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FreeFall - LiveJournal.com

older | 1 | .... | 25 | 26 | (Page 27) | 28 | 29 | .... | 57 | newer

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    1. Beirut Hal Zarafat 6:24
    2. Ya Mina El Habayeb 6:21
    3. Amman 7:01
    4. Al Kuwait 6:06
    5. Hamaltu Beirut 8:26
    6. Misr Adat 8:53
    7. Baghdad Wal Chouarra 9:09

    AMG:
    "Fairuz is a remarkably popular Lebanese musician who has managed to sustain Lebanese cultural motifs and aspirations while blending her performances with sounds as diverse as Mozart and Latin American rumbas, flamenco and Balkan folk music. Fairuz, who is Christian, has recorded both hymns and pro-Palestinian sings. The curious can hear her sing on Al-Gomma al-Hazeenah.
    The Legendary Fairuz contains five live performances she recorded in the '90s. All of the songs were written and arranged by the Rahbani Brothers, and they have given Fairuz a terrific showcase for her rich, warm voice. While other albums and compilations may be more representative, this nevertheless presents her at her best."



    The Legendary Fairuz

    or

    The Legendary Fairuz


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    1. Way We Were
    2. The More I See You
    3. Maiden Voyage
    4. Black Coffee
    5. Season Of Our Love
    6. Left Alone
    7. Waltz For Debby
    8. Love In Song
    9. I Remember Clifford

    Helen Merrill - Vocals
    Masahiko Sato - Piano
    Kenji Takamizu - Bass
    Motohiko Hino - Drums

    AMG:
    "A fine singer with a warm, expressive voice, Helen Merrill's infrequent recordings tend to be quite special with plenty of surprises and chance-taking. She started singing in public in 1944 and was with the Reggie Childs Orchestra during 1946-1947. Merrill, who was married for a period to clarinetist Aaron Sachs, had opportunities to sit in with some of the top modernists of the time, including Charlie Parker, Miles Davis, and Bud Powell. She was with Earl Hines in 1952 and started recording regularly for EmArcy in 1954. Her collaboration with Clifford Brown was her first classic. She made several notable EmArcy albums during 1954-1958 (including one in 1956 that helped bring Gil Evans out of retirement); all have been reissued in a large box. After recording for Atco and Metrojazz in 1959, she moved to Italy for the next four years, touring often in Europe and Japan. Back in the U.S., Merrill teamed with pianist/arranger Dick Katz for a pair of notable and unpredictable Milestone dates (1967-1968) and then moved to Japan where she was quite popular. Helen Merrill returned to the United States in the mid-'70s and has since recorded for Inner City, Owl, EmArcy (including a reunion date with Gil Evans) Antilles, and Verve, which released her 2000 album Jelena Ana Milcetic a.k.a. Helen Merrill."



    Love in Song

    or

    Love in Song


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    1. Casatana 6:10
    2. Gherbelize It 6:44
    3. Tellement Gadjo Que Je Suis Gypsy 4:58
    4. Bangosali 8:49
    5. Music Is Bigger Than Me 6:04
    6. Salla Nabi 7:06
    7. Shkoun Li Mesoul 6:07
    8. Wa Moulana 5:18

    Michy Mano - Sentir, Vocals
    Bugge Wesseltoft - Harmonium, Keyboards
    Bendik Hofseth - Sax (Tenor)
    Oystein Trollsas - Ney Flute, Soprano Saxophone
    Aleco Bielenberg Ivanovich - Vocals, Guitar
    Dozzy Njava - Guitar
    Audun Erlien - Electric Bass
    Paolo Vinaccia - Loop, Percussion
    Hassan Shoukat - Tabla
    Issa Tobi - Vocals, Violin
    Abderrahim Tobi - Vocals

    allaboutjazz:
    "World music reminds us that every corner of the globe has its own particular sound. Instruments differ, languages differ, elements such as harmony and rhythm differ, but it's all music. The power of our universal language cannot be understated.
    Michy Mano sings about sociology and politics, personality and emotion, good fortune and bad. He delivers an upbeat vocal performance that includes English and well as French lyrics. Mano's method combines traditional Gypsy music with contemporary rap antics.
    What makes The Cool Side of the Pillow special, of course, is the authentic Moroccan context, with an emphasis on Gnawan music. It's there in the timbre of his sentir and the instruments around him: ney flute, tabla and harmonium. However, these sounds and the ethnic vocal chants that pepper the program take a back seat to the contemporary elements that Mano has imported. Keyboards, electric bass, soulful saxophone and percussion loops color the program with such a great impression that they overshadow the ethnic tradition.
    Music is Bigger than Me features the combined forces of electric bass, harmonium, soprano saxophone and Mano's voice in a lovely world music ballad. 'Gherbelize It features tabla and voice in an English language adventure, while 'Shkoun Li Mesoul represents a country dance steeped in tradition. 'Wa Moulana closes the album with a spiritual chant that Mano chooses to sing with organ and sentir accompaniment. He has much to tell the world about his homeland and its traditions."



