12. As You Make Your Bed You Must Lie There 1:10

    Bettina Jonic - Vocals
    Julian Coward - Flute, Piccolo
    Hale Hambleton - Clarinet, Sax (Alto)
    Cliff Haines - Trumpet
    Roland Harker - Guitar
    David Parry - Piano
    John Gray - Double Bass
    Jim Toomey - Drums

    wiki:
    "Bettina Jonic is a theatre artist, singer, dancer, writer, poet, director, and the founder of London's Actors Work Group.
    Jonic was raised in Los Angeles, California to Croatian parents. She studied ballet for ten years with Theodore Kosloff and Bronislava Nijenska, then studied music and singing at Mozarteum, Vienna Academy of Music, and the Paris Conservatory of Music. She specialized in music of Wolfgang Amadeus Mozart and Richard Strauss before becoming known as an interpreter of Bertolt Brecht. Before forming the Actors Work Group, she collaborated with Peter Brook. She also created the Actor/Singer Development at the Royal Opera House in 1980, developing it into The Little Garden.
    In 1975, she released an album of 22 songs on Actor/Singer Development Productions, Ltd. titled The Bitter Mirror, which mixed her interpretations of Brecht and Bob Dylan, which was reissued in 1974 by Records for Peace. The album was finally reissued on compact disc in 2010 by Motéma Music.
    She is currently at work on With and Without Sam: Volumes One and Two, a collection of her correspondence with Samuel Beckett, an excerpt of which appeared in The London Magazine (Summer 2010), as well as a project combining Beckett's Happy Days with Alban Berg's Wozzeck and another project combining Beckett's Stirrings Still with Oscar Wilde's 'De Profundis'."



    The Bitter Mirror

    or

    The Bitter Mirror


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    1. Memphis Slim: We're Gonna Rock
    2. T-Bone Walker: I Wanna See My Baby
    3. T-Bone Walker: I'm in Love
    4. John Lee Hooker: Need Your Love So Bad
    5. Memphis Slim: Stewball
    6. John Lee Hooker: Let's Make It
    7. John Lee Hooker: Shake It Baby
    8. John Lee Hooker: Right Time
    9. Shakey Jake Harris; Shakey Jake: Hey Baby
    10. Shakey Jake: Love My Baby
    11. Brownie McGhee: Crying at the Station
    12. Sonny Terry: I'm Crazy 'Bout You Baby
    13. Memphis Slim: Bye Bye Baby




    The Original American Folk Blues Festival

    or

    The Original American Folk Blues Festival


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    1. Distant Light (Violin Concerto) 29:11
    2. "Stimmen" (Voices): Voices of Silence 6:00
    3. "Stimmen" (Voices): Voices of Life 13:41
    4. "Stimmen" (Voices): Voices of Conscience 7:38

    Kremerata Baltica
    Gidon Kremer - Conductor, Violin

    wiki:
    "Pēteris Vasks (born 16 April 1946) is a Latvian composer.
    Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jazeps Vitols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.
    Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became a slave to any particular method.
    Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and 'Bass Trip' (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.
    Vasks was the recipient of the Vienna Herder Prize of the Alfred Toepfer Foundation in 1996 and the Latvian Grand Music Award in 1997, the latter for his violin concerto Tālā Gaisma (1996-7). He received the Cannes Classic Award in 2004. His important works also include 'Viatore', Symphony #2, 'Music for a deceased Friend' et al.
    Since 1994 he is an honorary member of the Latvian Academy of Sciences and in 2001 he became a member of the Royal Swedish Academy of Music. In 1996 he was main composer at the Stockholm New Music Festival and in 2006 composer-in-residence at the Presteigne Festival of Music and the Arts and the Vale of Glamorgan Festival in Wales.
    In 2005 he received the Order of the White Star, 3rd Class."



    Distant Light / Voices

    or

    Distant Light / Voices


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    1. Play With Fire 13:26
    2. The Doctor 7:43
    3. Politician 5:41
    4. Powerhouse Sod 10:39

    Leslie West - Guitar, Vocals
    Jack Bruce - Bass, Harmonica, Vocals
    Corky Laing - Drums

    AMG:
    "Following the exits of bassist/producer Felix Pappalardi and keyboardist Steve Wright, remaining Mountain members Leslie West (guitar) and Corky Laing (drums) forged a new alliance with ex-Cream bassist Jack Bruce. The hard rock supergroup's debut LP, Why Dontcha, appeared in 1972, followed a year later by Whatever Turns You On. The Bruce, West and Laing trio proved short-lived, however, dissolving prior to the 1974 release of the Live 'n' Kickin' concert set."



