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FreeFall -

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    1. Miserere 34:34
    2. Festina Lente 5:24
    3. Sarah Was Ninety Years Old 25:28

    Beethovenhalle Orchestra - Orchestra
    Dennis Russell Davies - Conductor
    Hilliard Ensemble
    Paul Hillier - Conductor

    "This recording shows a different side of Arvo Pärt's compositional work. The title composition has unusual instrumentation: winds and brass, choir and soloists, electric guitar, and bass guitar. The lyrics come slowly, one word per bar at a near pppp volume level. The text comes from Psalm 51, David's 'Have Mercy on Me' psalm, before bursting like an apocalyptic fire into the classic 'Dies Irae,' a tremendous assault of holy terror best listened to in the dark by the fireplace. 'Festina Lente' is a shorter work for strings and harp - short, brisk, and entertaining, developed from a single melody. 'When Sarah Was Ninety Years Old' is among the last of his 'minimal' works prior to his development of his tintinnabuli style. A longer work complete with voices, organ, and percussion, it is nonetheless a programmatic work despite the lack of an actual sung text. This collection offers some of the diversity of Pärt's work on a single record."


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    1. Philosophy of the World 2:56
    2. That Little Sports Car 2:06
    3. Who Are Parents 2:58
    4. My Pal Foot Foot 2:31
    5. My Companion 2:04
    6. I'm So Happy When You're Near 2:12
    7. Things I Wonder 2:12
    8. Sweet Thing 2:57
    9. It's Halloween 2:22
    10. Why Do I Feel? 3:57
    11. What Should I Do? 2:18
    12. We Have a Savior 3:06

    Dorothy Wiggin - Guitar, Vocals
    Betty Wiggin - Guitar, Vocals
    Helen Wiggin - Drums
    Rachel Wiggin - Bass(2)

    "One of the great stories of rock & roll is that of the three Wiggins sisters (Dot, Helen, and Betty), better known as the Shaggs. Growing up dirt poor in New Hampshire, the three girls were turned onto forming a band by their father, Austin Wiggins, who bought their instruments and payed for lessons. Despite their lack of musical expertise, Austin drove the girls down to a studio in Massachusetts, determined to get them on tape 'while they were still hot.' Striking a deal with a local fly-by-night record company called Third World, the Shaggs recorded their debut album, Philosophy of the World, in one day, recording a dozen tunes all written by Dot. One thousand copies were pressed and all but 100 of them quickly disappeared, along with the president of the company. The Shaggs started playing a regular, Saturday night dance back home in Fremont, NH, and added another sister, Rachel, on bass, to their ranks. When Austin Wiggins passed away in 1975, the group disbanded and never played together again. But over the intervening years, their lone misguided attempt at recording started gaining cult status. In a Playboy magazine interview, Frank Zappa called Philosophy of the World his third all-time favorite album, and by the time NRBQ had reissued it in 1980, its legendary status was already confirmed. Other, later, and slightly more profieicent recordings emerged on the compilation Shaggs' Own Thing, and both albums were produced for compact disc on Rounder, issued as simply The Shaggs. In 1999, RCA Victor finally reissued the original Philiosophy album with its original cover, notes, and sequencing, keeping the music of the Shaggs (which one can view as either guileless primitive art or just a garage band that really can't play or sing) alive into the new millennium."

    Philosophy Of The World

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    1 Choralkonzert
    2 Berliner Improvisations Trio-Improvisation #1
    3 Conny Bauer-Improvisation #2
    4 After the Rain

    5 Improvisation #3
    6 Improvisation #4
    7 Improvisation #5
    8 Gesprach 1976
    9 Berliner Improvisation Trio

    Manfred Schulze Bläser Quintett: (1)
    Manfred Schulze - bars
    Ernst-Ludwig Petrowsky - bars
    Paul Schwingenschlogl - tp
    Heiner Reinhardt - ts
    Manfred Hering - as
    Johannes Bauer - tb

    Berliner Improvisations-Trio: (2)
    Ulrich Weber - tp
    Wilfried Staufenbiel - cello
    Hermann Keller - pn

    Conny Bauer - tb (3)

    Joe Sachse Quartett: (4)
    Manfred Hering - as
    Helmut Forsthoff - ts
    Heiner Reinhardt - bcl
    Helmut Sachse – gtr

    Dietmar Diesner - ss, ts (5)
    Ulrich Gumpert - pn

    Konrad Bauer - tb (6)
    Hermann Keller - pn
    Johannes Bauer - tb

    Ulrich Gumpert - pn (7)
    Helmut Sachse – gtr
    Helmut Forsthoff - ts
    Johannes Bauer - tb
    Dietmar Diesner - ss
    Johannes Bauer - tb
    Ulrich Weber - tp
    Paul Schwingenschlogl - tp

    Gesprach 1976: (8)
    Manfred Schulze - bars
    Hermann Keller - pn

    Berliner Improvisations-Trio: (9)
    Ulrich Weber - tp
    Manfred Schulze - bars
    Hermann Keller - pn

    "German musician (Piano, Violin, Clarinet, Saxophone), born 17 Aug 1934 in Schweizerthal, Germany, died on 25 Jul 2010 in Berlin, Germany."