    The Cool Side Of The Pillow

    or

    The Cool Side Of The Pillow


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    1. Mississippi Woman 3:45
    2. Who Do You Love? 3:01
    3. She's Mine/She's Yours 5:45
    4. Just One Time 1:39
    5. Chicago North-Western 4:04
    6. Train 5:51
    7. Nadine 2:47
    8. Are You Satisfied? 6:15
    9. I'm a Thief 3:49
    10. Walking Down the Highway 4:44

    Ray Owen - Vocals
    Glenn Ross Campbell - Guitar, Vocals
    Neil Hubbard - Guitar
    Chris Mercer - Keyboards, Organ, Saxophone
    Keith Ellis - Bass, Vocals
    Pete Dobson - Drums, Percussion
    Remi Kabaka - Percussion
    Bodo Schopf - Percussion

    AMG:
    "If any one performance can be said to encapsulate all that Juicy Lucy portended, as their career got underway with the new decade of the '70s, it was 'Who Do You Love?' The band's first single, spinning off their debut album, it was as fast and mean and dirty as any record could have been, a breakneck tour through the bayou swamps and dirt-track roads of the American South, powered by a guitar to make your fingers bleed. And it gave the band a U.K. hit that still sounds fresh today. But Juicy Lucy were no one-trick ponies. True, their debut album is remembered as much for its artwork (a mostly naked, fruit-draped lady) as for its content, but step inside and the group was locked firmly, and gleefully into the free-freak movement of the age -- while Chuck Berry's 'Nadine' was fed through a Hell's Angels nightclub jukebox 'Are You Satisfied' emerged a festival chant spread out over six-and-one-half minutes, as mantric as (almost) anything the Edgar Broughton Band was doing at the time. The band's American roots are seldom far from the surface, of course: 'Mississippi Woman' dripped oozing, cracked croak blues, and 'Chicago North-Western' essentially offers up a history of the Midwestern railroads, while Glen Campbell's steel guitar breathed Americana over everything it touched.
    But no matter how powerful Juicy Lucy may have been, it could not paper over the cracks that were already forming across the lineup, and by the time the band came to record its next album, the group that cut this one was already long gone. One can only dream of what they might have achieved, had they stuck together."



    Juicy Lucy

    or

    Juicy Lucy


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    1. Woobou/Volunteer Slavery 3:58
    2. Method Plan One 3:25
    3. Black Rain 5:48
    4. Chamber Seven 5:18
    5. Dark Heat 8:06
    6. Wootwo/Cosmic Slop 7:13
    7. Method Exit Dub 13:00

    Doctor Israel - Electronics, Vocals
    Toshinori Kondo - Electric Trumpet
    Bernie Worrell - Keyboards
    Bill Laswell - Bass
    Guy Licata - Drums

    Wiki:
    "...Though touching on the realm of drum and bass in the 1990s with his Oscillations releases and the compilation Tetragramaton: Submerged - conceived along with Soares - the last few years have seen Laswell step up his work in this area with Soares as a collaborator in concept/A&R for drum & bass artist development. Starting with Brutal Calling, a hard drum 'n' bass release with Ohm Resistance label owner Submerged (Kurt Gluck), a series of releases and live dates have cropped up. Laswell’s new project in this vein is Method of Defiance (the actual Method of Defiance name and the original idea of a futurist, cyborg drum 'n' bass driven group consisting of laptops breakbeat artists, electric instrumentalists and trumpeter Graham Haynes was conceived by Soares). The first release focused on the core of Laswell and Submerged once again, entitled 'The only way to go is down', featuring photos of Soares, with contributions from Toshinori Kondo and drummer Guy Licata. The second release under the moniker, though, was more of a compilation style project, though still focusing on drum 'n' bass. Inamorata stretched the concept out, pairing Laswell’s bass with a different combination of respected jazz and world musicians and drum 'n' bass producers linked to Soares on each track. Artists including Herbie Hancock, John Zorn, Pharoah Sanders, Nils Petter Molvaer, Toshinori Kondo and Buckethead were paired with drum 'n' bass producers including AMIT, Paradox, Submerged, Future Prophecies, Karsh Kale, Evol Intent, SPL, Outrage, Fanu, and Corrupt Souls. To that end, Laswell’s last collaboration with Soares was a full-on recording with Finnish drum 'n' bass maestro Fanu on Ohm Resistance and Karl Records, entitled Lodge, which includes contributions from Molvaer and Bernie Worrell amongst others. After collaborating with Laswell for 15 years, Soares left the crew in 2008. The concept of the group has once again morphed into a full band concept. In 2009, Rare Noise Records released Live in Nihon, which showcased this new direction/grouping. The group now consisted of Laswell, Guy Licata, Dr. Israel, Toshinori Kondo and Bernie Worrell.
    Along with frequent live dates around the world with Method of Defiance, Material, Painkiller and the reformed in the late ‘90s Massacre (with This Heat's Charles Hayward now in the drum chair) Laswell still makes numerous trips to Japan each year for various recordings and live dates, including his ongoing Tokyo Rotation[10] mini-festivals at the Shinjuku Pit-Inn, which is now a yearly occurrence. In addition to Tokyo Rotation being an actual mini-festival, the moniker has been used as a sort of umbrella to include general operations revolving around activities in Japan, as witnessed by the usage of Tokyo Rotation Presents in relation to the website's announcement of other gigs outside the Pit Inn shows as well being noted on Method of Defiance's release Nihon..."