    Live 'N' Kickin'

    or

    Live 'N' Kickin'


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  • 10/05/12--06:00: Frank Zappa - Beat Club 1968

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    1. Kabalaba-Bees 3:10
    2. Interlude 2:00
    3. Kaba Song 4:32
    4. Interlude 1:15
    5. Theme for Sco/Kabalaba 14:48
    6. Duo 2:10
    7. Sun Precondition One 5:30
    8. Interlude 1:48
    9. Improvization A2 6:00
    10. Mal's Delight 3:50
    11. Kabalaba Speaks 4:57

    Lester Bowie - Trumpet, Percussion
    Malachi Favors Maghostus - Bass, Percussion
    Joseph Jarman - Clarinet (Bass), Sax (Alto), Sax (Soprano), Percussion
    Roscoe Mitchell - Sax (Alto), Sax (Tenor)
    Famoudou Don Moye - Drums, Percussion
    Muhal Richard Abrams - Piano

    AMG:
    "One of several recordings issued by the Art Ensemble's own label and the only one to document the group as a whole, Kabalaba is a live, 1974 performance at the Montreux Jazz Festival by the same augmented band (with the addition of Muhal Richard Abrams) that recorded the superb Fanfare for the Warriors album for Atlantic. While not as heady as that release, Kabalaba offers a typical example of the Art Ensemble's live concerts from around that time.
    There are several percussion interludes and solo horn features interspersed among stronger thematic pieces such as Theme for Sco, which gets an energetic workout here. Roscoe Mitchell produces an especially acerbic solo alto piece, Improvization A2 [sic], all gnarls and bitter asides, followed by one of Lester Bowie's patently puckish, smear-filled outings. The concert ends with a free-for-all multi-horn blowout that dwindles off without apparent conclusion, though the group sees fit to add several unnecessary minutes of audience applause to conclude the album. This recording contains several fine episodes, but the interested listener would do better to hear the aforementioned Atlantic album for a full picture of this particular Art Ensemble incarnation's great powers."



    Kabalaba

    or

    Kabalaba


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    1. Die Roboter 4:35
    2. äTherwellen 4:20
    3. Tour de France 6:46
    4. Computerwelt 4:29
    5. Techno Pop 6:02
    6. Ruckzuck 4:53
    7. Radioland 4:27
    8. Mensch Machine 4:17
    9. Schaufensterpuppen 4:52
    10. Morgenspaziergang 5:21

    AMG:
    "New York-based composer Terre Thaemlitz is one of only a handful of significant American artists working in the new ambient vein. He's released the bulk of his material through the Instinct Ambient label, but has also issued tracks (under his own name and as Chugga) on his own Comatonse label and through others. Although Thaemlitz's entre into electronic came in a somewhat traditional fashion - as a house DJ - his explorations in electronic abstraction have been anything but, focusing on themes of abjection, alienation, fracture, and contradiction in his music. Thaemlitz's recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists such as B. Lustmord, Carl Stone, and (some) Merzbow, as well as 'deep listening' composers such as Pauline Oliveros and Robert Rich. He's also recorded with Bill Laswell, releasing Web in 1995, and done remix work for Interpieces Organization and the Golden Palaminos, among others.
    Born in Minnesota and raised in Missouri, Thaemlitz moved to New York in the mid-'80s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarly a dancefloor DJ, Thaemlitz's insistence upon integrating house music's more simplistic monotony with challenging, complicated breaks and references earned him an uneasy relationship with club promoters looking for DJs whose only commitment was the 4/4 beat. Retiring from club DJing in the early '90s (although he continues to spin experimental electronic music at art galleries, one-offs, and in other marginal contexts), Thaemlitz began making his own tracks, beginning with house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrete, and eventually settling into experimental ambient. One of his earliest works, 'Raw from a Straw,' in addition to limited release through his own Comatonse label, appeared on an early ambient compilation on Instinct, and earned him an almost instant reputation. He's since fortified that with a pair of full-length releases remarkably free of many of the cliched conventions of club-drived ambient. He continues to support new talent through Comatonse, and in 1999 returned with Replicas Rubato. Interstices, a thirty-one track release with no song titles, followed a year later."