    Heute war es Absicht


    Heute war es Absicht

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    1. Get A Feeling Going Round (3:29)
    2. Two Circles (2:36)
    3. Lucy (3:33)
    4. Heaven (2:58)
    5. Candlelight (3:09)
    6. About Mother And Son (3:13)
    7. Lonesome Road (2:47)
    8. Hidden Love (3:17)
    9. If I Sing A Song For You (3:46)
    10. Smiles (3:43)
    11. Keep On Running (3:44)
    12. Mr. Cooley (3:56)

    Gerd Krawinkel - guitar, percussion
    Klaus Meier - guitar, vocals, percussion
    Rolf Kaiser - vocals, bass
    George Haupt - drums

    "Obscure German progressive rock ensemble from the 70's. The quartet recorded their self title album in 1970 on Phillips. It contains country rock songs dissipate into proggy, psychedelic strangeness. Published one year later, "Garden of Loneliness" alternates conventional heavy rock songs with jam sessions."


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    1. Berimbau 3:05
    2. Nao Tem Soluçao 4:59
    3. Bia 1:47
    4. Nascente 4:51
    5. Estrada Do Sol 2:42
    6. Upa Neguinho 1:46
    7. Feito de Ojaçao 1:55
    8. Cheganca 3:55
    9. Noa Noa 4:29
    10. Muito a Vontade 2:33
    11. Samba Novo 3:32

    Fernando Martins - Piano
    Edson Lobo - Bass
    Nelson Serra - Drums

    "Trio Camara were a Brazilian piano trio who hung about playing their particularly rhythmic brand of bossa nova jazz in the early to mid-'70s. This self-titled disc is their debut, and it is a stunner. Pianist Fernando Martins, bassist Edson Lobo, and drummer Nelson Serras were all arrangers and composers in addition to being players, and these 11 tunes bear that out in spades. Nothing here is left to chance; every nuance, every dynamic shift, every turnaround is charted out, and this doesn't make the music sound any less spontaneous. There are three covers mixed in with the band's originals. 'Berimbau,' by Baden Powell, opens the album at a furious samba pace, with wildly careen piano arpeggios running up and down the scales against the rhythm section. On 'Noa, Noa,' deep pizzicato work by Lobo underscores the fat, augmented ninths by Martins, and on 'Upa Neguinho' a bebop sensibility strides along the bossa rhythm, taking things to a frenzied height of intervallic madness. This is a smooth but furiously played recording displaying wondrous technical skill and exquisite taste; it should be sought out by all fans of Brazilian jazz."

    Le Trio Camara


    Le Trio Camara

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    1. Concerto Cyclique 9:03
    2. Raga Du Matin 3:57
    3. Matière 2:23
    4. Quelqu'un 17:07

    5. Captain Tarthopom 3:02
    6. Ludions 4:41
    7. Ab Hoc & Ab Hac 5:20
    8. Intime Panique 2:40
    9. Mémoire D'un Ventricule 10:03
    10. Fossette Surprise 4:41

    Jean Cohen-Solal - flute, contrabass
    Serge Franklin - sitar
    Marc Chantereau - tabla

    JC Deblais - electric guitar
    Leo Petit - El bass
    Clkaude Biondi - drums
    Sylvain Gaudelette - Martenot waves,
    Michel Barre - trumpet,
    JL Chevalier - trombone
    Charlotte - vocals
    Jean Cohen-Solal - flute, contrabass, accessories, organ, piano

    "This reissue drags Jean Cohen-Solal's two solo albums out of oblivion in style. It puts both his 1971 LP, Flûtes Libres, and his 1973 LP, Captain Tarthopom, on a single CD, adding a brand new seven-minute piece ('Quelqu'un 2003') to round things up. The music belongs to the more experimental end of early progressive rock, drawing from classical and psychedelic music, with hints of Krautrock. Then again, much like other French artists from that period like Jacques Berrocal or Fille Qui Mousse, Cohen-Solal's music defies categorization. Friendlier than those artists' because of its heavier reliance on melody, it gets its uniqueness from the instrumentation. Besides being a skilled flutist, Cohen-Solal also plays organ, piano, and double bass. These instruments form the core of Flûtes Libres, adding only tabla and sitar for 'Raga du Matin.' Often considered to be the weakest of the two albums, it must not be overlooked. The fact that it lacks drums and guitar actually means that it takes more risks. The 'Concerto Cyclique' messes around with concerto and bolero forms. 'Quelqu'un,' which filled all of side two on the original LP, contains some very interesting passages where bowed double bass and organ drone together. For Captain Tarthopom, Cohen-Solal recruited extra musicians to play electric guitar and bass, drums, trumpet, trombone, and Ondes Martenot - although these instruments don't appear all at once in the same piece. 'Ludions,' 'Intime Panique,' and 'Fossette Surprise' all feature a driving rock beat and fluttering multi-tracked flute parts, giving the album more of a Jean-Pierre Rampal-goes-Krautrock feel. 'Mémoires d'un Ventricule,' ten minutes long, picks up where 'Quelqu'un' had left, alternating rich atonal textures and beat-driven outbursts in a way that strongly evokes Faust and Neu! The new piece, 'Quelqu'un 2003,' is a dizzying computer construction of flute, double bass, and electronics, proving that Cohen-Solal's music can make it and has made it to the 21st century."