    Nihon

    or

    Nihon


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    1. Nothing 5-7 2:37
    2. Nothing 11-10 6:29
    3. Nothing 19 7:35
    4. Nothing 13 5:17
    5. Nothing 11:55

    Milford Graves - Bells, Drums, Gong, Shaker
    Sonny Morgan - Bells, Drums

    AMG:
    "Free jazz recordings that consist of nothing but percussion instruments are a rarity. For that matter, percussion-only recordings are a rarity in any type of jazz, be it fusion, swing, classic jazz, hard bop, cool jazz, post-bop, third stream, soul-jazz, or Dixieland. But Milford Graves Percussion Ensemble is, in fact, a rare example of a free jazz recording that offers percussion instruments exclusively - no trumpet, flügelhorn, or cornet; no saxophones; no bass or cello; no acoustic piano or electric keyboards; no vibes; no accordion. Just percussion instruments from start to finish. This 1965 session finds Milford Graves forming a duo with fellow drummer Sonny Morgan; in addition to his drums, Graves provides bells, gongs, and shakers - and Morgan also contributes some bells. But if the idea of a free jazz recording that adheres to an 'all percussion all the time' policy sounds intriguing, the reality is that Percussion Ensemble (which ESP-Disk reissued on CD in 2008) isn't nearly as interesting as some might hope. Graves and Morgan's performances are aimless and not terribly inspired; unlike many of the avant-garde jazz recordings that Graves was a part of in the 1960s, this 33-minute disc never really catches fire and never goes anywhere. And after Percussion Ensemble is finished playing, the listener is left asking, 'OK, what's the point? What is he trying to say?' Graves had his share of creative successes over the years; he is a talented drummer, and his more substantial performances are an asset to jazz's avant-garde. But the disappointing Percussion Ensemble is only recommended to completists."



    Milford Graves Percussion Ensemble with Sunny Morgan

    or

    Milford Graves Percussion Ensemble with Sunny Morgan


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    1. Hey amigo 3:22
    2. Queimada 3:04
    3. Pano de fundo 3:44
    4. Ponto final 4:38
    5. Volte na proxima semana 2:51
    6. Criaturas da noite 3:41
    7. Jogo das pedras 3:25
    8. 1974 12:27
    9. Flor de la noche 3:36
    10. Luz de vela 3:17
    11. Guitarras 4:03
    12. Foi quando eu vi aquela lua passar 2:32
    13. Sentinela do abismo 2:10
    14. Flor de la noche II 2:08
    15. Casa encantada 3:11
    16. Cabala 4:18
    17. Solaris 3:08
    18. Vôo da fenix 2:35
    19. Passaro 3:12

    Sérgio Hinds - guitar, viola, vocals
    Flávio Venturini - piano, organ, synthesizer, viola, vocals
    Sérgio Magrão - bass, vocals
    Luiz Moreno - percussion, vocals

    AMG:
    "O Terço was one of the most important Brazilian rock bands of the '70s. Putting together several different styles like gutsy rock & roll, prog rock, folk rock, heavy metal, and funk, the group formed in 1968 continues to survive, and is always centred on guitarist Sérgio Hinds. The first formation of O Terço aslo had Vinícius Cantuária as drummer, who later began working as a composer and solo artist. The group released its first LP in 1970 but had its apex in 1975 with their third album, Criaturas da Noite, which had arrangements by Rogério Duprat and sold 500,000 copies. During that period, the group's formation included Sérgio Magrão and Flávio Venturini, who left it in 1979 to form the 14 Bis. In the '80s, O Terço started to perform in the U.S. and Europe. As a result, the group's work is more popular abroad than in Brazil. In 1994 the group recorded Live at the Pallace, accompanied by a symphonic orchestra, conducted by Rogério Duprat."



    Criaturas Da Noite / Casa Encantada

    or

    Criaturas Da Noite / Casa Encantada


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    1. Where's the Captain? 5:11
    2. Coma Cluster 4:42
    3. Mostly Skulls 5:12
    4. That Ticket Exploded 5:54
    5. The Noose 4:28
    6. iNCITING 4:39
    7. Gradual Decay 4:45
    8. The Ditch 5:49
    9. After the Air Raid 3:20
    10. The Children and the Rats 4:59
    11. Glass Tables 4:35

    Mike Eber - Guitars
    Johnny DeBlase - Bass
    Jeff Eber - Drums

    AMG:
    "If your thing musically is the prototypical, gnarly, and loud instrumental power trio, then Zevious should be right up your alley. Led by new electric guitar hero Mike Eber, this band should wipe the floor with any comparable group that dares to perform with such a bold, in-your-face posture. Though claiming various primal jazz fusion influences, the unmistakable sound of Robert Fripp and King Crimson from their trio period and the seminal album Red cannot be denied. You also hear the British Canterbury concept via Gary Boyle or Alan Holdsworth, a little bit of the progressive sound of the Muffins, and even pieces of Frank Zappa, the jazzier Jeff Beck and Robin Trower, or Gary Lucas creeping in alongside a punk attitude. With brother/drummer Jeff Eber and bassist Johnny DeBlase (love that name) Zevious makes inroads toward establishing a new fusion amalgam in varying tones and shapes. Everything here is short, concise, and to the point, whether it be on the choppy flailing during 'Come Cluster' and chord driven 'iNCITING,' the jarring noisy or alternately serene contrasts in 'The Children & the Rats,' the bass-shaded, underground, and litigious 'That Ticket Exploded,' and slowed, dank, unassuming, deliberate 'Gradual Decay'. Where Mike Eber's personal voicings come further to the surface on the goth power rocker 'Mostly Skulls' with cleverly omitted measures, it is on the title track that he's in a diffuse and neo-laconic element, far beyond the pale. He's practically fluid in his steel-trap, deadly technique for 'The Noose,' straight-up funky on 'Glass Tables,' and evokes the snarly Fripp sound in a fast-paced 'The Ditch.' The opening track, 'Where's the Captain?,' gives a good indication that Robert Fripp's schizoid man, somewhat R&B-nfluenced, hard-edged, dark guitar is at the center of this trio's core. Listen to this recording and Red back to back to see if you don't agree with the parallel universe this band exists in. Where Zevious definitely suggests a Zen-like concept welded onto a deviated (or even devious) attitude, you'll find the music is fully realized, a terrible wholeness reflective of today's societal anxiety and tenseness released - nay shot out of a cannon - into the ether."