    Album Info



    Die Roboter Rubato

    or

    Die Roboter Rubato


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    1. Snoopy Vs. The Red Baron 2:46
    2. The Return of the Red Baron 2:52
    3. Airplane Song 2:42
    4. Any Wednesday 2:10
    5. I Say Love 2:21
    6. Snoopy for President 2:36
    7. Baby Let's Wait 2:37
    8. Leaving Me 2:55
    9. It's Sopwith Camel Time 2:29
    10. Biplane "Evermore" 3:23
    11. Shot Down 2:42
    12. Searching for the Good Times 2:13
    13. Smallest Astronaut 3:15
    14. Mother, Where's Your Daughter 4:17
    15. Down Behind the Lines 3:27
    16. Om 2:46
    17. I'm a Man 2:33
    18. So You Want to Be a Rock & Roll Star 2:20
    19. As Tears Go By 5:35
    20. Snoopy's Christmas 3:09

    Chris Nunley - Vocals
    Barry Winslow - Vocals, Guitar
    Tom Richards - Guitar
    Billy Taylor - Organ
    Bill Balough - Bass
    John Burdette - Drums

    AMG:
    "The Royal Guardsmen from Ocala, FL - Bill Balough (bass), John Burdette (drums), Chris Nunley (vocals), Tom Richards (guitar), Billy Taylor (organ), and Barry Winslow (vocals/guitar) - enjoyed their brief reign of pop fame in 1966-1968 by recording a series of songs taking off from the Peanuts cartoon character Snoopy and his fantasy about aerial dog fighting with German World War I flying ace Baron Von Richthofen. The million-selling 'Snoopy Vs. the Red Baron' was the first and most successful of these novelty records in the fall of 1966, and its follow-up, 'The Return of the Red Baron,' also made the Top 40.
    'Snoopy's Christmas' topped the seasonal charts at the end of 1967. After a few non-Snoopy singles were less successful, the Guardsmen released 'Snoopy for President' in the summer of 1968, but the fad was over. The group scored a final Top 40 hit with its two-year-old, reissued debut single, 'Baby Let's Wait,' in the winter of 1968-1969. The original group split in 1969; a version with some replacement members continued for another year."



    Anthology

    or

    Anthology


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    1. Code 3:00
    2. Damage 7:17
    3. Something Orange 4:08
    4. Gerrard St. 415 1:03
    5. Sky Becomes a Loop 6:22
    6. Room Without Lights 4:14
    7. Lose That Skin 8:10
    8. Blue Kind of Drug 6:21
    9. Kinky Ink 4:44
    10. Coming Up for Air 0:53
    11. Burst 4:03
    12. Hip Hop Flipperty Flop 5:00
    13. Sky Becomes a Reprise 2:34

    Roger Eno - Guitar, Piano, Synthesizer
    Lol Hammond - Loops, Piano, Synthesizer

    AMG:
    "This might seem like an unlikely pairing: the composer Roger Eno (who, though he has always had one foot in the pop music world, is classically trained and composes primarily in that mode) and Drum Club cofounder, Lol Hammond, who is known mainly for his work in the sphere of electronic dance music. This is one of those projects that is either going to succeed wildly or fail utterly, and happily, it's a solid success. Eno brings a level of harmonic sophistication to the proceedings that is generally missing from the world of techno, not to mention a contemplative, almost pastoral sensibility that he shares with his more famous brother Brian (to whom we owe the word 'ambient' as a musical term). Hammond, for his part, takes what could have been almost soporific keyboard parts and muscles them up with electronic rhythm that never sounds artifically imposed. Hence, the soothing and yet rhythmically interesting flow of 'Something Orange,' and the slow, swinging, trip-hop pianism of 'Hip Hop Flipperty Flop,' which sounds for all the world like Music for Airports remixed by Portishead. That's a compliment. You can't really call this music 'challenging,' but somehow it's still very rewarding."



    Damage

    or

    Damage


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    1. Bach: Siciliana 04:20
    2. Tchaikovsky: Andante Cantabile 04:03
    3. Chopin: Grande Valse Brillante 03:51
    4. Debussy: Reverie 04:27
    5. Mozart: Eine Kleine Nachtmusic 03:54
    6. Schumann: Traumerei 04:33
    7. Liszt: Liebestraume No. 3 04:06
    8. Beethoven: Violin Sonata No. 5 "Spring" 03:33
    9. Dvorak: Symphony No. 9 "From The New World" 05:38
    10. Handel: Largo 04:33
    11. Faure: Apres Un Reve 04:21
    12. Satie: Je Te Veux 04:25

    Haruki Mino - Piano
    Tohru Kase - Bass
    Milton Tomita - Drums
    Yasushi Ichihara - Drums




