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FreeFall - LiveJournal.com

older | 1 | .... | 29 | 30 | (Page 31) | 32 | 33 | .... | 57 | newer

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    1. The Awful Truth: The Bitter Pill/The Awful Truth 7:52
    2. Bagliore (Glimmer) 5:11
    3. His Maddening Certainty 10:50
    4. Not a River 4:18
    5. The (Ag) Nostic Gospels 4:10
    6. Stato Di Confusione Avanzata (State of Advanced Confusion) 5:13
    7. The Dust on Mother's Bible 8:03
    8. When Faith Transcends Reason 2:42
    9. Ken Who? 1:48

    Tim Drumheller - keyboards, programming, production, assorted sundry instruments
    Rick Eddy - keyboards, all guitars, assorted sundry instruments, titles, poetry
    +
    Moe Vfushateel - drums
    Alberto Piras - vocals extrodinaire
    Alessandro Bonetti - violin

    AMG:
    "Revolving around the interplay between keyboardists Rick Eddy and Tim Drumheller, A Triggering Myth has been one of the strangest duos to hit the electronic music scene. Formed in 1989 with several other musicians, the band quickly turned into Eddy and Drumheller, two ambitious keyboardists that were endlessly curious about exploring each other's abilities. Starting with their eponymous debut in 1990, they released albums throughout the decade that had continually grown more unusual and complex. By the turn of the century, they had worked with several unique guest musicians and designed their next album, Forgiving Eden, to incorporate members of the jazz fusion group McGill Manring Stevens."



    The Sins of our Saviors

    or

    The Sins of our Saviors


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    Ancient Voices of Children, for mezzo- & boy soprano, oboe, mandolin, harp, amplified & toy piano & 3 percussionists
    1. No. I: el niño busca su voz 4:35
    2. Dances of the Ancient Earth 2:27
    3. No. II: Me he perdido muchas vec 2:23
    4. No. III: de dónde vienes, amor, mi niño? 6:49
    5. Ghost Dance 2:04
    6. No. V: Se ha Ilenado de luces mi 7:17

    Music for a Summer Evening (Makrokosmos III), for 2 amplified pianos & 2 percussionists
    7. Nocturnal Sounds (The Awakening) 5:18
    8. Wanderer-Fantasy 5:05
    9. The Advent 13:10
    10. Myth 5:12
    11. Music of the Starry Night 11:20

    Federico García Lorca - Text
    Georg Friedrich Haas - Harmonica, Oboe
    Stephen Bell - Mandolin
    Jacob Glick - Musical Saw
    Susan Jolles - Harp
    James Freeman - Piano
    Gilbert Kalish - Piano, Piano (Electric), Toy Piano
    Raymond DesRoches - Percussion
    Richard Fitz - Percussion
    Howard Van Hyning - Percussion
    Contemporary Chamber Ensemble
    Arthur Weisberg - Conductor

    AMG:
    "If an album's longevity is any indication of a work's success and acceptance, then George Crumb's Ancient Voices of Children has secured its niche. Recorded in 1971 with Jan de Gaetani and Arthur Weisberg's Contemporary Chamber Ensemble, it has stayed in Nonesuch's catalog far longer than most other avant-garde works of the time. Much of this work's appeal is attributable to the haunting images in the poems by Federico García Lorca, which carry the imagination into a dark and mystical realm that seems utterly real and personal. For all their exotic sounds and inventive effects, Crumb's settings are always sensitive to the concept of duende ('spirit' may be the best one-word translation) underlying Lorca's words. But more than any other factor, de Gaetani's flawless performance makes this recording unforgettable. So closely is the sound of her voice tied to Ancient Voices - Crumb had her in mind when he composed the songs - that her influence will surely be felt in performances yet to come. Crumb's Music for a Summer Evening (Makrokosmos III), released in 1974, was almost as popular and influential as the preceding work, but its novel effects and overt mysticism seem contrived and sometimes ludicrous, and the piece does not achieve the sublime heights of Ancient Voices."