    After the Air Raid

    or

    After the Air Raid


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    1. Da Makani Suite 11:17
    2. Island Girl 5:05
    3. Undercurrent 1:17
    4. Sea Dreamin' 4:11
    5. Only Yesterday 5:08
    6. Pastel Shade 1:32
    7. Racing With The Wind 3:39
    8. When Night Falls 4:57
    9. Bermuda Rig 3:05
    10. Run With The Tide 3:46
    11. I'll See Ya 3:33
    12. Endurance 4:44
    13. Eyes Of The Sea 3:52

    Jill Saward — vocals
    Keith Winter — electric guitar
    Bill Sharpe — keyboards
    George Anderson — bass
    Roger Odell — drums

    Wiki:
    "...In 1986 Saward announced that she was expecting a baby later the same year. This news allowed the band to ease their hectic touring schedule for a while, and enabled them to concentrate purely on recording for a brief period. The band were in the top five foreign acts in Japan, and after winning the coveted Silver Award in the Tokyo International Song Festival, Shakatak were asked to produce an extra album each year exclusively for the Japanese market..."



    Da Makani

    or

    Da Makani


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    1. Outlaw 4:48
    2. Sagittarius Red 3:08
    3. Welfare City 2:56
    4. Silent Majority 4:23
    5. Love Letter to America 3:59
    6. Unspoken Dreams of Light 6:45
    7. Cherrystones 3:12
    8. Reverend Lee 6:35
    9. Black Boy 2:59

    Gene McDaniels - Vocals
    Hugh McCracken - Guitar
    Eric Weissberg - Guitar
    Mother Hen - Piano
    Ron Carter - Bass
    Ray Lucas - Drums
    Buck Clarke - Percussion
    Welfare City Choir

    AMG:
    "Gene McDaniels was one of the more popular artists to emerge from the 1950s R&B scene just as 'soul' began to establish itself as a distinct subcategory (and later the dominant sound) of the latter genre. Born Eugene Booker McDaniels in Kansas City, Kansas in 1935, and later raised in Omaha, Nebraska, he was the son of a minister, and gospel music, along with the words of the bible, filled his life early on - his early idols included the Soul Stirrers and the Swan Silvertones. Before his teens, he also discovered jazz just as bebop was sweeping the latter field, and he became an early admirer of Charlie Parker and Miles Davis; McDaniels always gravitated toward singing, not surprising given his four-octave range, but he also became proficient on the saxophone and the trumpet.
    His first performing group, the Echoes of Joy (later the Sultans) - organized when he was 11 - specialized exclusively in gospel music, but McDaniels later started to work popular tunes into their repertoire. Following a citywide singing competition in which he managed to distinguish himself amid the best of all of his peers, he started looking toward music as a career. He later forsook traditional academics in favor of study at the Omaha Conservatory of Music, and made his professional debut as a member of the Mississippi Piney Woods Singers, whose touring got him to the West Coast, where he began performing jazz as a solo singer in his spare time. Eventually he began singing with his idol, Les McCann, at a club called The Lamp, which didn't last long but built McDaniels a following sufficient to get him noticed by Liberty Records.
    After being signed by Sy Waronker, McDaniels was first put into the hands of producer Felix Slatkin, but their first two singles and an accompanying album failed to sell in serious quantities. His break came when Snuff Garrett took over as producer - Slatkin was a phenomenal musician, as a violinist and conductor, but Garrett had an ear for sound and songs that was second to none, and was responsible for corraling the song that became McDaniels' first hit, 'A Hundred Pounds of Clay.' The singer himself hated the song, believing it too simplistic in the wake of the jazz he'd been singing for the previous decade, but Garrett's instincts proved correct, the single reaching number three in the spring of 1961 and earning a gold record award. His next record, 'A Tear,' was a minor chart hit. But the record after that, 'Tower of Strength,' co-written by Burt Bacharach, reached number five and earned McDaniels another gold record award in the process.
    McDaniels saw regular chart action over the next three years, and even made it into one classic jukebox movie, It's Trad, Dad (1962) (directed by Richard Lester), where he was seen performing 'Another Tear Falls.' His brand of soul music gradually faded from popularity, however, in the face of competition from figures such as Otis Redding and Sam & Dave, with their more raw, less pop-oriented sound. He left Liberty in 1965 and passed through Columbia and a small group of other labels. And following the assassination of Dr. Martin Luther King Jr. in 1968, he departed the United States. For the next three years, he lived in Denmark and Sweden and spent his time writing. When he returned to America in 1971, it was as 'Eugene McDaniels' that he resumed recording, on Atlantic. After that time, he concentrated on songwriting and publishing, scoring successes in both departments: his song 'Compared to What?' was recorded by McCann and also by Roberta Flack, for whom he then wrote 'Reverend Lee' and the immensely successful 'Feel Like Makin’ Love,' which reached number one on the Billboard, Cash Box, and Record World charts in 1974. He also produced numerous other artists, including Jimmy Smith, Merry Clayton, and Nancy Wilson. Gene McDaniels died in his sleep at home in Maine on July 29, 2011."