    Urban Classic Series Bach-Satie

    or

    Urban Classic Series Bach-Satie


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    1. Vision 5:22
    2. Never Good At Sayin´ Good-Bye 3:05
    3. Underground Session Chorea 11:05
    4. Old Dom Is Dead 4:38
    5. To Take Him Away 7:02
    6. Summer Is Yonder 4:46
    7. Metakara 3:22
    8. Fraulein Kommen Sie Schlaffen Mit Mir 0:32

    Rose Podwojny - vocals
    Jean-Pierre Alarcen - guitar
    Henri Garella - organ, mellotron
    Christian Clairefond - bass
    Michel Jullien - drums, percussion

    progarchives:
    "A wonderful early french prog band, Sandrose were formed in 1971 by guitarist Jean Piere Alarcen. The other members of the band were Christian Clairefond on bass, Michel Jullien on drums and Henri Garella who played organ and mellotron. Vocals were supplied by powerful female vocalist Rose Podwojny singing with english lyrics. Let's notice some beautiful dialogues between the majestic guitar soli and the splendid keyboards sonorities into the progressive field.
    Sandrose's debut and last was considered as one of the top 5 french progressive album. Some superb melodies are lightened by an excellent female vocalist, by masses of keyboards and guitar to keep you happy. In the 70's, this album was hard to find and quite expensive. If you like Earth & Fire (both singing and style), Ruphus, Fantasy (USA), Analogy, you'll like this album. a must have for every fan!"




    Sandrose

    or

    Sandrose


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    1. Time Passed Autumn, Pt. 1 4:10
    2. Time Passed Autumn (Interlude and Pt. 2) 2:48
    3. Time Passed Autumn, Pt. 3 4:52
    4. Caprice 4:47
    5. Air Antique 2:58
    6. Night Will Fall 8:14
    7. Night Will Fall (Interlude and Conclusion) 2:32
    8. A Sketch of Eden 6:42

    Claus Ogerman - Conductor
    Michael Brecker - Sax (Tenor)
    David Sanborn - Sax (Alto)
    George Benson - Guitar
    Peter Maunu - Guitar
    Joe Sample - Keyboards
    Ralph Grierson - Keyboards
    Chuck Domanico - Bass
    John Guerin - Drums
    Chino Valdes - Congas
    Larry Bunker - Percussion
    Tommy LiPuma - Producer

    Wiki:
    "Born in Ratibor (Racibórz), Upper Silesia, Ogerman began his career with the piano. He is definitely one of the most prolific 20th century arrangers and has worked in the Top 40, Rock, Pop, Jazz, R&B, Soul, Easy listening, Broadway and Classical music fields. The exact number of recording artists for whom Ogerman has either arranged or conducted during his career has still not yet been determined.
    In the 1950s, Ogerman worked in Germany as an arranger-pianist with Kurt Edelhagen, Max Greger, and Delle Haensch. Claus (then Klaus) also worked as a part-time vocalist and recorded several 45 rpms under the pen name of 'Tom Collins', duetting with Hannelore Cremer - and he also recorded a solo vocal with the Delle Haensch Jump Combo as well.[1] In 1959, he moved to the United States and joined the producer Creed Taylor at Verve Records, working on recordings with Antonio Carlos Jobim, Bill Evans, Wes Montgomery, Kai Winding and Cal Tjader - among countless others. Verve was sold to MGM in 1963. Claus Ogerman, by his own admission in Gene Lees' Jazzletter publication, arranged some 60-70 albums for Verve under Creed Taylor's direction from 1963-1967.[2] In 1966 Ogerman arranged and conducted Bill Evans Trio With Symphony Orchestra (Verve Records). In 1967 he joined Creed Taylor on the A&M/CTi label.
    Ogerman arranged and conducted Diana Krall's 2001 album The Look of Love, and conducted on her DVD 'Live in Paris'. He also served as arranger and conductor for Krall's 2009 album Quiet Nights. He won the 2010 Grammy Award for 'Best Instrumental Arrangement Accompanying Vocalist(s)' for “Quiet Nights.”
    Ogerman also arranged and conducted the orchestra on George Benson's 1976 album, Breezin', as well as on two other Benson albums.
    Among Ogerman's most remarkable albums there are: Gate Of Dreams (WB 1977), from the music of the ballet Some Times; Cityscape with Michael Brecker (1982 Warner-Pioneer); Claus Ogerman Featuring Michael Brecker (GRP 1991). All include original compositions centered around the juxtaposition of jazz instruments and rhythm sections with classical music orchestra."