    Ancient Voices of Children

    or

    Ancient Voices of Children


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    1. I Met Him on a Sunday 1:55
    2. The Bells 2:56
    3. The Monkey Time/Dancing in the Street 4:59
    4. Desiree 1:52
    5. You've Really Got a Hold on Me 4:09
    6. Spanish Harlem 2:52
    7. Jimmy Mack 2:57
    8. The Wind 2:59
    9. Nowhere to Run 5:09
    10. It's Gonna Take a Miracle 3:25

    Laura Nyro - Guitar, Keyboards, Vocals
    Labelle - Vocals
    Sam Reed - Horn
    Don Renaldo - Strings
    Roland Chambers - Guitar
    Norman Harris - Guitar
    Lenny Pakula - Horn, Organ
    Robert A. Martin - Keyboards
    Ron Baker - Bass
    Jim Helmer - Drums
    Larry Washington - Bongos, Congas, Percussion
    Nydia Mata - Bongos, Congas
    Vince Montana - Percussion
    Roger Hawkins - Percussion
    Liberty Nydia Mata - Percussion

    AMG:
    "With the 1971 release Gonna Take a Miracle, pop composer and vocalist Laura Nyro completed her four-album/four-year deal for Columbia. Nyro's passion for R&B can be traced back to some of her earliest compositions, such as 'Wedding Bell Blues' and 'Stoned Soul Picnic' - both of which were covered by the R&B vocal quintet the Fifth Dimension. More recently, her version of 'Up on the Roof' was one of the highlights of Christmas and the Beads of Sweat. So, enthusiasts who had paid any attention at all to the course of Nyro's career would not have been surprised by her direction on this project. As much as Gonna Take a Miracle is indeed a Laura Nyro album, it could likewise, and perhaps more accurately, be described as a collaborative effort between Nyro and the female soul trio LaBelle - featuring Patti LaBelle, Nona Hendryx, and Sarah Dash - as well as producers Kenny Gamble and Leon Huff. It is ultimately this team that is responsible for the album's overwhelmingly solid results. Leading off in an apropos style is a succulent cover of the Shirelles hit 'I Met Him on a Sunday.' The vocal performance is structured as a round - with each woman singing a consecutive line. The song is rightfully returned to the street corner doo wop tradition from which it originated with the simplicity of unadorned vocals creating an inconspicuous a cappella symphony. Nyro has never sounded so comfortable, easy, or 'in her element' than she does backed by an all-star Philly soul ensemble that Gamble and Huff assembled for these sessions. The material reaches beyond just the sounds of Philadelphia, with Motown ('You've Really Got a Hold on Me' and 'Nowhere to Run') and Brill Building ('Spanish Harlem'), as well as lesser-known covers of the Charts''Desiree' and the Baltimore-based Royalettes 'It's Gonna Take a Miracle'."



    Gonna Take A MIracle

    or

    Gonna Take A MIracle


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    1. Road Expense 3:24
    2. Pride O' The Farm 3:40
    3. Twiggs Approved 4:29
    4. Hereafter 6:21
    5. The Great Spectacular 3:20
    6. Broad Street Strut 3:54
    7. I'm Freaking Out 9:06
    8. Old World 2:00

    Allen Sloan - acoustic and electric violins, viola
    Steve Morse - acoustic and electric guitars, banjo, pedal steel
    T Lavitz - acoustic and electric piano, organ, synthesizer, clavinet
    Andy West - fretted and fretless bass
    Rod Morgenstein - drums and percussion

    AMG:
    "One of the top jazz-rock fusion ensembles ever, the Dixie Dregs combined virtuoso technique with eclecticism and a sense of humor and spirit too frequently lacking in similar projects. Guitarist Steve Morse and bassist Andy West played together as high-school students in Augusta, GA, in a conventional rock band called Dixie Grit. When Morse was expelled from school for refusing to cut his hair, he enrolled at the University of Miami School of Music, where he met violinist Allen Sloan, who had played with the Miami Philharmonic, and drummer Rod Morgenstein. The three decided to form a band, and Morse convinced West to come to Miami and join. the Dixie Dregs completed their lineup with keyboardist Steve Davidowski. Their first album, The Great Spectacular, was recorded for a class project in 1975 and later released by the band (it is long out of print). Following graduation, the quintet began playing live around the South and got its break after opening for Sea Level on 1976, when a representative from Capricorn Records was impressed enough to sign the band. Mark Parrish, a former member of Dixie Grit, replaced Davidowski for their official debut, 1977's Free Fall.
    Their follow-up, What If, proved to be one of their most artistically successful albums, and the Dixie Dregs played at the 1978 Montreux Jazz Festival with T Lavitz replacing Parrish. Half of Night of the Living Dregs contains excerpts from that concert. The group shortened its name to The Dregs for 1981's Unsung Heroes, and added both vocalists and three-time national fiddling champ Mark O'Connor, whose old-timey playing style added another dimension to the group's sound, for Industry Standard. The Dregs then disbanded; the highly respected Morse formed his own band and recorded several albums, later joining Kansas from 1986 to 1988, while Morgenstein hooked up with pop-metallists Winger.
    The Dregs reunited briefly in 1988 for a series of live dates, but a full-fledged reunion didn't take place until 1992, with Morse, Lavitz, Morgenstein, and Dave LaRue of the Steve Morse Band in West's place. Allen Sloan rejoined only briefly, with his position then filled by ex-Mahavishnu Orchestra member Jerry Goodman. Bring 'Em Back Alive was culled from the group's tour, and 1994's Full Circle was also well received. California Screamin' followed in early 2000."