    Flute Libres/Captain Tarthopom

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    1. Home 4:39
    2. Cakes 4:52
    3. Swamp Carol 4:11
    4. Energy 4:50
    5. Down Stretch 4:14
    6. Give Me Some 6:47
    7. Come with Me 8:02
    8. Dance of the Mind 2:22
    9. Up Tempo Thing 5:23
    10. Elephant Hump 5:54
    11. Rock #6 3:03
    12. Slow Blues in G 6:33
    13. Rock #9 5:50
    14. Rock #10 4:14
    15. Something Else 7:02

    Jeremy Steig - Flutes
    Jan Hammer - Keyboards, Chinese Gong
    Gene Perla - Bass
    Eddie Gomez - Bass (4,6)
    Don Alias - Drums, Percussion

    "Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy - Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees. His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation."




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    1 Jeanette - Porque te Vas
    2. Tony Landa - Un Barco a la Deriva
    3. Los Payos - Compasion
    4. Sonia Melo - Sentada a la Vera del Camino
    5. Miguel Gallardo - Otro Ocupa Mi Lugar
    6. Santa Barbara - Donde Estan Tus Ojos Negros
    7. Raphael - Yo Soy Aquel
    8. Los Cinco del Este - Hace Frio Ya
    9. Mari Trini - Te Quiero Con Locura
    10. El Greco - Alza Tu Copa y Brindemos Por El Adios
    11. Los Pic Nic - Callate Nina
    12. Adamo - En Bandolera
    13. Karina - Nosotros Fuimos
    14. Dyango - Corazon Magico
    15. Franck Pourcel - Destino La Ciudad
    16. Miguel Rios - Me Permito Aconsejarto Corazon

    De Quien Te Acuerdas

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    1. Erin-Go-Bragh 4:34
    2. Now Westlin Winds 4:42
    3. Craigie Hill 6:17
    4. World Turned Upside Down 2:51
    5. The Snows They Melt the Soonest 4:19
    6. Lough Erne/First Kiss at Parting 5:54
    7. Scojun Waltz/Randers Hopsa 4:14
    8. Song for Ireland 5:08
    9. Workers' Song 3:06
    10. Both Sides the Tweed 3:41

    Dick Gaughan - Guitar, Vocals
    John and Phil Cunningham - Keyboards, Whistle (Instrument)
    Phil Cunningham - Keyboards, Whistle (Human)
    Stewart Isbister - Bass
    Brian McNeill - Bass

    "Though primarily steeped in the traditions of folk and Celtic music, Scottish singer/songwriter Dick Gaughan has enjoyed a lengthy and far-reaching career in a variety of creative pursuits. Born Richard Peter in 1948, he first picked up the guitar at the age of seven, and issued his debut solo LP, No More Forever, in 1972. Gaughan then signed on with the folk-rock group the Boys of the Lough, releasing a 1973 self-titled LP before returning to his solo career with 1976's Kist o Gold. However, he soon returned to the group format, forming a band named Five Hand Reel and issuing another eponymously titled effort that same year; over the next two years, Gaughan issued four more records - two solo releases (1977's Copper and Brass and 1978's Gaughan) as well as two more Five Hand Reel outings (1977's For a' That and 1978's Earl o' Moray). In the late '70s and early '80s, he worked as a critic and columnist with Folk Review magazine, and also acted as a member of the 7:84 Theatre Company; after a three-year absence from the studio, Gaughan also returned to regular musical duty with the release of 1981's Handful of Earth. A Different Kind of Love Song followed in 1983, and in 1985 he released Live in Edinburgh; True and Bold appeared a year later. After 1988's Call It Freedom, Gaughan again retreated from view; much of his time was devoted to his increasing interest in computer technology, and he later earned notice for his skills as a programmer and web designer. Finally, he formed a new band, the short-lived Clan Alba, who disbanded after releasing their 1995 self-titled debut; the solo Sail On arrived the next year, followed in 1998 by Redwood Cathedral. Gaughan's subsequent solo releases have included 2001's Outlaws & Dreamers and 2006's Lucky for Some."

    Handful of Earth

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    1. In croce, for cello & organ (or bayan) 15:24
    2-6. Silenzio, pieces (5) for bayan, violin & cello 18:33
    7-13. The Seven Last Words, for cello, bayan & strings 33:28

    Elsbeth Moser - Bayan
    Maria Kliegel - Cello
    Kathrin Rabus - Violin
    Camerata Transylvanica
    György Selmeczi - Conductor