    Gate of Dreams

    or

    Gate of Dreams


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    1. Come in Stranger 1:55
    2. Early Morning Rain 3:55
    3. Nancy Whiskey 2:35
    4. Awake Ye Drowsy Sleepers 3:25
    5. Marlborough Street Blues 2:15
    6. Darcy Farrow 3:30
    7. Travelling Drummer 2:25
    8. Maude's Blues 3:58
    9. Red Velvet 2:17
    10. I'll Bis\D My Heart Be Still 2:48
    11. For Lovin' Me 2:16
    12. Song for Canada 4:06

    Sylvia Tyson - Autoharp, Guitar, Vocals
    Ian Tyson - Autoharp, Bass, Guitar, Vocals
    Monte Dunn - Guitar
    Russ Savakus - Bass

    AMG:
    "Side one of the original LP version of their fourth album continues in the eclectic folky style of their earlier albums, containing only one original (Tyson's 'Marlborough Street Blues'). The other cuts include the fine Gordon Lightfoot title track, a Johnny Cash cover ('Come in Stranger') that heralded their increasing interest in country & western music, one of their finest interpretations of a bona fide traditional warhorse ('Nancy Whiskey'), and 'Darcy Farrow,' a fine obscure composition that could pass for a traditional standard (written for the duo by an unknown Californian singer/songwriter pair). Side two, however, with the exception of one traditional tune and another Lightfoot cover, is composed entirely of originals. The most notable of these is Tyson's 'Song for Canada' (written with Pete Gzowski). A bittersweet plea for greater communication between French- and English-speaking Canadians, it could just as well be heard as a comment on any sort of deteriorating relationship."



    Early Moring Rain

    or

    Early Moring Rain


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    1. Soul Dressing 2:28
    2. Tic-Tac-Toe 2:34
    3. Big Train 2:32
    4. Jellybread 2:32
    5. Aw' Mercy 2:38
    6. Outrage 2:35
    7. Night Owl Walk 3:14
    8. Chinese Checkers 2:29
    9. Home Grown 3:14
    10. Mercy Mercy 2:36
    11. Plum Nellie 2:07
    12. Can't Be Still 1:59

    Booker T. Jones - Organ
    Charles "Packy" Axton - Sax (Tenor)
    Floyd Newman - Sax (Baritone)
    Wayne Jackson - Trumpet
    Steve Cropper - Guitar
    Donald "Duck" Dunn - Bass
    Lewis Steinberg - Bass
    Al Jackson, Jr. - Drums

    AMG:
    "Assembled mostly from (non-hit) 1963-65 singles, this is solid stuff, but a notch below their peak collections. The best tracks ('Soul Dressing,' 'Tic-Tac-Toe,' 'Can't Be Still') are usually included on their best-of anthologies, but 'Plum Nellie,' featuring some ferocious, cutting-edge solos by Cropper and Jones, is an overlooked highlight."



    Soul Dressing

    or

    Soul Dressing


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    1. Syrmos, for string ensemble of 18 or 36 players 12:04
    2. Aroura, for string ensemble 11:05
    3. Voile, for 20 strings 5:06
    4. Theraps, for solo double-bass 13:45
    5. Analogique A+B, for 9 strings & tape 6:46
    6. Ittidra, for string sextet 8:42

    John Eckhardt - Double Bass
    Ensemble Resonanz
    Johannes Kalitzke - Conductor

    AMG:
    "In its outstanding Edition Iannis Xenakis, Mode presents coherent programs that put the composer's hard-to-categorize works in context and help make his fierce but fascinating music more intelligible to a growing legion of admirers. This is the sixth volume in the series, covering six compositions for various configurations of strings that also broadly represent three key periods in Xenakis' ouevre. Of his early works, Syrmos and Analogique A+B (both 1959) exemplify the mathematically generated music Xenakis developed at the beginning of his career, filled with group glissandi, clustered harmonics, and scurrying pizzicato textures. Two compositions of his dynamic middle period, Aroura (1971) and Theraps (1975-1976), reflect the severity of the mythopoetic concepts that preoccupied Xenakis in that decade. The somewhat gnomic late pieces, Voile (1995) and the sextet Ittidra (1996), are hard to define in terms of techniques or time period, yet demonstrate a consolidation of Xenakis' ideas, particularly in the dense accumulations of sounds and interwoven arboresences in Voile. The Ensemble Resonanz, directed by Johannes Kalitzke, is incisive in its execution and thrilling for its shockingly brilliant timbres; and bassist John Eckhardt deserves special recognition for his heroic solo performance of Theraps, one of the most incredibly difficult pieces for bass ever composed. Mode's sound quality is absolutely superb."