    Dregs Of The Earth

    or

    Dregs Of The Earth


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    1. Very Close Friend 1:19
    2. The Courtyard 5:43
    3. What a Day 3:16
    4. Fades (Pass the Distance) 3:39
    5. Jerusalem 6:44
    6. Where's Your Master Gone 3:13
    7. Laughing 'Til Tomorrow 2:54
    8. Hiawatha 4:58
    9. Patrice 2:49
    10. Big White Car 5:48
    11. Children's Eyes 4:36
    12. Good Morning 3:00
    13. Butterfly 3:27
    14. Colonel Bleep 3:04

    Simon Finn - Guitar, Percussion, Vocals
    David Toop - Accordion, Bass, Flute, Guitar, Harmonium, Mandolin, Percussion, Piano, Violin
    Paul Burwell - Drums, Tabla, Percussion
    Kenneth Elliot - Organ (5,5)
    Rob Bucklin - Recorder (9)

    AMG:
    "Simon Finn's Pass the Distance is a legendary acid folk recording from the psychedelic era. Originally issued on the Mushroom label in 1970, the LP was embroiled in legal hassles and withdrawn from circulation. David Tibet of Current 93 became obsessed with it upon hearing a bootleg copy in 1995, and along with Simon and the Canadian Jnana imprint, has reissued it on Durtro as a CD. Finn, a Canadian native, made the record in 1969 in Vic Keary's Chalk Farm Studios with some new jamming mates including David Toop and Paul Burwell!
    Pass the Distance is not a drippy peace and love record. It is a nocturnal, nightmarish album full of extremes as well as aesthetically beautiful textures and subtleties. Finn was obsessed with Christian themes (both redemptive and apocalyptic), history, the environment, and strange, oblique love songs. The centerpiece is the epic 'Jerusalem.' With maniacally strummed acoustic guitars, a swirling church organ, hand drums, and a muddy bassline, Finn iterates the vision of Christ as he walked through the city and was crucified by the very people who praised his name, and he equates Christ with the 1960s counterculture ideals. The crux of the song is the terror and rage that Christ would feel were he to return and be crucified in the current millennium by those who profess his name. Finn begins softly, sadly, and soon begins ranting and screaming as the music gathers in intensity and menace until it becomes utterly frightening. It is followed by 'Where's Your Master Gone,' a song about Satan, articulated with Toop's electric guitar lilting in the backdrop with Burwell popping the accents with his tables. Finn croons sweetly and confusingly about the transformation and redemption of Satan. And so it goes - whether Finn is singing about love found and lost, sex, new age revelation, or Gnostic Christianity; there is in his gentleness, a darker, more sinister edge, one that can set one's teeth to grinding or make one see things in the dark. But there is also great tenderness and vulnerability as well, as evidenced by 'Patrice,' or 'What a Day.' Taken as a whole, it is creepy and beautiful and poetic and crazy and utterly wonderful. It is a maverick recording from a time far wilder and more imaginative than our own. The CD contains the ten-track original album, an unreleased single, and two completely unreleased studio tracks - one of which is a recording of the first song Finn ever wrote. It has extensive liner notes by Finn, Toop, Tibet, and Keary. Pass the Distance is available from either Finn's or the Durtro web sites. While Pass the Distance may not be for everyone, those who dare to step out on to this ledge will be immeasurably rewarded."



    Pass the Distance

    or

    Pass the Distance


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    String Quartet No.1
    1. Movement 1 7:31
    2. Movement 2 3:30
    3. Movement 3 5:43
    4. Canon in Memoriam Igor Stravinsky, for string quartet 5:32

    String Quartet No.2
    5. Moderato 3:11
    6. Agitato 5:35
    7. Mesto 6:41
    8. Moderato 6:33

    String Quartet No.3
    9. Andante 5:41
    10. Agitato 5:43
    11. Pesante 7:44


    String Quartet No.4
    1. Lento 9:03
    2. Allegro 7:00
    3. Lento 5:57
    4. Vivace 3:26
    5. Lento 9:30

    Concerto for choir (Concerto for soprano & chorus)
    6. Collected Songs Where Every Verse Is Filled with Grief 8:25

    David Harrington - Violin
    John Sherba - Violin
    Hank Dutt - Viola
    Joan Jeanrenaud - Cello

