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FreeFall - LiveJournal.com

older | 1 | .... | 26 | 27 | (Page 28) | 29 | 30 | .... | 57 | newer

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    1. Roy's Toy 2:59
    2. Psycho Sam 4:18
    3. Big Block 4:27
    4. Freeway Jam 4:46
    5. Brush with the Blues 4:33
    6. Scatterbrain 3:41
    7. Goodbye Pork Pie Hat 4:07
    8. Nadia 3:39
    9. Savoy 3:37
    10. Angel (Footsteps) 4:09
    11. Seasons 3:08
    12. Where Were You 2:25
    13. You Never Know 3:46
    14. A Day in the Life 5:08
    15. People Get Ready 4:28
    16. My Thing 4:56

    Jeff Beck - Guitar
    Tony Hymas - Keyboards
    Terry Bozzio - Drums

    AMG:
    "Recorded live at the B.B. King Blues Club & Grill in New York City on September 10, 2003, this stirring set features guitarist Jeff Beck, backed by drummer Terry Bozzio and keyboardist Tony Hymas, spinning out solid and often hauntingly beautiful instrumental versions of an eclectic array of songs, including wonderful takes on Charles Mingus''Goodbye Pork Pie Hat,' the Beatles''A Day in the Life,' and the Impressions''People Get Ready,' among other gems."



    Live At BB King Blues Club

    or

    Live At BB King Blues Club


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    1. Snow Scene 8:35
    2. Belle Touche 5:24
    3. There's Always Time 10:29
    4. Minor Infractions 5:39
    5. Friends 6:40
    6. NYC 7:01
    7. Skating in Central Park 8:21
    8. Golf Swing 6:12

    Joe Beck - Guitar
    Michael Brecker - Sax (Tenor)
    Don Grolnick - Piano
    Mark Egan - Bass
    Jay Leonhart - Bass
    Steve Gadd - Drums

    AMG:
    "Studio and session guitarist Joe Beck was well known for hits when backing vocalist Esther Phillips on Kudu in the '70s, although his session credentials over the years also included the likes of Miles Davis, James Brown, Paul Simon, Frank Sinatra, and Gil Evans. During the '80s he made a series of competent fusion and pop-jazz recordings for DMP and had a big hit recording with Dave Sanborn on CTI in 1975. His career continued into the '90s and beyond with albums like 1991's Relaxin', 1997's Alto, and his 2000 collaboration with Jimmy Bruno, Polarity. Beck was active throughout most of the new millennium’s first decade with recordings on a variety of labels, including a number of CDs on Whaling City Sound, such as 2002's Just Friends, 2007's Tri07, 2008's Coincidence (a duo recording with John Abercrombie), and 2009's Golden Earrings. The latter album, featuring Beck and singer Laura Theodore performing music made famous by singer Peggy Lee, proved to be Beck’s final recording - the guitarist was diagnosed with lung cancer soon after work on Golden Earrings had been completed and died from complications of the disease in July 2008 at age 62."



    Friends

    or

    Friends


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    1 Tell Him
    2 Angel Face
    3 Shout It Out
    4 Sea Cruise
    5 All I Have to Do Is Dream
    6 Rock On
    7 Just for You
    8 Twisting the Night Away
    9 Baby I Don't Care
    10 Sealed With a Kiss
    11 I'm Celebrating
    12 Gimme Some Lovin'
    13 Angel Face (Reprise)
    14. You Wouldn't Leave Me Would You?
    15. You Know You Should Be Glad
    16. Ring Around

    Harvey Ellison - Saxophone
    Gerry Sheppard - Guitar, Vocals
    Peter Phipps - Keyboards, Drums
    John Springate - Bass, Vocals
    Tony Leonard - Drums

    AMG:
    "The Glitter Band's first album included both of their initial brace of British hits: 'Angel Face' and 'Just for You.' The remaining tracks are split between band originals, a version of the Gary Glitter/Mike Leander song 'Rock On,' and covers of oldies like 'Sealed With a Kiss,''Sea Cruise,''All I Have to Do Is Dream,' and 'Gimme Some Loving.' Similarity to Gary Glitter's records was ensured by using the same producer, Mike Leander, and the album sounds rather like Gary Glitter with more normal, less-mannered vocals. For that reason it might be less interesting than Gary Glitter. It's still similar to Glitter's glam pop sound, built around football stomp beats, elementary fuzz guitar riffs, and retro '50s-like song structures. On 'Angel Face' they even got more mileage out of the 'hey!' chants that had anchored Glitter's 'Rock and Roll Part 2.' The covers are forgettable, though the originals might be valued by glam fans. The 2001 CD reissue on 7T's adds three bonus tracks: 'You Wouldn't Leave Me Would You' (the B-side of 'Angel Face') and the demos 'You Know You Should Be Glad' and 'Ring Around'."



    Hey!

    or

    Hey!