    Outlaw

    or

    Outlaw


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    1. Chasing Sheep Is Best Left to Shepherds 5:07
    2. An Eye for optical theory 4:18
    3. The Garden is becoming a robe room 6:10
    4. Prawn-Watching 2:30
    5. Time Lapse 3:56
    6. Fish Beach 2:56
    7. Wheelbarrow Walk 2:36
    8. Knowing the Ropes 5:46
    9. Miserere Paraphrase 7:09
    10. Memorial 11:21
    11. Stroking-Synchronising 11:09
    12. Miranda 4:16

    Michael Nyman - Piano
    Linda Hirst - Mezzo-Soprano (Vocal)
    Sarah Leonard - Soprano
    John Harle - Sax (Alto), Sax (Soprano)
    David Roach - Sax (Alto), Sax (Soprano)
    Steve Sidwell - Trumpet
    Marjorie Dunn - Horn
    Nigel Barr - Euphonium, Trombone (Bass)
    Alexander Balanescu - Violin
    Clare Connors - Violin
    Martin Elliott - Bass
    Kate Musker - Viola
    Justin Pearson - Cello
    Tony Hinnigan - Cello

    AMG:
    "The Essential Michael Nyman Band collects some of the music Michael Nyman has composed for the films of director Peter Greenaway. The films represented here are The Draughtman's Contract, A Zed & Two Noughts, Drowning by Numbers, The Cook, The Thief, His Wife & Her Lover, Water Dances, and Prospero's Books. One might consider this collection to be a 'Best of Nyman/Greenaway.' Nyman's music is an essential element of Greenaway's films, as the director usually shoots his film to the music after it has been composed and recorded. Greenaway's films are known to be surreal, manipulative endeavors, and the Nyman compositions on this album are no different. There's an off-kilter intensity to much of the goings-on, and Nyman's band always sounds commited to achieving the final, epic vision. The selected compositions are all quite superb, showcasing meditative pieces with all-out classical attacks worthy of a disturbed techno artist. Nyman's music reveals many emotional layers, including the distant, baroque grandeur of 'Time-Lapse,' the sad grace of 'Fish Beach,' and the modern opera of 'Miserere Paraphrase.' Most of Nyman's critics lump him into the school of classical minimalism associated with Philip Glass and Steve Reich. That is pretty good company to keep. While there are ample doses of repetition in Nyman's work, there is always some greater destination. Most of the pieces here hover around the five-minute mark, making the entire album quite accessible. The title of the album says it all for Nyman or Greenaway fans, as it is certainly nice to have the strongest tracks from the film scores in one place."



    The Essential Michael Nyman Band

    or

    The Essential Michael Nyman Band


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    1. Meet Again 3:05
    2. Why May I Not Know 3:09
    3. Tumblin' Jack 2:36
    4. Black Born Children 3:44
    5. Life 2:48
    6. Problems 3:02
    7. Why Don't You Follow Me 3:32
    8. Guy In The Wrong Neighbourhood 2:56
    9. Lonesome Road 2:51
    10. Diary Of An Old Man 11:00
    11. Plastic Mind 4:29
    12. Smile 3:53
    13. I Can't Live With Nobody But You 3:44
    14. The Youngest Day 7:37
    15. Bobo's Dream 5:02
    16. Bad Time 3:20

    Dirk Bogaert - Flute, Vocals
    Marc Malyster Organ
    Gus Roan - Guitar
    Jean Paul Janssens - Bass
    Jacky Mauer - Drums

    AMG:
    "Belgian band Waterloo's only album, First Battle, was originally released in February of 1970, a crucial time of transition for European rock; this was the tipping point where the expansive sounds of psychedelia lost some of their trippiness and began moving toward a technically complex progressive rock style. Though King Crimson and Yes had released their first albums by this time, prog was still very much in its infancy, and First Battle falls squarely under the proto-prog umbrella, retaining trace elements of psychedelia but definitively leaning into a more sophisticated, classical-influenced realm. One of Waterloo's key inspirations was the Nice - a proto-prog outfit if ever there was one - and the influence of both the Nice's Keith Emerson and the contemporaneous sounds of Deep Purple's Jon Lord can be heard in the fleet-fingered Bach-goes-beard-rock licks of organist Mark Malyster. Malyster's riffs share the spotlight here with Gus Roan's guitar work, which, in a manner typical for early prog, often sounds a bit more earthbound and blues-based than the keyboards. The top end of Waterloo's musical mix is completed by singer Dirk Bogart's flute playing, which can't help but put listeners in mind of Benefit-era Jethro Tull. As First Battle was merely a tentative step on prog's road to excess, most of the songs are short and to the point, maintaining a kind of muscular, Move-like psych-pop sensibility, the lone exception being the 11-minute 'Diary of an Old Man,' with it's bluesy/jazzy jams. The bonus cuts are another story, though - some of them feature the band's second (post-album) lineup, which included saxophonist John Van Rymenant and moved toward a more intense, jazz-tinged style for a couple of singles. Shortly after these later releases, Waterloo disintegrated, with a number of members forming jazz/rock band Pazop."