    AMG:
    "Alfred Schnittke is one of the most prolific and interesting composers of the 20th century. Heir to the Russian traditions of Shostakovich, Schnittke's music is both steeped in the past and wildly experimental. Schnittke composed in serial, free atonal, neoclassical and religious styles, and thus it is hard to get a grasp on him by listening to just one work. This collection of the complete string quartets allows us to gain a perspective on much of his compositional genius, from the serial 1st Quartet to the almost mystical 4th.
    Schnittke's music is dense and emotionally extreme, powerful and at times angry. The Kronos Quartet handles the material with a mastery we have come to expect from this fine ensemble. After hearing many CDs in which Kronos is amplified, it is refreshing to know that their acoustic sound and technique are just as nuanced as ever. And they have the unique ability to make difficult music-which in other hands might sound dry and academic-so incredibly hip. Angular, intense Schnittke never sounded better."



    Complete String Quartets

    or

    Complete String Quartets


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    1. Now Then 3:16
    2. Sep 8:10
    3. Hong Kong Sad Song/More Coffee 11:36
    4. Evolution of a Pearl 19:36
    5. Lightnin' Bug Bouté 0:42
    6. The Telex Blues 11:37

    Tim Berne - Sax (Alto), Voice
    Herb Robertson - Cornet, Flugelhorn, Trumpet
    Mark Feldman - Violin
    Hank Roberts - Cello, Voice
    Mark Dresser - Bass, Giffus
    Joey Baron - CZ-101, Drums

    AMG:
    "Tim Berne's music on his CD sometimes looks a little toward Anthony Braxton's free bop lines but also incorporates some electronics, unusual instrumental textures and some just plain weird sounds. Among the miscellaneous instruments listed are Mark Dresser's giffus and bungy, Herb Robertson's Laryngeal crowbar and Joey Baron's shacktronics; obviously these performances are not devoid of humor. The 'medley' of 'Hong Kong Sad Song' and 'More Coffee' features Robertson's passionate wa-wa trumpet over exotic rhythms and Tim Berne on a staccotoish alto solo. 'Now Then' recalls the original Chico Hamilton Quintet. The first half of 'The Telex Blues' is a good joke with a distorted nonsensical voice almost drowned out by feedback (as if it were a long distance call that did not quite connect) although the performance does go on too long. An episodic 'SEP' and the 19-minute multi-sectioned 'Evolution Of A Pearl' (which ranges from sound explorations to avant-funk) wrap up this esoteric yet listenable set."



    Fractured Fairy Tales

    or

    Fractured Fairy Tales


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    1. It was spring '73
    2. Mark II'73
    3. After you Gone
    4. I like you
    5. Fall of wife
    6. There was only emptiness
    7. Rakuyo
    8. If the rain falling from the sky
    9. Curiosity '73
    10. Buddha of the field
    11. Dinner
    12. Fluttering
    13. Abandoned hope

    Takuro Yoshida
    Masayoshi Takanaka
    Yoshihiko Ishikawa
    Masataka Matsutoya
    Akira Okazawa
    Kiyoshi Tanaka

    Wiki:
    "Takuro Yoshida is a Japanese male singer-songwriter. He was born on April 5, 1946 in Okuchi, Kagoshima and raised in Hiroshima. He made his debut with the single 'Imeji no Uta / Mark II' on June 1, 1970. His 1972 recording of 'Tabi no Yado' sold over one million copies by September that year, and was awarded a gold disc.[1] He established record company 'For Life Records' with Yosui Inoue, Shigeru Izumiya,Hitoshi Komuro in 1975. Yoshida is an influential musician, whose songs have been featured as television themes (such as 'Jun', the theme to Cromartie High School), as well as being covered by popular artists like Hirakawachi 1-chome (Yoshida's 'Natsu Yasumi'), KinKi Kids (Yoshida's 'Zenbu Dakishimete')."



    Live '73

    or

    Live '73


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    1. Neroli: Thinking Music, Pt. 4 57:56

    Brian Eno

    AMG:
    "Taking a cue from the liner notes, most reviewers of Brian Eno's Neroli (1991) point out the piece's simple melodic line, its derivation from the Phrygian mode, its slowly mutating processes, and perhaps also its practical use as background music for therapy. All of these are salient points, and informative to anyone who wonders what this ambient album is like. Yet it might be helpful to mention Neroli's uncanny similarity to the second Environments album, Tintinnabulation (Synthesized Bell Tones), which was created by Syntonic Research, Inc., and released on Atlantic in 1972. Both Tintinnabulation and Eno's later work function as soft aural experiences, and resemble each other in their blurred textures and low chiming sonorities. The only substantial differences worth noting are Eno's purer tones and cleaner, noise-free atmosphere, which make Neroli more pleasant to hear on a digital player; Tintinnabulation, being an analog recording of comparatively more complex synthesized sounds, has some undesirable production noises, buzzy reverberations, and some detectable tape hiss. But a side-by-side comparison reveals a commonality of purpose as well as similar methods, and both work as 'chill-out' discs. Eno's CD, however, has the advantage of name recognition, and is therefore more likely to be available."