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    1. Elongate 11:48
    2. Hongkong Fu 13:43
    3. Weed Song 9:27
    4. Steps Of M.C. Escher 11:42
    5. Danke, Hut Ab! 17:58

    1. Two Is Company...8:38
    2. Wheat Song 11:17
    3. Trans Tanz 9:35
    4. Rip Off 11:22

    Albert Mangelsdorff - Trombone
    Wolfgang Dauner - Piano
    Christof Lauer - Saxophone
    Dieter Ilg - Bass
    Wolfgang Haffner - Drums

    AMG:
    "Trombonist Albert Mangelsdorff pioneered the art of jazz polyphonics, introducing to the avant-garde the symphonic tradition of playing multiple notes simultaneously. Born in Frankfurt, Germany, on September 5, 1928, Mangelsdorff grew up enthralled by jazz, devouring his older brother Emil's record collection. His uncle, a professional violinist, gave him music lessons as a teen, but the rise of the Third Reich forced him to keep his passion for jazz in check. Over time Mangelsdorff taught himself guitar, but following World War II he managed to acquire a used trombone in exchange for cigarettes - he often played for audiences comprised of the American soldiers who remained stationed overseas, finally performing to crowds who shared his appreciation for jazz. Word of Mangelsdorff's prowess on the trombone soon reached his fellow musicians, and in 1952 he made his recording debut in support of saxophonist Hans Koller. He also worked in small groups and with the Dance Hesse Radio Orchestra throughout the decade, and in 1958 was selected to serve as the German representative for the Newport Jazz Festival International Band, an opportunity that resulted in collaborations with U.S. giants like Gerry Mulligan and Louis Armstrong.
    Upon returning to Germany, Mangelsdorff inaugurated a prolific recording period that included collaborations with sibling Emil, Modern Jazz Quartet pianist John Lewis (the 1962 Atlantic LP Animal Dance), and his own quintet featuring his longtime associate, saxophonist Heinz Sauer. As the decade continued, Mangelsdorff moved increasingly into the realm of free jazz, culminating in his first unaccompanied solo performance at the Munich Olympic Games in 1972. He made solo trombone - a heretofore unknown concept in jazz - a reality via multiphonics, the physically and technically demanding simultaneous blowing and singing of notes into his horn; the method opened vast new dimensions like harmonies and chords, and over the years Mangelsdorff also incorporated modal improvising and even rock & roll elements into the equation. In 1980, the American magazine Down Beat named him the world's best trombonist - from there, he worked with the NDR Big Band, the Manfred Schoof-led Old Friends, and the United Jazz + Rock Ensemble, and in 2003 celebrated his 75th birthday with an all-star celebration at Frankfurt's Die Alte Oper. Mangelsdorff died on July 25, 2005.

    An intriguing composer and ambitious pianist, German musician Wolfgang Dauner has combined jazz, rock, electronic music, and elements of opera and theater in creating broad-based, ranging works. While at times these compositions may seem too far-reaching, Dauner's best work shows the links between idioms and genres and offers provocative musical and cultural concepts. He studied trumpet, piano, and composition at the Musikhochschule in Stuttgart, then joined Joki Freund's sextet in the early '60s. Dauner appeared at several German festivals, then made his recording debut heading a trio in 1964. It was one of the first European free jazz recording sessions. Dauner led Radio Jazz Group Stuttgart and wrote compositions for them in 1969. He formed the jazz-rock band Et Cetera in 1970, then, with Hans Koller, co-led the Free Sound & Super Brass Big Band. He helped organize The United Jazz And Rock Ensemble in 1975, and began featuring theater, opera, and dance segments along with his performances in '70s and '80s concerts. Dauner's composed music for films, radio, and television broadcasts, and a children's opera. He's recorded for Mood, Columbia, MPS, and ECM, among others, and he has a number of sessions available on CD."



    Two Is Company/Hut Ab

    or

    Two Is Company/Hut Ab


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    1. A Beira Do Fim 11:01
    2. Aventuras De Um Dragao Num Aquario 2:09
    3. Misterios E Maravilhas 6:19
    4. Maquina Da Felicidade 13:39
    5. Variacoes Sobre Uma Galaxia 1:24
    6. Partir Sempre 9:29

    Manuel Cardoso - guitar
    Armando Gama - keyboards
    Americo Luis - bass
    To Ze Almeida - drums

    progarchives:
    "Despite a standard line-up (keyboards, guitar-vocals, bass & drums-percussions), Tantra played elaborated and beautifully built and arranged Progressive songs in Portuguese, which figured at the same creative level as the best English composers (Yes, Gentle Giant, Camel...) but with a distinct character. This is a full symphonic sounding band with very good musicianship. The music combines intricate ensemble parts with energetic soloing. The vocals contain an astonishing lyricism, the musical constructions and combinations are complex and inventive, the sounds are originals and the melodies beautifully made.
    ‘Misterios E Maravilhas’ (1978) &‘Holocausto’ (1979) are two landmarks in Progressive rock, the latter being slightly influenced by The Mahavishnu Orchestra's Progressive jazz-rock. ‘Terra’ is a new chance for this old 70´s prog group and i think the new millenium goes for a trip on... Great songs, delicate lyrics and a superb guitar voyager."