    Music for Strings

    or

    Music for Strings


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    1. I Ain't Got You
    2. For Your Love
    3. I'm Not Talking
    4. I Wish You Would
    5. Heart Full Of Soul
    6. I've Been Wrong (aka I Ain't Done Wrong)
    7. Too Much Monkey Business
    8. Love Me Like I Love You
    9. I'm A Man
    10. Evil Hearted You
    11. Still I'm Sad
    12. Hang On Sloopy
    13. Smokestack Lightning
    14. Mr. You're A Better Man Than I
    15. Train Kept A Rollin'
    16. Shapes Of Things
    17. Dust My Blues
    18. Scratch My Back_
    19. Over Under Sideways Down
    20. The Sun Is Shining
    21. Shapes Of Things (Version 2)
    22. Most Likely You'll Go Your Way
    23. Little Games
    24. Drinking Muddy Water
    25. Think About It
    26. Goodnight Sweet Josephine
    27. My Baby

    Keith Relf - Vocals, Harmonica
    Jeff Beck - Guitar (1-21)
    Jimmy Page - Guitar (22-27)
    Chris Dreja - Guitar
    Paul Samwell-Smith - Bass
    Jim McCarty - Drums

    AMG:
    "Like most of the major British Invasion bands, the Yardbirds recorded many sessions for the BBC during their heyday. On Air contains 27 of these, recorded between 1965 and 1968; 21 of them feature Jeff Beck, the rest Jimmy Page (Eric Clapton is not featured on any). The BBC sessions offered listeners the opportunity to hear groups in a relatively live setting with relatively good sound quality, and that's basically what you get here. Most of their major hits - 'For Your Love,' 'Heart Full of Soul,' 'Shapes of Things,' 'Over Under Sideways Down,' 'Still I'm Sad' - are included. By and large, these versions don't differ enormously from the studio cuts, with slightly different arrangements and guitar solos. One could argue, of course, that with a band so responsible for pushing rock guitar to the stratosphere, different guitar solos are a tasty discovery. And they are interesting, but they don't outdo the stellar studio renditions. Of most interest, if not highest quality, are a few covers never waxed by the group on their official releases: 'Dust My Blues,' 'The Sun Is Shining,' Garnett Mimms' 'My Baby,' and Dylan's 'Most Likely You'll Go Your Way.' On cuts like 'I'm Not Talking' and 'Too Much Monkey Business,' Beck's pyrotechnics are truly breathtaking. But generally this release is more for Yardbirds fans than novices."



    On Air

    or

    On Air


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    1. The Little Comedy/La Cantatrice/Harlequin/Fontessa 23:05
    2. 'Round Midnight 4:09
    3. The Cylinder 6:02
    4. Bags' Groove 5:28
    5. Odds Against Tomorrow 8:12
    6. It Don't Mean a Thing (If It Ain't Got That Swing) 5:13
    7. A Social Call 4:52

    1. Django 4:40
    2. I Should Care 6:14
    3. How High the Moon 7:51
    4. Colombine/Pulcinella 9:22
    5. Spanish Steps 4:08
    6. Pyramid (Blues for Junior) 10:41
    7. Milt Meets Sid 3:40
    8. I Remember Clifford 6:03
    9. Vendome 2:42
    10. Skating in Central Park 6:10

    Milt Jackson - Vibraphone
    John Lewis - Piano
    Percy Heath - Bass
    Connie Kay - Drums

    AMG:
    "After drummer Connie Kay passed away, this previously unreleased concert, recorded in Slovenia in 1960, was issued on a double CD and dedicated to him. The Modern Jazz Quartet (which also includes pianist John Lewis, vibraphonist Milt Jackson and bassist Percy Heath) is heard in surprisingly inspired form playing their usual repertoire of the time. Highlights include a 23-minute medley of John Lewis compositions, 'Bag's Groove,' 'It Don't Mean a Thing,' 'Django,' 'How High the Moon' and 'Skating in Central Park.' Lewis has stated that the group never played better than during this concert. Although that statement is debatable, the MJQ certainly sounds in prime form throughout the easily recommended release."