    "'I am a religious person...and by 'religion' I mean re-ligio, the re-tying of a bond...restoring the legato of life. Life divides man into many pieces...There is no weightier occupation than the recomposition of spiritual integrity through the composition of music.' Sofiya Gubaydulina
    In Russian composer Sofiya Gubaydulina's 1986 symphony Slïshu...umolko ('I hear...silence'), the composer writes a cadenza for conductor. The orchestra is largely silent save for a few rumblings from bass drums, during which the conductor melds this quasi-silence into strong but delicate contours; with agonizingly slow precision, the conductor eventually brings his hands upwards, tracing a Christmas-tree shape, until they are fully stretched towards the heavens. He flips his hands upwards, and the organ, nestled deep in the orchestra, catches the gesture and begins the symphony's apocalyptic final movement. The gesture is wonderfully symbolic of Gubaydulina's work in general, obsessed as it is with the 'other sides' of music with 're-tying the bonds' between gesture and sound, sound and silence, silence and noise, this sensate world and the super-sensate next. From early works like Night in Memphis (1968) through the now classic Offertorium and Seven Last Words of the early '80s, and up to the Double Viola Concerto 'Two Paths' from 1999, Gubaydulina's music traces an impassioned commitment 'to restore a sense of integrity' to both art and life. In this sense her music is unabashedly re-ligious: it finds and binds the fissures which mark human solitude, with a brazen honesty rare in music even today.
    Sofia Asgatovna Gubaydulina was born on October 24, 1931, in Chistopol', in the Tatar Republic; growing up there, Gubaydulina would bind peculiar fusion of Eastern and Western into dramatic polarities in her later work. She graduated from the Kazan' Conservatory in 1954 having studied composition and piano; she then left for Moscow, where she studied at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963. Already by this time, Gubaydulina was marked as an 'irresponsible' composer on 'a mistaken path'; Shostakovich, among others, supported her however, advising her to 'continue along [her] mistaken path.' By the mid-1970s Gubaydulina founded a folk-instrument improvisation group with fellow composers Victor Suslin and Vyacheslav Artyomov called Astreja, still active in the late 1990s. Today Gubaydulina is a successful freelance composer, having won a number of prestigious composition prizes and grants.
    In many ways, the cross is the most potent symbol in Gubaydulina's work it is the consummate node of intersection, the site of re-tying both as a mark of salvation and greatest suffering. So many of her works contain cross imagery, often through elaborate, predestined meeting-and-diverging points for distinct sounding bodies or musical concepts. Hence the great 'crossings' of 1979's In Croce (between cello and organ), 1981's Rejoice (cello and violin), 1982's Seven Last Words (cello, bayan, and strings), and 1980's Offertorium (violin and orchestra). And in the 12-movement symphony, the crux occurs between sound (the orchestra) and silence itself (the pantomiming conductor), each on its own desperately etched trajectory. But what perhaps most astonishing about Gubaydulina's music is how, amidst such formally rigorous edifices (the cross, the mass-sequence, the Fibonacci series), a voice of such supple, passionate directness arises. Gubaydulina's work, even while unfolding an apocalyptic itinerary, often sounds breathed out in the moment, in- and ex-pired, systolic and organic; filaments or melody float, buffet, and fall, even as a musical cataclysm ferments. This tight religious knot of opposites may well account for Gubaydulina's success in the West in the late twentieth century; she is now certainly considered one of the most important composers alive today."

    Seven Words, Silenzio, In Croce

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    1. Truck Drivin' Man 3:23
    2. Whatcha Gonna Do 3:24
    3. Hello Mary Lou 3:18
    4. Rainbow 3:07
    5. Down in the Boondocks 3:26
    6. Portland Woman 6:38
    7. She's No Angel 3:07
    8. School Days 4:19
    9. Henry 4:21
    10. Long Black Veil 4:20
    11. Sailin' 3:05
    12. Contract 3:26
    13. Glendale Train 5:05
    14. Louisiana Lady 3:54

    1. I Don't Know You 4:38
    2. Sutter's Mill 3:18
    3. Groupie 3:43
    4. Whiskey 3:14
    5. Last Lonely Eagle 5:48
    6. Willie and the Hand Jive 13:27
    7. I Love to Sing My Ballad, Mama 3:09
    8. Honky Tonk Women 5:21

    David Nelson - Guitar, Vocals
    Buddy Cage - Pedal Steel
    John Dawson - Guitar, Vocals
    Dave Torbert - Bass, Vocals
    Spencer Dryden - Drums, Percussion
    Eric Andersen - Guitar, Harmonica, Vocals

    "They've been a long time coming, but live recordings - 'authorized bootlegs' - have found their niche in the CD market. Instead of listening to chopped-up concerts from the 1972 tour, Grateful Dead and New Riders of the Purple Sage (NRPS) fans can listen to the whole show. Boston Music Hall, December 5, 1972 is the second NRPS release plucked out of the vault by Kufala, and qualifies as another rocking show from the band's classic years. The gig gets a jaunty kickoff with 'Truck Drivin' Man,' a good-time ode to life on the road, and then delves into the hippy-dippy 'Watcha Gonna Do.' One of the joys of hearing NRPS live during this period is the dual powerhouse of David Nelson's guitar and Buddy Cage's pedal steel. Even on a throwaway like 'Hello Mary Lou,' Nelson's country-flavored fretwork sounds as though it would match Clarence White note for note, while Cage's wacky no-holds-barred approach guarantees that something interesting will happen each time he cuts loose. There are fine versions of 'Portland Woman' and 'Glendale Train' from the band's own catalog, and plenty of fine, and, occasionally, unusual covers like 'Down in the Boondocks,' 'Long Black Veil,' and 'She's No Angel.' John Dawson's a fine vocalist, and overall, NRPS handle vocals with much more aplomb than the Dead. In a way, NRPS' combination of country and rock realized the potential of the new genre in a way that the Flying Burrito Brothers only hinted at. While it goes without saying, fans will want to pick up a copy of Boston Music Hall."