    Mistérios e Maravilhas

    or

    Mistérios e Maravilhas


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    1. Osmosis 03:46
    2. Don't Bug Me, Hug Me 04:00
    3. Flute to Boot 03:42
    4. Cat Walk 06:15
    5. Johnson's Whacks 04:00
    6. The Desert Song 02:31
    7. Blues for the Camels 03:49
    8. I Don't Want to Cry Anymore 02:41
    9. Osie's Oasis 04:35
    10. Jumpin' at the Water Hole 04:06
    11. Midnight Mirage 02:58

    Ernie Wilkins – Alto Saxophone (6,9,11)
    Frank Wess – Tenor Saxophone, Flute
    Charlie Fowlkes – Baritone Saxophone (6,9,11)
    Chiefy Salaam – Trumpet (6,9,11)
    Thad Jones – Trumpet (2,4,6,7,9,10,11)
    Benny Powell – Trombone (1,3,5,7)
    Bill Hughes – Trombone (2,4,10)
    Henry Coker – Trombone (6,8,9,11)
    Dick Katz – Piano (1-5,7,8,10)
    Eddie Jones – Bass (1,3,5,7)
    Milt Hinton – Bass (2,4,8,10)
    Wendell Marshall – Bass (6,9,11)
    Osie Johnson – Drums, Vocals

    AMG:
    "In the 1950s and the first half of the 1960s, Osie Johnson was one of the most in-demand drummers in New York, making a countless number of recordings and working steadily in the studios. He started working professionally in 1941, was with Sabby Lewis' band in Boston (1942-1943), and then was in the military where he played in a Navy band (1944-1945). After five years freelancing in Chicago, Johnson was a member of Earl Hines' band during 1951-1953. Stints with Dorothy Donegan and Illinois Jacquet followed before he became a busy session musician, playing and recording with a who's who of mainstream (including Coleman Hawkins, Dinah Washington, Wes Montgomery, and Sonny Stitt). In addition to contributing tasteful and supportive drums, Osie Johnson was an occasional composer, arranger, and singer, leading sessions for Jazztone (1955) and RCA (1956)."



    The Happy Jazz of Osie Johnson

    or

    The Happy Jazz of Osie Johnson


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    1. The Lovin' Spoonful - Good Time Music 3:09
    2. The Lovin' Spoonful - Almost Grown 1:52
    3. The Paul Butterfield Blues Band - Spoonful 3:04
    4. The Paul Butterfield Blues Band - Off the Wall 2:07
    5. Al Kooper - Can't Keep from Crying Sometimes 4:35
    6. Eric Clapton & The Powerhouse - I Want to Know 2:18
    7. Eric Clapton & The Powerhouse - Crossroads 2:19
    8. The Paul Butterfield Blues Band - Lovin' Cup 2:43
    9. The Paul Butterfield Blues Band - Good Morning Little Schoolgirl 2:24
    10. Eric Clapton & The Powerhouse - Steppin' Out 3:16
    11. Tom Rush - I'm in Love Again 2:07
    12. The Lovin' Spoonful - Don't Bank on It Baby 1:55
    13. The Lovin' Spoonful - Searchin' 3:15
    14. The Paul Butterfield Blues Band - One More Mile 3:31

    AMG:
    "An odd, erratic, but interesting anthology of rare performances recorded by Elektra in the mid-'60s, when the label was just getting its feet wet with rock. Leading the way are the Paul Butterfield Blues Band, whose five tracks are very much in the style of their first LP; the Butterfield original 'Lovin' Cup' is about as good as anything he ever did. Eric Clapton and the Powerhouse are a most interesting aggregation, also featuring Stevie Winwood, Paul Jones, Jack Bruce, and Spencer Davis Group drummer Pete York; their three tracks include early versions of 'Steppin' Out' and 'Crossroads,' which Clapton would record with the Bluesbreakers and Cream, respectively. The Lovin' Spoonful's four tracks date from before reaching stardom with the Kama Sutra label; here they concentrate on blues and early rock & roll-style songs, which frankly don't measure up to their folk-rock. Rare tracks by Tom Rush and Al Kooper (who reworked his contribution 'Can't Keep from Crying Sometimes' with the Blues Project) round out the set."



    What's Shakin'?

    or

    What's Shakin'?


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    1. Dead Indeed
    2. Vilderness 1
    3. Kakonita
    4. Merciful 1
    5. Ligotage
    6. Trip
    7. Vilderness 2
    8. Tragamar
    9. Solid Ether
    10. Merciful 2

    Nils Petter Molvaer - vocals, trumpet, keyboards, bass, percussion, electronics
    Strangefruit - vocals, samples, programming
    Eivind Aarset - guitar, electronics
    Audun Erlien - bass
    Rune Arnesen, Per Lindvall - drums
    Reidar Skar - vocoder
    Sidsel Endresen - vocals