    Neroli

    or

    Neroli


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    1. Let's Dance 0:44
    2. Don't Be That Way 4:04
    3. King Porter Stomp 3:12
    4. Trigger Fantasy 4:28
    5. Roll 'Em 7:13
    6. One O'Clock Jump 6:09
    7. Down South Camp Meeting 3:16
    8. Yarm Yen/In the Evening 5:47
    9. Sugar Foot Stomp 5:15
    10. Big John's Special 3:24
    11. Flying Home 4:05
    12. The World Is Waiting for the Sunrise 3:46
    13. Oh, Lady Be Good 3:50
    14. Sai Fon/Falling Rain 3:10
    15. Stompin' at the Savoy 3:33
    16. Thai Royal Anthem 1:22

    Benny Goodman - Clarinet
    Billy Hodges - Trumpet
    Mel Davis - Trumpet
    John Frosk - Trumpet
    Rex Peer - Trombone
    Jack Rains - Trombone
    Al Black - Reeds
    Peanuts Hucko - Reeds
    Budd Johnson - Reeds
    Billy Slapin - Reeds
    Hank Jones - Piano
    Israel Crosby - Bass
    Mousie Alexander - Drums

    AMG:
    "This is one of the more unusual live CDs by Benny Goodman, recorded in December 1956 over two days in Bangkok, Thailand. He leads a 13-piece group, which includes Budd Johnson and Peanuts Hucko in the reed section, along with pianist Hank Jones and bassist Israel Crosby. Goodman and his band are at their very best, in spite of playing outdoors and competing, on occasion, with a passing train; this early stereo recording, performed with just two microphones, was made with the clarinetist's permission. In addition to favorites like 'Don't Be That Way,''One O'Clock Jump' and 'Flying Home,' Goodman surprises the audience by playing two works composed by His Majesty the King of Thailand Bhumiphol Adujadet, as well as a brief sign off of the 'Thai Royal Anthem.' Jones and drummer Mousie Alexander join the leader for exciting trio renditions for 'The World Is Waiting For Sunrise' and 'Lady Be Good,' during which Jones sounds very much like Teddy Wilson. This historic CD is well worth acquiring."



    Bangkok 1956

    or

    Bangkok 1956


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    1. Tom Jones & Jeff Beck: Goin' Down Slow
    2. Louis Armstrong & His All Stars: Back O' Town Blues (Live)
    3. Dixie Four: St. Louis Man
    4. Big Bill Broonzy: Black, Brown, And White Blues
    5. Sister Rosetta Tharpe & Marie Knight: Up Above My Head I Hear Music In The Air
    6. The Lonnie Donegan Skiffle Group: Rock Island Line
    7. Lulu & Jeff Beck: Cry Me A River
    8. Miles Davis: Generique
    9. Tom Jones & Jeff Beck: Love Letters
    10. Humphrey Lyttelton: Bad Penny Blues
    11. Little Joe Cook (aka Chris Farlowe): Stormy Monday Blues Pts.1 & 2
    12. Tom Jones & Jeff Beck: Hard Times
    13. Ray Charles: Tell The Truth (Live)
    14. Spencer Davis Group: Hey Darling
    15. Fleetwood Mac: Shake Your Money Maker
    16. John Mayall's Bluesbreakers & Eric Clapton: Have You Heard
    17. Cream: Crossroads (Live)
    18. Jeff Beck: Rollin' And Tumblin'
    19. Tom Jones: Lawdy Miss Clawdy
    20. Lulu & Jeff Beck: Drown In My Own Tears