    Dedicated to Connie

    or

    Dedicated to Connie


    0 0


    1. Circuitous, Mountains 8:56
    2. getString 1:43
    3. String Quartet 7:06
    4. fromString 1:12
    5. Intend/Ascend 9:14
    6. useString 1:21
    7. String Quartet 9:38
    8. toString 1:34
    9. Towards Nothingness 9:16
    10. quitString 4:38

    Jens Voigt-Lund
    Morten Riis
    Christian Winther Christensen
    Jexper Holmen
    Simon Steen-Andersen
    Simon Christensen

    AMG:
    "DaCapo's getString is a compilation of string quartets and quartet movements by six Danish composers, none born before 1970 and the youngest in 1980. As Western music enters the second decade of the 21st century, there is some scuttlebutt that for the first time in history that Europe is actually behind the curve when it comes to forward developments, compared to the rest of the classical music composing world. This is a highly debatable point, but discs like getString might tend to confirm such a view; for these composers it seems that the whole 'New Simplicity' movement in Denmark simply never happened and that late 20th century German models of composition are the hippest way to go. Annotator Niels Rosing-Schow tactfully only awards composer Christian Winther Christensen with the distinction of deriving inspiration from German composer Helmut Lachenmann. However, all of this quartet music seems to derive from Lachenmann's general approach; it's as though Lachenmann's 1972 quartet Gran Torso is the gift that keeps on giving among the young composers in Denmark. It is such a unifying concept among these compositions that it is impossible to tell the six composers apart, except for Morten Riis, whose five short contributions to the disc are interlaced between all of the others, noticeable as they all abruptly cut off.
    The quartet here is the Silesian String Quartet, a veteran Polish group expert in contemporary music performance; it has also recorded works of Penderecki, Lutoslawski, Zygmunt Krauze, and performed all of this music without getting a hair out of place or a single bow hair unstrung. However, the element of surprise - so critical in avant-garde music - is completely lacking here, and one gets the feeling that the Silesians simply weren't much surprised by anything they saw on these pages. Those who are devotees of scraping string sounds; long stretches of inarticulate, barely audible are-they-playing-or-not passages; and do-it-yourself formal development schemes might find something here to entertain them. DaCapo's recording is clear and well balanced between the instruments, but a little too bright at louder volume and not so present at a more comfortable level. DaCapo's admirable intention was to deliver a disc of edgy, cutting-edge string quartet music, but instead this does not seem to represent so much a fresh school of composers so much as a communal Stockholm Syndrome for a style rapidly reaching fossilization. And it comes at a time when many followers of contemporary music are looking to turn the page, and not necessarily to this one."



    getString

    or

    getString


    0 0


    1. Mercredi matin 0:22
    2. (mit 1) Saure Gurke (aus 1 Urwald Gelockt) 2:25
    3. Animaux Velpeau 0:34
    4. Milano per caso 3:18
    5. Fausto Coppi arrive! 1:08
    6. Chanter est sain 3:09
    7. Son of l'idiot 3:20
    8. DBB (Double Bind Baby) 3:25
    9. Cuic Steppe 4:20
    10. Tous les trucs qu'il y a là dehors 1:55
    11. Ciobane 0:21
    12. The Mooche 1:35
    13. Vapona, not Glue 6:40
    14. Glympz 4:49
    15. Three Epileptic Dances 2:16
    16. Mastoul Alakefak 9:16
    17. Comme on a dit 1:15

    Marc Hollander
    – keyboards, percussion, drum machine, xylophone, mandolin, alto saxophone, flute, clarinet, bass clarinet
    Vincent Kenis – accordion, guitar, slide guitar, bass guitar, keyboards, percussion
    Chris Joris – keyboards, soprano saxophone
    +
    Paolo Radoni - guitars (4)
    Jeannot Gillis - violin (4)
    Catherine Jauniaux - voice (4,16)
    Lucy Grauman - voice (6)
    Ilona Chale - voice (6)
    Juliette - voice (10)
    Frank Wuyts - keyboards (16)
    Denis Van Hecke - electric cello (16)
    Michel Berckmans - bassoon (16)
    Geoff Leigh - saxophone (16)
    Lee Schloss - Soprano saxophone (17)
    </b>
    Wiki:
    "Onze Danses Pour Combattre la Migraine (English: Eleven Dances for Fighting Migraines) is the debut album by Belgian avant-rock band Aksak Maboul. It was largely the work of one of the band's co-founders, Marc Hollander and was credited to Marc Hollander/Aksak Maboul. It was released on LP in 1977 on a Belgian independent record label, Kamikaze Records, and later re-released twice on Hollander's own Crammed Discs label: on LP in 1981, and on CD in 2003.
    Onze Danses Pour Combattre la Migraine comprises 17 tracks that draw on a mix of musical forms, cultures and genres. With drum machines and looping organ lines, they shuffle between improvised jazz, ethnic music, electronics and classical music. It is largely an instrumental album with snatches of singing and voices.[3]
    After the success of Aksak Maboul's second album, Un Peu de l'Âme des Bandits (1980), Onze Danses Pour Combattre la Migraine 'became a cult album in its own right.'[4] The Gibraltar Encyclopedia of Progressive Rock described the album as 'a masterpiece. The pieces range from Satie-esque to structured Zappa-inspired rock, to very loose improv-jazz, and the execution in these diverse musical areas is extremely successful. Overall, the music has a certain lightness and humorous approach that I find all too rare in most prog and jazz."