    AMG:
    "Like 1998's Khmer, Solid Ether is an unusual addition to the ECM catalog, reflecting the Norwegian trumpeter's continued fascination with drum'n'bass, jungle, and other underground club genres. Molvaer's work in this idiom is indicative of a new wave sweeping Europe and Scandinavia, where boundaries between jazz and electronica are being creatively blurred by a growing number of forward-thinking artists. (The trend is catching on in the States as well.) Molvaer's trumpet is consistently in the forefront, as is the case in the music of his French contemporary, Erik Truffaz. This will inevitably prompt comparisons with Miles Davis, and Molvaer indeed credits Davis as a major influence in his musical development. The music on this record, however, sounds nothing like Davis ever played nor could have foreseen. (That said, in all likelihood he would have heartily approved.) With its driving beats, spare-to-barren harmonies, and dense atmospherics and samples, Solid Ether breaks completely with traditional notions of jazz performance. Most of its tracks segue directly from one to the next, creating a seamless 'mix' in the style of much experimental dance music. While ten guest artists are credited in addition to Molvaer (including guitarist Eivind Aarset and DJ Strangefruit, aka Paal Nyhus), they don't often play clearly delineated 'parts' or solos. One exception is the two-part 'Merciful,' which pairs Molvaer's piano with the vocals of Sidsel Endresen, bringing Annette Peacock to mind. Not everyone will 'get' this kind of music, and die-hard jazzers might laugh it off as an inconsequential fad. But it's actually a seismic innovation that is just getting started."



    Solid Ether

    or

    Solid Ether


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    1. He Can't Come Today 4:40
    2. Solar Boat 5:58
    3. Downbound Train 5:30
    4. The Golden Scarab 6:42
    5. The Purpose of Existence Is? 6:38
    6. The Moorish Idle 5:38
    7. Choose Up and Choose Off 4:43
    8. O Thou Precious Nectar Filled Form (A Little Fart) 4:57
    9. Whirling Dervish 5:19
    10. I Wake up Screaming 3:34
    11. Bicentennial Blues 7:57

    Ray Manzarek - Kalimba, Keyboards, Vocals
    Patti Smith - Voices
    Flo & Eddie - Vocals
    Ernie Watts - Sax
    John Klemmer - Sax
    Oscar Brashear - Trumpet
    George Segal - Banjo
    Larry Carlton - Guitar
    Mark Pines - Guitar
    Michael Fennelly - Guitar
    Joe Walsh - Guitar
    Jerry Scheff - Bass
    Gary Mallaber - Drums, Percussion, Vibraphone
    Tony Williams - Drums
    Tim Downs - Drums
    Milt Holland - Cowbell, Percussion
    Steve Forman - Bells, Percussion
    Mailto Correa - Bongos, Congas, Percussion
    Paul Davis - Percussion

    AMG:
    "More than Full Circle and Other Voices, The Golden Scarab is the best embodiment of the Doors by one of the three surviving members, and it is amazing it wasn't a huge underground smash. With mentions of moonlight drives, tightrope rides, and titles of past Doors tunes in 'The Solar Boat,' drummer Tony Williams, guitarist Larry Carlton, bassist Jerry Scheff, and producer Bruce Botnick generate an eerie sound behind the singer, creating a title track as mysterious and fun as anything by Morrison and company. With intense rhythms and tons of creativity, Ray Manzarek brings us on a musical journey as unique as The Phantom's Divine Comedy, and if Robbie Krieger brought the commercial element to the Doors' gravy train, it is clear here that the eldest of the quartet had more a hand in the development of the Doors persona than he may have been given credit for. One can't fault Krieger and John Densmore for stretching out with Butts Band, but there is a certain responsibility hit artists should have to their audience. The Bright Midnight releases finally address those concerns, but decades before the opening of the Doors tape vaults, that sound from L.A. Woman was most obvious on 'The Purpose of Existence Is?' on this solo effort. Yes, Ray Manzarek veers off into his jazz leanings; given the players on this, how could he not? But he gives enough of a taste of past glories to make The Golden Scarab accessible, spoon feeding his musical styles to those who couldn't get enough of the music he was associated with. It's dramatic and cohesive, making more sense than Jim Morrison much of the time, with more controlled insanity. It is amazing that such a fine work as The Golden Scarab escaped the masses, and shameful that classic hits stations don't add this to their incessant repertoire. Had Jim Morrison lived, this is the path the music of the Doors should have taken. Smooth and demanding of repeated spins."



    The Golden Scarab

    or

    The Golden Scarab


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    1. Big Apple Jim 7:59
    2. Django 8:39
    3. You'd Be So Nice to Come Home To 5:58
    4. The Sidewinder 8:22
    5. Bed Time Eyes 5:40
    6. Love for Sale 7:44

    George Young - Saxophone
    Lew Soloff - Trumpet
    David Matthews - Piano
    Eddie Gomez - Bass
    Steve Gadd - Drums

    AMG:
    "The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects - and all of the quintet members later became quite successful in their own careers - but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings - among the comparative very few that actually took place in Manhattan! - for the Sweet Basil label. During the new millennium The Manhattan Jazz Quintet have recorded regularly for Video Arts."