    AMG:
    "Director Mike Figgis' documentary Red, White & Blues, one of the seven parts of the PBS-TV series The Blues presented by Martin Scorsese, is ironically named, since it actually concerns itself with the British response to American blues music, among other styles. Truth be told, the British, appreciating American music of the 1950s and earlier entirely through recordings, have always tended to mix things up, failing to acknowledge distinctions between jazz, blues, gospel, folk, and R&B that Americans take for granted. Figgis illustrates this tendency in his choices of vintage music, which draw upon the likes of Louis Armstrong, Big Bill Broonzy, Sister Rosetta Tharpe, Miles Davis, and Ray Charles, not to mention the homegrown Lonnie Donegan Skiffle Group's frantic aping of Leadbelly on the hit 'Rock Island Line.' Relatively little of this music is what an American blues fan would call blues, except in the sense of roots and influences. Figgis adds to this eclecticism the core band he assembled and filmed for the documentary, the performances of which are interspersed with the older tracks here. The band itself, led by Jeff Beck, is unobjectionable, but Americans may be taken aback by the singers, Tom Jones, largely thought of stateside as a Las Vegas lounge entertainer, and Lulu, who is remembered in the U.S., if at all, as the '60s pop singer of 'To Sir With Love.' (Van Morrison, who appears in the film, is not on the soundtrack.) Thankfully, there are also selections from British blues-rock legends such as Fleetwood Mac (in its Peter Green era, of course), John Mayall's Bluesbreakers with Eric Clapton, and Cream. But the overall selection is still one that will make American listeners marvel at the oddities of British taste."



    Red, White and Blues

    or

    Red, White and Blues


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    1. Done Somebody Wrong 3:06
    2. You Know My Love 7:17
    3. Midnight Blues 5:45
    4. Ain't Nobody 4:51
    5. Gonna Rain Today 4:40
    6. All Your Love 4:29
    7. Flesh & Blood 4:52
    8. Cut It Out 5:35
    9. No Reason to Cry 9:01
    10. I'll Play the Blues for You 5:56

    Gary Moore - Guitar, Vocals
    Don Airey - Keyboards
    Jonathan Noyce - Bass
    Darrin Mooney - Drums
    +
    Nick Pentalow - Sax (Tenor)
    Frank Mead - Alto
    Nick Payn - Baritone
    Sid Gould - Trumpet
    Vic Martin - Keyboards
    Pete Rees - Bass
    Graham Walker - Drums

    AMG:
    "Since the early '90s Belfast guitar whiz Gary Moore has returned again and again to the blues, leaving his metal phase far behind. Old New Ballads Blues is exactly what the title says it is, a mix of old blues (covers of songs by Elmore James, Willie Dixon, and Otis Rush), new blues (five Moore originals), ballads (half the album) and, well, blues (by one definition or another, everything here passes for blues). The real surprise is that the strongest songs are the original Moore-penned ballads, as Moore gives powerful and atmospheric performances (both vocally and as a guitarist) on 'Gonna Rain Today,''No Reason to Cry,' and a solid horn-augmented remake of one of his best songs, 'Midnight Blues,' from what is easily his best album, 1990s million-selling Still Got the Blues. The James and Dixon covers ('Done Something Wrong' and 'You Know My Love' respectively) seem disappointingly by-the-numbers, while the Rush song, 'All Your Love,' fares a bit better, but Moore's own compositions shine brightest here, giving him plenty of room to weep on the old Les Paul, which is a very good thing, since vocals have never been Moore's strongest suit and his lyrics are often on the slight side. All of that vanishes when his guitar takes over a song, and on the instrumental 'Cut It Out,' Moore's muscular guitar tone says as much or more about life inside the blues as any of the vocal numbers."



    Old, New, Ballads, Blues

    or

    Old, New, Ballads, Blues


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  • 12/31/12--08:37: Happy New Year!

  • 0 0


    1. Stardust 3:52
    2. Georgia on My Mind 4:20
    3. Blue Skies 3:34
    4. All of Me 3:54
    5. Unchained Melody 3:50
    6. September Song 4:35
    7. On the Sunny Side of the Street 2:36
    8. Moonlight in Vermont 3:26
    9. Don't Get Around Much Anymore 2:33
    10. Someone to Watch over Me 4:03
    11. Scarlett Ribbons 4:29
    12. I Can See Clearly Now 4:16

    Willie Nelson - Guitar, Vocals
    Mickey Raphael - Harmonica
    Jody Payne - Guitar
    Booker T. Jones - Organ, Piano
    Bobbie Nelson - Piano
    Chris Ethridge - Bass
    Bee Spears - Bass
    Paul English - Drums
    Rex Ludwig - Drums
    Jules Chaiken - Conductor

    AMG:
    "At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T. Jones. Well, it's not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of 'Georgia on My Mind,''All of Me,''Moonlight in Vermont,' and 'Don't Get Around Much Anymore,' blending pop, country, jazz, and folk in equal measures. It's not that Willie makes these songs his own, it's that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible. It may be strange to think that this album, containing no originals from one of America's greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it's appropriate, actually. Stardust showcases Nelson's skills as a musician and his entire aesthetic - where there is nothing separating classic American musical forms, it can all be played together - perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year."