    Boston Music Hall 12-5-72

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    1. One for Eric 9:52
    2. Zoot Suite 11:29
    3. Central Park West 3:16
    4. India 6:02
    5. Journey to the Twin Planet 8:42

    Jack DeJohnette - Drums, Melodica, Piano
    David Murray - Clarinet (Bass), Sax (Tenor)
    Arthur Blythe - Sax (Alto)
    Peter Warren - Bass, Cello

    "The first (and mightiest) of Jack DeJohnette's Special Edition ensembles offered a sound that in many ways was revolutionary in modern contemporary and creative improvised music circa 1980. With firebrand alto saxophonist Arthur Blythe and enfant terrible tenor saxophonist and bass clarinetist David Murray bobbing, weaving, and counterpunching, DeJohnette and bassist Peter Warren could have easily stood back in deference to these heavyweight pugilists. The result was a vehicle by which DeJohnette could power the two with his two-fisted drumming and play piano or melodica when the mood suited him, while Warren could simply establish a foundation for all to launch their witty, extroverted, oftentimes boisterous ideas into the stratosphere. The recording starts off very strong with two definitive tracks. 'One for Eric,' perfectly rendered in the spirit of Eric Dolphy, has Blythe and Murray's bass clarinet taking off, flying, and then soaring. Their contrasting tart and sweet sounds merge beautifully, and not without a smidgen of humor. 'Zoot Suite' sports a great 4/4 bass groove with quirky accents, while Blythe's alto and Murray's tenor repeat a head-nodding line, then Murray's sax chortles like a cow, then they float over DeJohnette's melodica, and on the repeat line the drummer powers the band to the finish line. Both of these tracks are as complete, fully realized, and utterly unique as any in modern jazz, and deserve standards status. But John Coltrane's visage is not far behind on the peaceful 'Central Park West,' with DeJohnette again on the underlying melodica, while 'India' has DeJohnette leading out on a playful Native and Eastern Indian motif via his piano playing. Blythe and Murray literally weep on the alto and bass clarinet. The finale, 'Journey to the Twin Planet,' is a free-based improvisation, with Blythe's squawky alto and Murray's long-toned tenor with overblown harmonics held in mezzo piano range, and DeJohnette's melodica evincing an electronic stance. A craggy, wild, and free bop idea provides a bridge (or maybe wormhole) to a calmer, supposed other planet. While there are no extra tracks on this recording - and they would be welcome - this first version of Special Edition stands alone as one of the most important and greatest assemblages of jazz musicians. This CD deserves a definitive five-star rating for the lofty place it commands in the evolution of jazz headed toward new heights and horizons."

    Special Edition


    Special Edition

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    1. Métronomie 9:05
    2. Les Enfants De La Patrie 4:55
    3. Métronomie Ii 2:19
    4. Cannabis 4:44
    5. La Maison Près De La Fontaine 3:45
    6. Isabelle 2:28
    7. Freak 1:28
    8. Pour Oublier Qu'on S'est Aimé 3:27

    9. Ouessant 6:39
    10. Il Pleut Bergère 4:15
    11. Joseph Joseph 2:45
    12. Ah! Les Américains. 4:52
    13. On Passe Trop De Temps 1:18
    14. Mashed Potatoes. 3:53
    15. L' Inexpressible 2:39
    16. Sud Express. 4:52
    17. Valentin 6:52

    Nino Ferrer
    Allan Reeves
    Donald Rieubon
    Giorgio Giombolini
    Jean Mandengue
    Lucien Dobat
    Pierre Dutour
    Sam Kelly
    Slim Pezin
    François Thomas
    Kevin M. Alea
    Brian Johnston
    Gérard Levasseur
    Ron Thomas
    Wally Waller