    The Sidewinder

    or

    The Sidewinder


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    1. Country Girl 3:16
    2. Spaceship Orion 3:11
    3. If You Wanna Get to Heaven 3:04
    4. Chicken Train 3:37
    5. Colorado Song 5:05
    6. Standin' on the Rock 3:54
    7. Road to Glory 4:55
    8. Black Sky 3:08
    9. Within Without 4:25
    10. Beauty in the River 3:55

    John Dillon - Autoharp, Dulcimer, Fiddle, Guitar, Keyboards, Vocals
    Steve Cash - Harmonica, Harpsichord, Percussion, Vocals
    Randle Chowning - Guitar, Harmonica, Harp, Vocals
    Buddy Brayfield - Keyboards
    Michael Granda - Bass, Percussion, Vocals
    Larry Lee - Drums, Guitar, Keyboards, Percussion, Vocals

    AMG:
    "The Ozark Mountain Daredevils were among the more popular of mid-'70s country-rock outfits, slotting in chronologically and stylistically between the Eagles and Firefall. As exponents of '70s country-rock, the group rode a wave of success for five years on A&M Records and survived in some form into the 1990s, with a following just large enough to justify occasional record releases in their later years.
    The sextet was formed in Missouri during the early '70s, consisting of guitarists John Dillon and Steve Cash, blues harpist/singer/guitarist Randle Chowning, drummer/guitarist/singer Larry Lee, keyboard player Buddy Brayfield, and bassist-vocalist Michael Granda, and was signed to A&M Records in 1973. Their first album, recorded under the supervision of producer Glyn Johns (who had also worked with the Eagles), was a critical success and yielded a Top 30 hit in 'If You Want to Get to Heaven.' A year later, they had the biggest hit in their history, 'Jackie Blue,' a mellow piece of country-rock that got to number three on the charts and still gets played occasionally as a '70s oldie. They had an ethereal edge to their sound and songs that made them especially appealing to college-age listeners during the middle of the decade. Their self-titled debut album set the tone for the group's next four releases, although by 1978's Don't Look Down, the sound was somewhat closer to country-pop than country-rock. Collegiate girls and their boyfriends could relate to them, and a sense of humor didn't hurt (their third LP, The Car Over the Lake Album had cover art featuring - you guessed it - a car over a lake).
    Lee, Dillon (who later played with fellow Daredevil Steve Cash on the Waylon Jennings/Jessi Colter White Mansions concept album), and Chowning authored most of the songs that anyone knows ('Jackie Blue,''Following the Way I Feel,''Fly Away Home'). The group enjoyed success primarily on FM radio from 1973 until 1978, and were popular enough to justify the recording and release of a double-LP concert album - they switched labels to CBS in 1980, losing Lee and Chowning by the end of the decade but picking up Buddy Emmons on steel guitar and Rune Walle on mandolin. The group ceased recording activity in the 1980s, but re-formed and began making records again in the mid-'90s, and there have been some surprising (and very rewarding) archival releases devoted to their work, including early sessions (in which they were at their purest country and bluegrass) and a reunion concert. All of their A&M library has reappeared on CD (some more than once, with upgrades), especially in Europe, and as of 2007 the group was still playing shows to enthusiastic audiences in and around Missouri."



    The Ozark Mountain Daredevils


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    1. Nuevo Espresso 5:53
    2. Loosey Goosey 6:56
    3. Ti Fa Let 3:09
    4. Island 5:05
    5. Diana 3:19
    6. Waterfall Autumn 6:50
    7. Please Don't Bundle Me 7:14
    8. Haru No Tsurara 3:41

    Kazumi Watanabe - Guitar, Keyboards
    David Liebman - Flute (Alto)
    Larry Coryell - Guitar
    Osamu Ishida - Guitar
    Junshi Yamagishi - Guitar
    Mike Mainieri - Vibraphone
    Warren Bernhardt - Piano
    Nobuyoshi Ino - Bass
    Hideo Yamaki - Drums

    AMG:
    "Kazumi Watanabe has for the past 20 years been one of the top guitarists in fusion, a rock-oriented player whose furious power does not mask a creative imagination. Watanabe studied guitar at Tokyo's Yamaha Music School and he was a recording artist while still a teenager. In 1979, he formed the group Kylyn and, in 1983, he put together the Mobo band. Several of his recordings have been made available by Gramavision and they show that he ranks up with Al DiMeola (when he is electrified) and Scott Henderson among the pacesetters in the idiom."


    Dogatana


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    1. Nagyvárosi Ikonok I. 6:00
    2. Nagyvárosi Ikonok II. 4:35
    3. Nagyvárosi Ikonok III. 5:13
    4. Nagyvárosi Ikonok IV. 3:25
    5. Minden Nap 3:27
    6. A Lazarus-ból 1:17
    7. Fekete Hangulat 7:20
    8. Koldus 4:55
    9. Íme, Hát Megleltem Hazámat 4:06
    10. Így Szólt A Madár 5:10
    11. Hajnali Ének 6:13
    12. Alászálla A Poklokra 7:18
    13. Az Utolsó Ikon 4:34