    First Battle

    or

    First Battle


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    1. On This Site Shall Be Erected... 4:35
    2. 80 Miles an Hour Through Beer-Can Country... 9:08
    3. Suburbia, Two Poodles and a Plastic Jesus... 4:42
    4. If I'm Elected... 6:20
    5. Last Rites for the Promised Land 4:41
    6. Due to Lack of Interest, Tomorrow Has Been Cancelled 8:35

    Danny Bank - Reeds
    Ray Beckinstein - Reeds
    Wally Caine - Reeds
    Joe Farrell - Reeds
    Hubert Laws - Reeds
    Romeo Penque - Reeds
    Jerome Richardson - Reeds
    Randy Brecker - Flugelhorn, Trumpet
    Bernie Glow - Flugelhorn, Trumpet
    Ernie Royal - Flugelhorn, Trumpet
    Marvin Stamm - Flugelhorn, Trumpet
    Richard Gene Williams - Flugelhorn, Trumpet
    Snooky Young - Flugelhorn, Trumpet
    Ray Alonge - French Horn
    James Buffington - French Horn
    Earl Chapin - French Horn
    Garnett Brown - Trombone
    Harvey Phillips - Tuba
    Eric Gale - Guitar
    Warren Bernhardt - Piano
    Gerald Jemmott - Bass
    Chuck Rainey - Bass
    Bill Lavorgna - Drums
    Bernard "Pretty" Purdie - Drums
    Warren Smith - Percussion
    David Nadien - Violin
    Gene Orloff - Violin
    Aaron Rosand - Violin
    Al Brown - Viola
    Alfred Brown - Viola
    George Ricci - Cello
    Harvey Shapiro - Cello
    Gary McFarland - Conductor

    AMG:
    "One of Gary McFarland's major works, this orchestral jazz suite (originally on Skye and reissued on CD by the audiophile DCC Jazz label) utilizes a big band and some strings along with the influence of rock, classical, and jazz. The six-movement piece is ultimately a bit downbeat about the future of the United States as seen from 1968. The emphasis is on the ensembles rather than any individual voices, and the overall results are certainly listenable but less memorable than one might hope considering the potential scope of the work."



    America The Beautiful, An Account Of Its Disappearance

    or

    America The Beautiful, An Account Of Its Disappearance


    0 0


    1. Izumoya 10:11
    2. Crawler 7:10
    3. Uni 5:46
    4. Genbu 9:52
    5. The Moon On The Ground 15:44
    6. Izumoya 3:16

    Kazutoki Umezu - alto sax
    Natsuki Kido - guitar
    Takeharu Hayakawa - bass
    Kozo Niida - drums

    progarchives:
    "Kazutoki Umezu spent much of the 1970's developing his saxophone chops and his eclectic jazz/rock syyle in New York City, playing with artsists like Lester Bowie and Sunny Murray. In the 1990's he worked with artists in the Knitting Factory crowd with his bands First Deserter and Eclecticism.
    In 1999, preparing for a tour of Africa, Umezu created the Kiki Band (the first ki comes from the Swahili work kipara which means bald head, the second from kinyonga or chameleon). And this bald chameleon lives up to the title, playing a mixture of rock, jazz, prog, funk, avant-garde, and even klezmer music, always in a bold, aggressive style."



    Land Dizzy

    or

    Land Dizzy


    0 0


    1. Freak In 3:46
    2. Culver City Park 7:17
    3. Black Rock Park 4:53
    4. Hot Club of 13th Street 2:13
    5. Eastern Parkway 5:34
    6. November 6:06
    7. Porto Alegre 5:33
    8. The Great Schism 4:32
    9. Wild Blue 2:59
    10. Maya 6:52
    11. Traveler There Is No Road 9:52
    12. The Mystic Lamb 5:22

    Dave Douglas - Trumpet
    Seamus Blake - Saxophone
    Chris Speed - Clarinet, Saxophone
    Romero Lubambo - Guitar
    Marc Ribot - Guitar
    Jamie Saft - Keyboards, Loops
    Craig Taborn - Fender Rhodes
    Joey Baron - Drums
    Michael Sarin - Drums
    Karsh Kale - Drums, Tabla
    Ikue Mori - Electronic Percussion