    "Self-indulgent chameleon or master of artistic disguise? By all means, Nino Ferrer proved himself to be ever the 'homme a tout faire' (jack of all trades) he agitatedly sang about in his theme song to the French television series Agence Interim. Ferrer was a late bloomer of the French yé-yé movement, with a legacy not as widely known as that of Jacques Dutronc or Michel Polnareff. However, his artistic trade should be viewed in the same vein: an eclectic brew of equal parts goofing around, subversive thinking, and pop genius.
    Ferrer was born in 1934 to a French father and an Italian mother, and a considerable part of his preteen years was spent under the stress of World War II. While his father was mining the far parts of the world in New Caledonia, in 1939 Ferrer and his mother found themselves stuck after a holiday in a hostile Italy. Reunited after the war, he grew up in a culturally stimulating environment. As a student of ethnology and archaeology, Ferrer developed a fondness for jazz and learned to play several instruments. Returning to Paris from a trip around the world, he decided to become a professional musician. Starting out as a hired hand in the capital's jazz circles, he was employed by bandleader Richard Bennett and later worked for American singer Nancy Holloway.
    After quite a few misfires, his big break came unexpectedly with the EP Mirza in 1965. Apart from its biting lyrics, it stood out for an ecstatic organ bridge, played in one take by Bernard Estardy. Ferrer had befriended Estardy - nicknamed 'Le Baron' - at college. Their creative but sometimes tense relationship enabled them to cook up several more successful EPs and the Southern soul-styled debut album Enrégistrement Public. Hearing the likes of Otis Redding had been a revelation to Ferrer; he even took his love for soul music as far as to proclaim a desire to be black on the album's opening track. As a result, Ferrer soon found himself uncomfortably stuck with an eccentric image similar to that of Dutronc. Being ten years the senior to most other yé-yé stars, he was equally unhappy with the show business treadmill of nearly 200 live performances in 1966. Ferrer decided to flee his popularity for Italy, where for several years he co-hosted the television variety show Lo, Agata e Tu with Raffaella Carrá (famed for 1977's European disco smash 'A Far l'Amore Comincia Tu'). At the same time, he continued to release a string of increasingly cynical, at times politicized EPs (Mao et Moa, Le Roi de L'Angleterre). The wacky but irresistibly groovy Le Téléfon was a success in 1967 even outside of France.
    In 1970 Ferrer returned to France, where he started working on what he perceived as his first 'real' album. Serving brooding prog rock accompanied by more personal lyrics, Métronomie was again co-created with Estardy. Though the album went nowhere commercially, its not-so-representative leadoff track, 'La Maison Près de la Fontaine,' proved a huge mainstream success in France. This apparently irritated Ferrer, whose growing contempt for show business led him to view it as the umpteenth misconception of his artistic vision. In 1973 he found an ally in guitarist Mickey Finn. Together they started the group Leggs, who would accompany Ferrer on several albums from this point onward. On these he would switch directions many times: from rock & roll to gospel and from prog rock to laid-back funk. The latter style made up most of 1974's Nino and Radiah, which included another fruitful Estardy collaboration in the song Ferrer is best remembered for in France: 'Le Sud.' Over half a dozen more albums followed in the next 20 years, but their mixed reviews made Ferrer retire to family life and painting with ever greater intervals. A few days away from his 64th birthday, he dramatically ended his life by shooting himself in the heart in a corn field not far removed from the castle he had bought from the royalties of 'Le Sud'."

    Metronomie/Veritables Varietes Verdatre

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    1. Eyes of the Heart, Pt. 1 17:10
    2. Eyes of the Heart, Pt. 2 15:45
    3. Encore (A, B, C) 18:01

    Keith Jarrett - Piano, Sax (Soprano), Osi Drums, Tambourine
    Dewey Redman - Sax (Tenor), Tambourine, Maracas
    Charlie Haden - Bass
    Paul Motian - Drums, Percussion

    "This live recording features pianist Keith Jarrett (also playing a bit of soprano), tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Paul Motian performing the 33-minute title cut and an 18-minute piece simply called 'Encore.' Every recording by this particular group (arguably Jarrett's best working ensemble) is well worth hearing, for they had their own sound and the ability to play both 'inside' and 'outside' simultaneously, and they were continually full of surprises. Originally released as a two-LP set with the fourth side completely blank, the intriguing music has since been reissued as a single CD."

    Eyes of the Heart


    Eyes of the Heart

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    1. Feedbacker 29:46
    2. Black Out 0:15
    3. Evil Stack 0:34
    4. Rainbow 4:30

    1. Pink 4:14
    2. Woman on the Screen 2:37
    3. Nothing Special 2:14
    4. Ibitsu 3:35
    5. A Bao a Qu 4:35
    6. The Evilone Which Sobs 13:41
    7. Flower Sun Rain 8:04
    8. Just Abandoned My-self 13:21
    9. Farewell 8:11

    Takeshi - vocals, bass & guitar
    Wata - vocals, guitar & echo
    Atsuo - drums, percussion & vocals
    Masami Akita - EMS Synthi A, computer, hand made instruments & effects