    Vedres Csaba - Piano, Synthesizer, Vocals
    Gál Béla – Cello, Synthesizer
    Ács Péter – Bass
    Baross Gábor – Drums
    +
    Fogolyán Kristóf – Flute
    Préda László - Trumpet
    Makovecz Pál - Trombone
    ChildrenChorus: (13)
    Juhász Anita
    Kerek Erzsébet
    Kiss Anikó
    Kósa Sándor
    Remetei László
    Willner Miklós
    Őri István
    Chorus Master – Árkyné Göncz Irén

    vedrescsaba.uw.hu:
    "The roots of the birth of Townscream date back to my solo concerts given at FMH (a community centre in Budapest), 1995. In these concerts, double bass and drums were often employed in pieces like 'Tales of a dark room' or 'Mire megvirrad' (By the break of dawn). I asked Baross Gábor – with whom I played in many of my former bands – to play the drums, and we have had worked with several bassist until we found Ács Péter. Then, we arranged many of my earlier pieces. By the time we were able to play many pieces as a trio, the idea of adding an additional instrument to enrich the sound arose. It was Ács Péter who recommended Gál Béla cellist who also played the piano quite well and had also a synth. We started to rehearse together, and by the end of 1996 we had our name. Finally, we elaborated our first two-part program. We also needed my solo pieces to incorporate into the program, since at the beginning, Townscream was built into my solo concert series.
    Thus, we thus formed our band around the December of 1995, but we played for the first time under the name of Townscream in the December of 1996. Our soundman was Egervári Gábor who wrote also the lyrics of our songs. Our music is perhaps the closest to progressive rock, with a classical-music flavour added by the two string instruments. In the beginning of 1997, we had some concerts and then, our first – and so far, only – CD, Nagyvárosi ikonok was released. (We plan to release another CD with the title 'Zsoldosok', the material of which is built up of live and studio-like recordings, but the band has not yet succeeded to agree in the program of the CD.) In the second half of 1997 we had relatively few concerts. Then, from the autumn of 1998, our concerts were hosted by Lágymányosi Közösségi Ház (a community centre in Budapest), where we played once a month, but in spite of the success and the growing attendance of our concerts, this possibility lasted for three occasions only.
    In the summer of 1998, I got a new impact from techno. Of course, Townscream did not turn into a techno band, but I found novel musical tools of expression in the fragmentary, repetitive sound of techno, which were then incorporated into our music, shifting away from the progressive style. (Some of these pieces can be heard on the CD Ephata I. in different arrangements.)
    We had two concerts in the spring of 1999 at FMH, but the increasing difficulties with the organisation of rehearsals and concerts gradually consumed up our energies, and in the autumn of 1999, when I moved with my family to the city of Pécs, Townscream practically disbanded."



    Nagyvarosi Ikonok


    0 0


    1. Dog Trot, for saxophone ensemble & percussion 2:27
    2. Paris, for chorus, saxophones & percussion 3:27
    3. Lament 1 ("Bird's Lament") 2:03
    4. Sandalwood, for saxophone ensemble & drum 2:10

    Tout Suite No. 1 for saxophone ensemble & drum in F major
    5. 1. Mov. 3:01
    6. 2. Mov. 3:13
    7. 3. Mov. 2:52
    8. D for Danny, for saxophone ensemble, double bass & drum 1:42
    9. New Amsterdam, for chorus, saxophone ensemble, piano & percussion 6:25
    10. To a Sea Horse, solo 1:17
    11. Fiesta, for piano 1:36

    Novette No. 1 for saxophone ensemble & drums in D flat major
    12. 1. Mov. 1:40
    13. 2. Mov. 2:01
    14. 3. Mov. 1:42
    15. Single Foot, for 4 saxophones & percussion 1:52
    16. Mother's Whistler, for saxophone quintet 2:15
    17. Present for the Prez., for tenor saxophone, saxophone ensemble, pianos & percussion 2:35
    18. Shakespeare City, for chorus & saxophone ensemble 4:05

    EEC Suite, for saxophone ensemble
    19. Golden Fleece 3:00
    20. Hymn to Peace 1:36
    21. EEC Lied 2:53

    Moondog - Keyboards, Percussion, Vocals
    Peter Hammill - Vocals
    Gareth Brady - Vocals
    Chris Caldwell - Vocals
    Graham Cole - Vocals
    Andrew Davis - Vocals
    Stuart Gordon - Vocals
    Bradley Grant - Vocals
    Bernd Kowalzik - Vocals
    Alun Thomas - Vocals
    Tim Redpath - Sax (Soprano)
    Andrew Scott - Sax (Baritone), Sax (Tenor), Vocals
    Andy Scott - Sax (Tenor), Vocals
    Rob Buckland - Sax (Alto), Vocals
    Simon Haram - Sax (Alto), Sax (Soprano), Vocals
    Charles Caldwell - Sax (Baritone)
    Jon Rebbeck - Sax (Baritone), Vocals
    Will Gregory - Sax (Bass), Vocals
    Nicola Meecham - Piano
    Danny Thompson - Double Bass
    Louis Hardin - Bongos, Drums (Bass), Percussion, Vocals
    Christopher Wells - Drums (Snare), Timpani
    Paul Clarvis - Drums (Snare), Vocals

    AMG:
    "As the name implies, this album consists of pieces composed with the saxophone in mind. Nine saxophonists in all (from the London Saxophonic) pitch in on the disc, which also features some piano, folk-rock vet Danny Thompson on contra bass, several percussionists, piano, and occasional ensemble vocals; Moondog himself contributes bass drum, bongos, and (as a member of the ensemble) vocals throughout. In its swaying (at times even sing-along) melodicism, intricate arrangements, and light bounce, it's strongly reminiscent of his excellent 1969 Moondog album; in fact, 'Bird's Lament' makes an appearance on both records. This is more enjoyable, toe-tapping, and life-affirming than most any other jazz or avant-garde music around in the 1990s, demonstrating that Moondog's talents remain undimmed in his eighties; it's impossible to hear the ebullient choral vocals on 'Paris' without smiling."