    AMG:
    "Dave Douglas mixes jazz and electronics on 2003's Freak In, but no one need worry that he has ventured into the world of rigid, synthetic beats and machine-precise loops. The music here is far more organic than robotic, despite the nearly constant presence of electronic effects; an undercurrent of burbling, sparkling, buzzing, and sometimes spacy sounds that occasionally swoosh forward in the mix to challenge the more conventional sonics of trumpet, sax, guitar, keyboards, bass, and drums/percussion. The album opens strongly with its title track, featuring a punchy and memorable theme, tabla-driven vamp, and hyper-swinging episodes, peppered throughout with fiery solos and wild effects. 'Eastern Parkway' and 'Traveler There Is No Road' are two more hot-wired numbers, the former with an insistent rhythm and rockish chords churning away beneath Douglas' energized lines, unleashed in a flurry and then puncturing the air with a pair of emphatic stabs; the latter alternates between sometimes lyrical, sometimes playful interaction and a full-on fusion theme suggesting Weather Report updated for the 21st century. There are moments of understated beauty as well, such as the evocative 'November,' with its lovely melody, balladic tempo, and swelling synth strings that could've been a tad syrupy in someone else's hands. A number of Freak In's musicians are veterans of other Douglas projects and all are strong performers, yet the album is less a 'band' effort than the trumpeter's previous efforts. Rather, computer-based manipulations shaped the sound of Freak In (with able assistance from associate producer Jamie Saft), enabling Douglas to vary the sound palette from piece to piece more than if one of his ongoing groups had set up in the studio and recorded an entire CD's worth of material live. As both player and sole composer, Douglas stands as the unifying force, free to approach the full possibilities of each tune individually, but not at the expense of the overall album's coherence. Quite literally crackling with energy and dense with ideas from the first to the hidden 12th track, Freak In is one of the strongest CDs of his extraordinary career."



    Freak In

    or

    Freak In


    0 0


    1. Istina Masina 4:40
    2. Pjesma No. 3 5:54
    3. Hegedupa Upa 4:57
    4. Kralj Alkohol 7:22
    5. Za Koji Zivot Treba Da Se Rodim 10:05
    6. Reci Eiganko, Sto Mi U Dlanu Pise 6:12
    7. Makedonija 4:55
    8. Za Koji Zivot Treba Da Se Rodim 13:07
    9. Reci Eiganko, Sto Mi U Dlanu Pise 9:21

    Dado Topic - vocals
    Vedran Bozic - guitar, vocals
    Tihomir Pop Asanovic - Hammond organ
    Brane Lambert Zivkovic - piano, flute
    Mario Mavrin - bass
    Ratko Divjak - drums

    Wiki:
    "Time was a rock band from Yugoslavia that was formed in 1971 by Dado Topić (vocals) after leaving his previous band Korni Grupa. The original lineup consisted of, in addition to Topić, Tihomir Pop Asanović (organ), Vedran Božić (guitar), Mario Mavrin (bass), Ratko Divjak (drums) and Brane Lambert Živković (piano and flute). Time frequently changed lineup and after three albums and many tours disbanded in late 1977 and Dado Topić started his solo career. In 1998 and 2001, Time reunited to play a limited number of live concerts. Now they still play together as a rock trio.
    Time played a style of progressive rock with some jazz influences, perhaps similar to musical notions expressed by King Crimson, Genesis or Steely Dan. The first album has a prominent Hammond organ, piano and flute. 'Time II' has a harder sound and includes several ballads. The third album may be considered to have a jazz-funk production style. The most popular songs were 'Da li znaš da te volim', 'Rock 'n' roll u Beogradu', 'Istina mašina' and others."



    Vrijeme

    or

    Vrijeme


    0 0


    1. Milonga Is Coming 12:06
    2. Vibraphonissimo 6:25
    3. Little Italy 1930 8:48
    4. Nuevo Tango 5:39
    5. Laura's Dream 11:56
    6. Operation Tango 9:55
    7. La Muerta del Angel 4:02

    Astor Piazzolla - Bandoneon
    Gary Burton - Vibraphone
    Fernando Suárez Paz - Violin
    Horacio Malvicino - Guitar
    Pablo Ziegler - Piano
    Hector Console - Bass

    AMG:
    "Recorded at the Montreux Festival of 1986, The New Tango is an album of collaboration between the undisputed leader of the nuevo tango movement, Astor Piazzolla, and American vibe master Gary Burton. All of the pieces on the album were written by Piazzolla over the course of some 40 years of work, along with one special composition, 'Vibraphonissimo,' written expressly for Burton's usage. Surprisingly enough - given the virtuosity and coherence that one receives on the album - there were a mere three rehearsals prior to the recorded performance. As the listener finds out, the vibraphone is perfectly suited to the tango; or at the very least, that Gary Burton is fully capable of the job. As with all of Piazzolla's albums, the chances of disappointment are quite slim, with a special amount of attention given here to details by all musicians involved. Any fan of the nuevo tango or Piazzolla will be pleased as usual. Fans of Gary Burton or jazz vibes may find the album surprisingly good as it shows the versatility of the vibraphonist. As Fernando Gonzalez once said, 'this music knows many dialects. And listens. There are no lines drawn and no sides to defend. This is new tango."