    "For starters, leave all expectations of what a(nother) collaboration between Boris and Merzbow might sound like, because Rock Dream is nothing like Sun Baked Snow Cave, which was released by Hydra Head in 2005. This limited-edition double CD (5,000 numbered copies) was recorded live in November of 2006 at Tokyo's Earthdom festival. Rather than a free-form improvisation drone and noise fest, it features Boris running through their own set with the mighty noise master (here known as Merzbow One Man) as an additional member of Boris, transforming the power trio into a quartet. The band runs through its set, or, rather plods and hammers through it, from the 35-plus-minute 'Feedbacker' and 'Black Out' to 'Evil Stack' and 'Rainbow' on disc one. Make no mistake, there's plenty of noise here. Boris have never backed away from the loud and proud; it's just that Merzbow's textural additions give the band's already loosely based tunes on disc one more power and presence. The fantastic sound quality makes every one of these nuances ring in crystal distorto-sonic. Evidence as to what actual Boris songs sound like - which are more in evidence on disc two - can be previewed in the smoking rendition of 'Rainbow' that closes the initial CD, with Wata's spooky voice and freakout guitar solos contrasted with the otherwise subdued tune. Merzbow brings a shockingly primeval yet controlled power to that mix. For all of its improvisation and volume overload, 'Feedbacker' itself is amazingly listenable and its melody distinct. When it comes to 'Black Out,' it gets rougher, and 'Evil Stack' is simply too much for mere mortals.
    But it's on disc two where everything really kicks into gear. 'Pink' starts it off with a bang, and the band is in full throttle, rocking it to the rafters and beyond. Merzbow's complementary swathes of power electronics add so much to Wata's guitar and Atsuo's drumming is double and triple time, leaving Takeshi to hold this machine to the ground. 'Woman on the Screen' is pure punk metal pyrotechnics, with drum whomp and bass and guitar scree poured through Merzbow's wildness - in this short track he is totally unhinged. Think of Motörhead-accompanied power tools. As the band literally rages through 'Nothing Special,' 'Ibitsu,' and 'A Bao a Qu' - with lots of whoops and hollers to underscore this pure rock-out orgy - the energy is unrelenting. The first 17 minutes of this disc are some of most intense in freak rock existence. Things slow a bit on 'The Evileone Which Sobs,' but only in tempo. It's still pure guitar, bass, and drum insanity and Merzbow ups the ante with enormous drones and a high-pitched swell that never goes above the higher end of Wata's guitar scream, keeping it all in some middle range of the doom zone. (Is she the hippest guitar player in rock or what?)
    The greatest moment of the entire proceeding, though, has to be the off-the-rails version of 'Just Abandoned My-self,' which begins at about 95 mph, gets to 120 mph, and then heads further into the red-line zone without abandoning its RAWK crunch. When Wata cuts loose on the solo, Merzbow gives her the biggest hammering wall of absolute maximum power to play off of, matching pitch and texture without being tempted to take it over the ledge into chaos. It walks the tightrope for the entire proceeding without once hesitating or falling over into simple excess. Feeling like a showstopper, it turns out that Boris has one more in the can in an eight-minute version of 'Farewell' that could make Sonic Youth at their best look on in disbelief and total envy. Indeed, it's almost as if Jimi Hendrix and his keen melodic sensibility were backed by Glenn Branca's multi-guitar orchestra, but it's all just Boris and Merzbow. When Wata lets herself go here, it's sublime; she climbs that monolithic pillar of racket and brings order to the chaos with her solo temporarily bringing it near the ground again before it just explodes for the finish. This is a breathtaking gig and more than anybody would have hoped for, or, based on past listening experience, had any reason to hope for. Indeed, Rock Dream is exactly that, and sends heavy music in 2007 off with a grand display of mercurial, majestic sludge and wail."

    Rock Dream

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    1. Waterwheel 9:20
    2. Shades of Sutton Hoo 4:34
    3. Trellis 8:18
    4. Batik 16:17
    5. Green Room 6:16

    Ralph Towner - Guitar (12 String), Guitar (Classical), Piano
    Eddie Gomez - Double Bass
    Jack DeJohnette - Drums

    "Guitarist Ralph Towner (who also plays a bit of piano) teams up with the highly sympathetic bassist Eddie Gomez and drummer Jack DeJohnette for five of his originals on this 1978 date. The music unfolds slowly but logically, and Towner's quiet sound displays a lot of inner heat. Highlights include 'Waterwheel' and the 16-minute 'Batik.' Well worth listening to closely, at a high volume."




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    1. Bizet: Prelude-Chorus of the Street-Boys... 12:28
    2. Bizet: Gypsy Song-Toreador Song-Exit of Escamillo... 12:31
    3. Bizet: Entr'acte-March of the Smugglers... 14:39
    4. Bizet: Entr'acte (Aragonnaise)-March & Chorus... 8:23
    5. Ravel: Boléro, ballet for orchestra 10:22
    6. DeFalla: Ritual Fire Dance, for orchestra (from "El Amor brujo") 3:19
    7. Glinka: Capriccio brillante on the Jota Aragonesa (Spanish Overture No. 1) 7:25
    8. DeFalla: Danza Espanola, for orchestra (from "La Vida Breve") 3:04

    André Kostelanetz Orchestra
    André Kostelanetz - Conductor
    New York Philharmonic
    Leonard Bernstein - Conductor

    "André Kostelanetz arranged classical pieces as easy listening numbers, bringing the music to a broad, middle-brow audience that wouldn't normally have listened to the music. In the process, he inadvertently invented easy listening music. Kostelanetz grasped the power of radio and he adapted his arrangements to fit the conventions of mass communications.
    Kostelanetz began performing music in his childhood as a member of the Petrograd choir. He would eventually become leader of the choir. In 1922, he moved to the United States. Initially, he didn't find jobs as a conductor/arranger, so he had to perform as an accompanist. In 1924, Kostelanetz made his radio debut, conducting an orchestra.
    In the '30s, he assembled a 65-piece orchestra, which happened to be the largest orchestra broadcast on radio, for the national show Andre Kostelanetz Presents. By the mid-'30s, he was one of the most popular radio stars in the U.S., as evidenced by the sheer amount of awards he won and polls he topped. In 1943, a poll of U.S. and Canadian audiences commended him for his support for popular and serious music.
    Not only was he popular, he was quite innovative as well. Kostelanetz understood the potential of recording as a way to expose mass audiences to music. Consequently, he also grasped the technological necessities of recording, and helped promote the value of recording engineers. But his most noteworthy technological advance was his invention of a mechanical tuning instrument that told musicians whether they were in pitch or not. The device was adapted by the military and used as a way to track submarines.
    Kostelanetz never lost his popularity, even as musical styles shifted dramatically over the next four decades. Over the course of his career, he sold over 52 million records. The arranger continued to interpret classical pieces, as well as show tunes and popular songs until his death in 1980."