    Sax Pax For A Sax


    0 0


    1. It Came on a Sunday 4:18
    2. Mrs. Cooper's Pie 3:21
    3. Ladybird 3:47
    4. Aries 8:09
    5. Bogeyman 3:44
    6. Shadow of a Man 3:52
    7. Tasker's Successor 3:43
    8. Hill of Dreams 3:06
    9. Virginia Waters 5:57
    10. Child on a Crossing 3:32
    11. Lucier Corpus 5:47

    Linnie Patterson - vocals
    Willy Finlayson - guitar, vocals
    Alby Greenhalg - wind instruments
    Billy T. Scott - keyboards
    Jake Scott - bass, vocals
    Jimmy Hush - drums

    AMG:
    "Writing on the Wall's only album was theatrical heavy blues-psychedelic-rock that, despite its power and menace, was too obviously derivative of better and more original artists to qualify as a notable work. The organ-guitar blends owe much to the Doors, Procol Harum, and Traffic, though the attitude is somehow more sour and ominous than any of those groups. The vocals are sometimes pretty blatant in their homages to Arthur Brown, particularly when Linnie Paterson climbs to a histrionic scream; Jim Morrison, Gary Brooker, and Stevie Winwood obviously left their imprints on him too. Throw in some of the portentous drama from the narrations to the Elektra astrological concept album The Zodiac: Cosmic Sounds (particularly on 'Aries') as well. A problem is, however, that not many singers other than Morrison and Brown could pull off this kind of solemn poetic mood, and on 'Aries,' to take one example, the attempt to create a seance-like atmosphere seems faintly ridiculous. To look at the positives, the band does play with a soul-rock crunch; the songs sometimes shift tempo (occasionally in and out of martial beats) and melody unpredictably, if not nearly as memorably as, say, the Crazy World of Arthur Brown did; and there are occasional off-the-wall touches of accordion and, on 'Virginia Waters,' speaking-in-tongues vocals with a nod to Family's Roger Chapman."



    The Power Of The Picts

    or

    The Power Of The Picts


    0 0


    1. 0274 (7:41)
    2. The Sixteen Men Of Tain (6:23)
    3. Above And Below (3:05)
    4. The Drums Were Yellow (5:55)
    5. Texas (5:41)
    6. Downside Up (7:03)
    7. Eidolon (4:33)
    8. Above And Below (Reprise) (4:06)

    Allan Holdsworth - guitar, synthaxe
    Dave Carpenter - bass
    Gary Novak - drums
    Walt Fowler - trumpet (1, 5)
    Chad Wackerman - drums (6)

    AMG:
    "Coming on the heels of some rather mediocre efforts, The Sixteen Men of Tain is startlingly superb. Holdsworth has stripped away the distracting banks of keyboards and allowed his soaring, gliding guitar to shine through in a way it hasn't since the 1980s. Even the Synthaxe, Holdsworth's signature guitar synthesizer, sounds organic and immediate, not to mention far less prevalent than on previous albums. Dave Carpenter's acoustic bass is a radical departure (check out his solo on the title track), as are Walt Fowler's two guest appearances on trumpet. 'The Drums Were Yellow,' a burning guitar/drum duet tribute to the late Tony Williams, is also a first. Gary Novak's drumming is appropriately complex and riveting on this and six other tracks. (Holdsworth's old compatriot Chad Wackerman sits in for 'Downside Up.') In short, this album is full of fresh ideas and unadulterated improvisational brilliance - just when it was beginning to seem that Holdsworth's best work was behind him."



    The Sixteen Men Of Tain

    or

    The Sixteen Men Of Tain


    0 0


    1. Épisode 6:02
    2. Hypercontraste 5:30
    3. Bonbon Très Sucré 7:39
    4. Vodka Frappée 6:51
    5. Océan 21:55

    Jean-Jacques Toussaint - synthesizer, piano, contra-bass
    Remy Chauvidan - acoustic & electric guitars
    Eric Delaunay - vibraphone, drums, bongo

    progarchives:
    "Tiemko is a purely instrumental band on both first albums which unites its Progressive rock and new musics influences to create an original music where the guitar and keyboards are sucessively high-lightened. The music is fully orchestrated with thick keyboards that create a very dense sound. This band is instrumental prog rock in the vein of bands like Yes, Gentle Giant and King Crimson."