    The New Tango

    or

    The New Tango


    0 0


    1. Want to Buy Some Illusions 2:50
    2. Ich Bin Die Fesche Lola (They Call Me Naughty Lola) 2:37
    3. Les Feuilles Mortes 5:16
    4. Padam 5:35
    5. Elle Fréquentait la Rue Pigalle 5:39
    6. Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt (Falling in Love Agai) 6:05
    7. Black Market 4:06
    8. T'Es Beau, Tu Sais 4:50
    9. Jonny, Ween du Geburtstag Hast 4:25
    10. L' Accordéoniste 4:51
    11. 'Round Midnight 6:06
    12. La Vie en Rose 3:10
    13. Non, Je Ne Regrette Rien 4:22
    14. Want to Buy Some Illusions 3:18

    Ute Lemper - Vocals
    Bruno Fontaine - Conductor, Keyboards
    Patrick Bourgoin - Sax (Tenor)
    Pierre Holassian - Sax (Alto)
    Thierry Caens - Piccolo Trumpet
    Jean-Jacques Justafre - French Horn
    Gilbert Audin - Bassoon
    Alain Kouznetzoff - Violin
    Slim Pezin - Guitar
    Juan José Mosalini - Bandoneon
    Marcel Azzola - Accordion
    Serge Perathoner - Synthesizer
    Jannick Top - Bass
    Yves Sanna - Drums
    Marc Chantereau - Percussion

    AMG:
    "ILLUSIONS is one of Ute Lemper's purest artistic statements. Like the similar UTE LEMPER SINGS KURT WEILL, this album is a tribute, this time to two of her clearest influences, Marlene Dietrich and Edith Piaf. Though Lemper doesn't actually sound much like either singer (her voice is far more robust than Piaf's, and more expressive than Dietrich's), she finds the emotion at the heart of 'Non, Je Ne Regrette Rien,' and similarly has Dietrich's cool delivery down, giving a different twist to songs like 'Jonny, Wenn Du Gerburtstag Hast.'
    The arrangements, for orchestra and small combo, are excellent, and Lemper is in typically superb voice throughout. Fans of the singer's Broadway work or her pop album PUNISHING KISS will find this an intriguing celebration of her musical roots."



    Illusions

    or

    Illusions


    0 0


    1. Hook up and Get Down 3:27
    2. It's Forever 7:21
    3. Life in the Country 6:19
    4. Sexy Ways 3:10
    5. I'm So Glad I'm Me 3:05
    6. I'll Try 6:14
    7. Nation Time 5:01
    8. I Believe 4:33
    9. You're the Reason Why 3:08

    Jenny Holmes
    David Beasley
    James Tuten
    Clarence Vaughan

    AMG:
    "Even though their vocal ability was as good as many, if not supreme, this Camden, NJ-based vocal quartet did not threaten the chart action of any of their competitors. This album is, however, home to the Ebonys' most popular single, 'It's Forever.' With its serene intro, the foursome harmonize their way to the verse where the lead vocals, both baritone and falsetto, bring enhancing deliveries to an already outstanding track. The single peaked at number 14 on the R&B charts after 13 weeks. The second single was 'I Believe.' Originally a pop hit for Frankie Laine in 1953, the Ebonys' version retains some of that pop texture. However, the group's vocal explosiveness leaves a lasting R&B impression. After 13 weeks, the song reached number 34 on the charts. 'Life in the Country' was the third single - a moderately paced ballad reminiscent of early Stylistics, who were emerging around the same time this album was released. While this album is balanced with moderate grooves, the aforementioned ballads, and the unreleased 'I'll Try,' stand out. The production work of Kenneth Gamble, Leon Huff and their colleagues is outstanding."



    The Ebonys

    or

    The Ebonys


    0 0


    1. Ionisation, for 13 percussionists 5:59
    2. Amériques, for orchestra 24:13
    3. Density 21.5, for flute solo 4:11

    Offrandes, for soprano & chamber orchestra
    4. Chanson de là-haut 3:12
    5. La Croix du Sud 3:27
    6. Arcana, for orchestra 18:43

    Octandre, for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and double bass
    7. Assez lent 2:32
    8. Très vif et nerveux 1:43
    9. Grave 2:23

    10. Intégrales, for 11 winds & 4 percussionists 10:35

    Lawrence Beauregard - Flute
    Rachel Yakar - Soprano (Vocal)
    Ensemble InterContemporain
    New York Philharmonic
    Pierre Boulez - Conductor

    AMG:
    "Pierre Boulez's insightful interpretations of Varèse's music were important additions to a once meager catalog of recordings. The 1977 release of Ionisation, Arcana, and Amériques came as a revelation and redressed the false impressions other wooden and inept performances had left of these pieces. Boulez's recordings have vivid details, room for the music to breathe, and disciplined organization in which nothing is obscured. Of the works performed by the New York Philharmonic, Arcana is transparent and brutally direct, and Amériques is rich and filled with foreboding. Ionisation is spacious and reverberant, with all of the rhythmic details placed in high relief. The 1984 recordings by the Ensemble InterContemporain continue Boulez's reassessment of Varèse's oeuvre. Octandre is played with a degree of playfulness rarely found in other performances. The marvelous sonorities of Offrandes are well-suited to the texts' surrealist imagery, and Rachel Yakar's singing is light and unpretentious. Intégrales, with its fanfares and crystalline chords clearly outlined, is austere and powerful. Flutist Lawrence Beauregard's performance of Density 21.5 is fine, though it is possibly the only track to offer no surprises. The disc's 20-bit enhancement improves the sound of the three ADD tracks, and the remaining all-digital recordings are free of blemishes."



    Arcana/Ameriques/Ionization/Offrandes/Density 21.5/Octandre/Integrales

    or

    Arcana/Ameriques/Ionization/Offrandes/Density 21.5/Octandre/Integrales


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