    Carmen Without Words

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    1. Ketawang Puspawarna
    2. Gending Tedjanata - Ladrang Sembawa - Ladrang Playon
    3. Gending Mandulpati - Ladrang Agun-Agun
    4. Bubaran Nudan Mas

    Niken Larasati
    Nyi Tasri
    Patetan Jugag
    Nyi Djiworetno

    "The island of Java is known as being one of the first places to be able to work bronze and thus create bronze musical instruments: bells, gongs, and the famous gamelan ensemble. The word 'gamelan' refers to the whole ensemble, not the instruments. Beside the bronze instruments, such as the different kettle drums, kettle gongs, and bronze metallophones, the gamelan also includes a rebab (a two-string fiddle), a choir, some sulings (small bamboo flutes), a small and a large zither, drums of different sizes, and more. Interestingly, no two gamelans are tuned alike, though they are similar, since gamelans used to play in a given style. And there exist many different styles of playing with their own repertoires. On this high-quality CD, listeners hear a few pieces from the Javanese court gamelan."

    Javanese Court Gamelan

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    John Cage: Second Construction, for 4 percussionists 6:51
    Henry Cowell: Pulse, for 5 players 4:05
    Torbjörn Lundquist: Sisu for percussion sextet 9:36
    Yoshihisa Taira: Hiérophonie 5, for 6 percussionists 19:38

    Ingvar Hallgren
    Jan Hellgren
    Anders Holdar
    Anders Loguin
    Martin Steisner
    Leif Karlsson (3, 4)
    Johann Silvmark (2)

    "Kroumata is a Swedish percussion ensemble founded in 1978 in Stockholm. The name derives from the ancient Greek word for percussion instruments.
    The ensemble tours in Sweden and internationally, also as featured soloist ensemble in front of symphony orchestras.
    Kroumata has recorded more than 20 albums, most of them on the Swedish label BIS, including the first digitally recorded CD ever to be produced in Sweden in the year 1983.
    Kroumata have premiered over 200 works by composers such as Sofia Gubaidulina, Iannis Xenakis, Sven-David Sandström, Rolf Wallin, Anders Eliasson, Britta Byström, Henrik Strindberg, Askell Masson, Georg Katzer, Mats Larsson-Gothe and André Chini among others.
    In 1998 the group were named ambassadors for Stockholm Cultural Capital of Europe and hosted an international percussion festival. The same year they were also the recipients of the Honorary Award by The Foundation Positive Sweden."


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    1. She's Not There 2:26
    2. Summertime 2:19
    3. It's Alright with Me 1:53
    4. You've Really Got a Hold on Me 3:40
    5. Sometimes 2:06
    6. Woman 2:26
    7. Tell Her No 2:08
    8. I Don't Want to Know 2:05
    9. Work 'n' Play 2:10
    10. Can't Nobody Love You 2:16
    11. What More Can I Do 1:40
    12. I Got My Mojo Working 3:38
    13. You Make Me Feel Good 2:41
    14. Leave Me Be 2:09
    15. She's Coming Home 2:38
    16. I Must Move 1:58
    17. I Want You Back Again 2:15
    18. I Love You 3:21

    Colin Blunstone - Guitar, Tambourine
    Paul Atkinson - Guitar, Harmonica, Accordeon, Violin
    Rod Argent - Clarinet, Harmonica, Organ, Piano, Violin
    Chris White - Bass, Double Bass
    Hugh Grundy - Drums

    "After the double-sided hit single 'She's Not There' b/w 'You Make Me Feel Good' topped the U.S. charts in the fall of 1964, Parrot Records quickly culled together this LP for 1965 release. The dozen tracks were taken from material the Zombies cut for their 1965 U.K. debut album, Begin Here. Also included are 'It's Alright With Me' and 'Sometimes' from the combo's self-titled EP. Regardless of presentation, The Zombies (Featuring She's Not There and Tell Her No) aptly portrays the quintet of Chris White (bass), Rod Argent (keyboards/vocals), Colin Blunstone (guitar/vocals), Paul Atkinson (guitar), and Hugh Grundy (drums) in terms of the band's fresh blend of intelligent Brit-pop. Their efforts are equally laudable on the strength of originals such as 'Tell Her No' and 'What More Can I Do' as they are on the blue-eyed soulful medley interpretation of the Miracles' 'You've Really Got a Hold on Me' with Sam Cooke's 'Bring It on Home to Me.' This is stylistically complemented by the R&B rave-up on Muddy Waters' 'I Got My Mojo Working' and the ultra hip jazzy arrangement of the Gershwin standard 'Summertime.' The Zombies' obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners. 'Work 'n' Play' is an instrumental credited to producer Ken Jones. Initially, the piece was simply used to fill out the long-player. That was until the tune was more fully developed by the band, and under the direction of Argent's fiery lead harmonica they turn the proposed filler into a rock & roll killer. Those wishing to obtain a more thorough examination of this era are directed to the decidedly more thorough 2001 Repertoire reissue of Begin Here or the 'final word' four-disc Zombie Heaven anthology from 1997."


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