    Stardust

    or

    Stardust


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    1. Walk Soft 7:13
    2. One Morning in May 3:20
    3. Lament for a Fallen Matador 11:46
    4. Down the Line 3:16
    5. When I Fall in Love 1:51
    6. My One and Only Love 5:48
    7. Bermuda Bye Bye 5:58
    8. Indian Summer 6:40

    Jim Hall - Guitar
    Art Farmer - Flugelhorn
    Tommy Flanagan - Piano
    Don Thompson - Piano
    Ron Carter - Bass
    Terry Clarke - Drums
    Allan Ganley - Drums
    Jane Hall - Vocals
    Joan La Barbara - Vocals
    Don Sebesky - Arranger

    AMG:
    "There is lots of variety on this CD reissue, which features guitarist Jim Hall in several different settings. He has separate duets with pianist Don Thompson (Hoagy Carmichael's delightful 'One Morning In May'), his wife Jane Hall (who sings 'When I Fall In Love'), pianist Tommy Flanagan, and drummer Terry Clarke. He also overdubs acoustic and electric guitars on his solo 'Down the Line,' teams up with pianist Flanagan and flugelhornist Art Farmer on two duets, and uses a slightly larger group on 'Lament for a Fallen Matador,' a Don Sebesky adaptation of a classical piece that has the haunting voice of Joan LaBarbara. Overall, there is plenty of intriguing music on this recommended set."



    Commitment

    or

    Commitment


    0 0


    1. Kaleidoscope
    2. Please Excuse My Face
    3. Dive into Yesterday
    4. Mr. Small, The Watch Repairer Man
    5. Flight from Ashiya
    6. The Murder of Lewis Tollani
    7. (Further Reflections) in the Room of Percussion
    8. Dear Nellie Goodrich
    9. Holiday Maker
    10. A Lesson Perhaps
    11. The Sky Children
    12. Flight from Ashiya
    13. Holiday Maker
    14. A Dream for Julie
    15. Please Excuse My Face
    16. Jenny Artichoke
    17. Just How Much You Are

    Eddie Pumer - Guitar
    Peter Daltry - Keyboardds
    Steve Clark - Bass
    Danny Bridgman - Drums

    AMG:
    "No relation to the far better known American Kaleidoscope, though this British group was also psychedelic, and was active at almost exactly the same time in the late '60s. Highly esteemed by some collectors, Kaleidoscope epitomized certain of the more precious traits of British psychedelia with their fairy-tale lyrics and gentle, swirling folky sound. At times they sound like a far more melodic and accessible Incredible String Band. Their folky ballads have aged best, and although there's some period charm to be found throughout their two albums, it's all a bit too cloying to rank among the finest unknown psychedelia. Although they had a solid underground reputation in Britain, they never found wide success, and evolved into a similar group, Fairfield Parlour, by the end of the '60s."



    Tangerine Dream

    or

    Tangerine Dream


    0 0


    1. Swee-Pea/There 14:38
    2. Flutter 20:23
    3. Hat and Beard 18:34
    4. Eureka 18:37

    Otomo Yoshihide - Guitar
    Kikuchi Naruyoshi - Sax (Tenor)
    Tsugami Kenta - Sax (Alto), Sax (Soprano)
    Mizutani Hiroaki - Bass
    Yoshigaki Yasuhiro - Drums, Trumpet

    AMG:
    "Although he had always expressed a reverence and knowledge of jazz, it still came as something of a surprise when Otomo Yoshihide, he of the abstract turntable explosions, sine wave studies, and earthshaking clamor (in bands like Ground Zero), formed a relatively traditional jazz ensemble, peppering its repertoire with hidden classics from the '60s. The disc begins with Wayne Shorter's 'Swee-Pea,' lovingly caressed at first and then stretched like taffy until it merges with Yoshihide's own 'There,' strained through a free jazz maelstrom on the way. Yoshihide is uniquely able to bring to bear lessons he's learned along the way from various sources, injecting a much-needed boost of vitality into a jazz scene that had (even on the free side) for too long been willing to simply regurgitate approaches by past masters. Tenor saxophonist Kikuchi Naruyoshi summons the spirit of the youthful Gato Barbieri, with all the fire and passion (and none of the later schmaltz), supplemented by a knowledge of, for example, the Tokyo onkyo scene, giving his playing a crucial new facet. Ripping through Yoshihide's 'Flutter,' there are clear aural references to the sort of sounds that normally issue from an Apple G3. And the composer's own solo on the piece, full of ear-shredding guitar feedback, rips the roof off the place. 'Hat and Beard' is given a relatively straight reading, altoist Tsugami Kenta in very Dolphy-esque form on his solo, Yoshihide (after some tasteful comping) going in an overtly harsh, anti-swing direction, chopping the melody into rough, bite-size bits. The quintet closes with an inspired choice of a cover, Jim O'Rourke's 'Eureka.' They seize on the lovely, plangent melody and wring it for all it's worth, ultimately ending in a similar drone pattern that Yoshihide used on the great Ground Zero album Consume Red, O'Rourke's theme substituting for Kim Seok Chul's ecstatic hojok playing. New Jazz Quintet Live is a huge advance over the previous two recordings (though each of those showed signs of the potential realized here) and stands as one of Yoshihide's most successful projects. Highly recommended to both fans of his previous work as well as to avant-garde jazz listeners seeking that elusive 'something new'."