    Onze Danses Pour Combattre La Migraine

    or

    Onze Danses Pour Combattre La Migraine


    0 0


    1. Warsaw Concerto 6:02
    2. Cornish Rhapsody 6:23
    3. Dream of Olwen 3:35
    4. Concerto in a Minor 6:18
    5. Spellbound Concerto 4:51
    6. Concerto No. 1 in B Flat Minor 3:23
    7. Polanaise in A-Flat Minor Op. 53 7:07
    8. Waltz in D-Flat Major Op. 64 No. 1 2:10
    9. Fantasie - Impromptu Op. 66 5:24
    10. Waltz in C-Sharp Minor, Op. 64, No. 2 3:29
    11. Polanaise in a Major Op. 40 No. 1 3:27
    12. Chopin Fantasia 6:16

    Liberace - Piano
    Warner Brothers Symphony Orchestra
    Paul Weston & His Orchestra

    AMG:
    "Liberace (born Wladziu Valentino Liberace) was the most flamboyant, popular easy listening pianist of the '60s and '70s by a wide margin. His campy, theatrical appearance and performances often disguised his prodigious talent.
    Liberace was a child prodigy born to a musical family. His father, Salvatore, played French horn in John Philip Sousa's Concert Band, as well as the Milwaukee Symphony Orchestra. Instead of following in his father's footsteps and playing horn, Wladziu Liberace decided to play piano instead. Liberace was exceptionally gifted at piano, earning strong words of praise from Ignace Paderewski, which helped him land a scholarship at the Wisconsin College of Music at the age of seven; he retained his scholarship for 17 years, the longest period of time in the history of the academy. When he was 11, he debuted as a concert soloist. When he was in his teens, he was performing with symphony orchestras.
    Instead of following the accepted path of classical recitals and university courses, Liberace chose to be a showman. At encores at his concerts, he began playing novelty songs like 'Mairzy Doats.' To ensure that he had widespread appeal as an entertainer, he took elocution lessons in order to mask his Polish accent.
    During World War II, Liberace performed in a variety of overseas entertainment units. When he came back to America, he began performing in clubs, playing and singing with dance bands. While he was on the club circuit, he began performing under the sole name of Liberace.
    In 1940, he moved to New York City, where he became a fixture on the club circuits. However, his stint in New York wasn't particularly successful, as the Musicians Union banned the pianist after he began playing counterpoints to certain records played over the club's sound system. Undaunted, Liberace moved to California. While he was playing at a local hotel, he was spotted by Decca Record executives who offered him a contract. Decca attempted to make Liberace into a big-band leader, but it was unsuccessful. In the late '40s, he signed with Columbia Records and, under the direction of producer Mitch Miller, recorded an over-the-top rendition of 'September Song.' Along with a live concert album, the single helped bring Liberace to a national audience.
    Liberace became a star in the '50s, both through his records and assorted television and film appearances. His appearance and repertoire were becoming increasingly campy, as he dressed himself in rhinestone, gold lame, furs, and sequins while playing everything from Gershwin and show tunes to lounge jazz and light classical pieces, with a candelabra placed on his piano. Liberace's star rose rapidly in the early '50s, as he had his own television show, appropriately titled The Liberace Show. His celebrity reached a peak in the mid-'50s. Not only did he star in the 1955 film Sincerely Yours, a movie about a deaf concert pianist, but he was mentioned in 'Mr. Sandman' by the Chordettes and he published his own cookbook. In 1956, Liberace celebrated his 25 years in show business with an extravagant concert at the Hollywood Bowl. That same year, he made some headway in the U.K. market, playing three Royal Command Performances.
    Though it was a heady time for the pianist, 1956 was also the year that his star began to dim somewhat. Cassandra, a columnist for the English tabloid The Daily Mirror, inferred that Liberace was homosexual. He sued the paper and won, yet he still made an effort to tone down his appearance. However, the public didn't want a subdued Liberace, and he reverted to his kitschy showmanship in the early '60s.
    Liberace didn't have any more pop hits in the '60s,'70s, and '80s, yet he continued to sell out concerts around the world and sell a number of records, even though he never earned the favor of the critics. In 1982, a former chauffeur and bodyguard sued the pianist for palimony; the case was settled out of court. Liberace remained a celebrity and a popular performer until his death in 1987."



    Concert Favorites

    or

    Concert Favorites


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