    Océan

    or

    Océan


    0 0


    1. Freedom Suite - Part I
    2. What A Snowy Spring
    3. So What
    4. Composition On The Theme Of A Jewish Song
    5. Morning Samba
    6. 'Round Midnight
    7. Biset-Carmen
    8. Three Blues Portraits Of Miles Davis, John Coltrane & Dizzy Gillespie
    9. Composition On The Theme Of A Whiterussian Song
    10. The Man I Love
    11. Sweet Georgia Brown

    German Lukianov - Trumpet, Flugelhorn, Piano, Zug-Flute
    Vadim Ahmetgareev - Trombone, Tuba, Percussion
    Andrey Bodnarchuk - Guitar
    Yuri Yurenkov - Alto Sax, Flute, Piccolo Flute (1-6)
    Fiodor Levinstein - Violin, Alto-Violin (1-6)
    Anatoly Sobolev - Double Bass (1-3)
    Oleg Dobronravov - Bass Guitar (4-6)
    Stanislav Korostelev - Drums, Percussion (1-6)
    Stanislav Grigoriev - Tenor Sax (7-11)
    Valery Kiselev - Alto Sax, Clarinet (7-11)
    Boris Kartovitskiy - Double Bass (7-11)
    Vano Avaliani - Drums (7-11)

    Russian Jazz Notes:
    "Herman, primarily a composer, arranger, and music thinker, was one of the leading forces in Russian jazz in the 1960s, when he studied composition at the Moscow State Conservatory with none other than Aram Khachaturian, and played trumpet in jazz bands of the era; he kept his leading positions in the 1970s when he switched to flugelhorn; he led his Kadans (Russian abbreviation for Chamber Jazz Ensemble, and, by a coincidence - Herman is fond of such coincedences! - an obsolete old Russian word for both cadence and cadenza) thoroughout the 1980s and was the first Russian jazz musician to perform at the famous North Sea Jazz festival in the Netherlands; after a decade of relative oscurity in the 1990s he reinvented his Kadans (first under the title of Kadans Millenium, after which he reverted to the old two-syllable name) in 2000 and continues to work hard ever since, now on a rarest of his horns - the massive, low-pitched tenor horn, which he assembled by his own hands using an old trombone bell and an unusial mouthpiece of Herman's own design and production. Everybody in his current band is at least twice his junior, and all of them, diametrally differently aspired as they are, share respect and passion for Lukianov's tricky, tight, driving music, which often sounds modernistic and vintage at the same time."



    Kadans 2

    or

    Kadans 2


    0 0


    1. Radial Liftoff Music for Amelia Earhart 17:04
    2. Islanded in a Stream of Stars 19:24
    3. Six Night Sunrise (Music of Barges & Metallic Stars 8:26
    4. Lighthouse (Refugee Music by a Pacific Expatriate) 11:42

    Sabrina Tabby - Violin
    Mayumi Tscuchida - Piano
    Contemporaneous

    Wiki:
    "Dylan Mattingly, born March 18, 1991 in Oakland, California is an American composer, conductor, cellist, pianist, bassist, guitarist, and singer from Berkeley, California. His music draws from a diverse range of styles and musicians, and he himself says that he 'is influenced alike by John Coolidge Adams, Olivier Messiaen, Magnus Lindberg, Joni Mitchell, and the old American blues and folk field recordings of the Lomaxes.' Mattingly was the co-director of Formerly Known as Classical for two years youth-run new music organization which played only music written within their lifetimes, and is currently the co-director of Contemporaneous, a youth-run new music ensemble based in the Hudson Valley of New York.
    On September 24, 2011, Contemporaneous presented the world premiere of Mattingly's Atlas of Somewhere on the Way to Howland Island, a forty-minute work for chamber orchestra inspired by Amelia Earhart's final journey, and about which he writes 'Atlas of Somewhere on the Way to Howland Island is for all those voyagers between horizons; for those—past and present—who have flown into storms, for those floating dreamscapes out beyond the curvature of the sunrise, for those that reach escape velocity, for when even your endless arms can’t rearrange the constellations'.
    Sarah Cahill, a consistent advocate of Mattingly's work, and who performed his solo piano piece Night 3 at the Other Minds New Music Séance 2008 says of Mattingly, 'Dylan is inspired by a diverse range of music including the blues, Bob Dylan, jazz, and the improv music that he himself performs. With many composers, it’s an awkward fusion of classical and pop music, but Dylan makes it work. You get the sense he approaches these disparate idioms from the inside rather than from the outside'. Recently, Mattingly's work for large orchestra Homeward Angel (Music for a Soundtrack to Clouds) was premiered by the Symphony Parnassus under the direction of Stephen Paulson. The work was called 'a fascinating mix of postminimalistic, trance-music tinged, John Adamsesque, very 'new' and easily accessible music — so boldly and creatively eclectic that it appears entirely original...' by the San Francisco Classical Voice. Mattingly currently attends the Bard College Conservatory of Music, where he studies with George Tsontakis, Joan Tower, and Kyle Gann. Mattingly is also a member of the multi-instrumental free-jam folk trio Ghosts of Electricity, based in Berkeley, California.
    Mattingly has also previously studied composition with Katrina Wreede, Yiorgos Vassilandonakis,and David Tcimpidis, and conducting with David Ramadanoff & Nathan Madsen. He is a singer and guitarist with the Bay Area funk/blues band, Funky Bus & the U-Turns, and a member of the inprov string quartet, the Superdelegates.
    Mattingly is also a pitcher, painter, and a playwright."



    Stream Of Stars

    or

    Stream Of Stars


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