    ONJQ Live

    or

    ONJQ Live


    0 0


    1. Cinema 9:54
    2. Gymnopedies I-II-III 8:21
    3. Je Te Veux 4:42
    4. Embryons Desseches 6:08
    5. Sonatine Bureaucratique 3:58
    6. Trois Morceaux En Forme De Poire 14:29
    7. Gnossiennes I-II-III 7:22
    8. Rag-Time Parade 1:07

    Yuji Takahashi - Piano

    AMG:
    "A pianist with over 100 Japanese releases to his his credit, Yuji Takahashi first attracted notice as an avant-garde composer in the early '60s while a member of the New Directions group along with Toshi Ichiyanagi and Kenji Kobayashi. After premiering Iannis Xenakis' Herma, a piano composition dedicated to him, Takahashi studied stochastic music under Xenakis between 1963 and 1966.
    After leaving Xenakis' tutelage, Takahashi focused his energies largely on composing, working with a variety of forms including orchestral, operatic, improvisational, and even pop music. In 1978, he returned to performing, organizing the Suigyu Band to play Asian protest songs. He also recorded his own work in addition to compositions by John Cage, Earle Brown, Roger Reynolds, and Toru Takemitsu. For the Denon label, he released a number of recordings by Bach and Satie.
    Throughout his long career, Takahashi worked with a number of collaborators, including John Zorn, Ryuichi Sakamoto, Musica Elettronica Viva, Ned Rothenberg, and Carl Stone. Despite the breadth of his huge back catalog, none of his own music was released on an American label until the appearance of Finger Light in 1995."



    Satie Favorites

    or

    Satie Favorites


    0 0


    1. Mystic Barge 4:51
    2. Elegy of Himself 6:27
    3. Choses À Faire 4:50
    4. Playing With Colours 4:36
    5. Drink Deeply 3:33
    6. That's Religion 7:19
    7. Me and U 6:25
    8. I Must Be Here 5:33
    9. Wildman's Land 5:02
    10. L' Eresia Di Basilide 3:59
    11. Nobody Knows How and Why 5:51

    Pier Luigi Andreoni - Keyboards, Programming, Synthesizer
    Roger Eno - Percussion, Piano, Synthesizer, Vocals, Voices
    Blaine L. Reininger - Violin, Vocals, Voices, Yells
    Arlo Bigazzi - Bass, Programming
    +
    Lisa Cantone – Vocals
    Bruno Orio – Saxophone
    Angelo Dall´Ospedale – Trumpet
    Alberto Andreoni - Guitar
    Damiano Puliti - Cello




    Nobody Knows And Why

    or

    Nobody Knows And Why


    0 0


    1. Vavavoum
    2. Vavavoum (Alt Version with Violin)
    3. Vavavoum (Alt Version with Piano)
    4. Vavavoum (Underscore version)
    5. La vie est belle
    6. Fast Bop
    7. Ciao Bella
    8. Paris Malaga
    9. Manouche Bolero
    10. Ipanema Walk
    11. Tropical Swing
    12. Caprice de Bridget
    13. Gypsy Groovin'
    14. Gypsy Cross Culture
    15. Gypsy Croos Culture (Underscore Version)
    16. Wild Ride
    17. Lueurs
    18. Gypsy Indigo
    19. C'est la vie en valse
    20. C'est la vie

    Romane - Guitar
    Hrají Stochelo Rosenberg - Guitar
    Stéphane Guillaume - Sax (Soprano)
    Didier Lockwood- Violin
    Stéphane Sanseverino - Electric Guitar
    Herve Legeay - Electric Guitar
    Pascal Reinhardt - Guitar
    Stephane Reinhardt - Guitar
    Daniel Colin - Bandoneon
    Christophe Cravero - Piano
    Serge Forte - Piano
    Marc-Michel Le Bévillon - Contrabass
    Gérard Carocci - Percussion
    Eve-Marie Bodet - Violin
    Caroline Bugula - Violin
    Frédéric Eymard - Alto Violin
    Clément Petit - Cello




    Gypsy Travelogue

    or

    Gypsy Travelogue


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