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FreeFall - LiveJournal.com

older | 1 | .... | 35 | 36 | (Page 37) | 38 | 39 | .... | 57 | newer

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    1. A Day In The Life 4:51
    2. Whine And Wail 5:25
    3. Strawberry Fields Forever 5:17
    4. Norsk Suite 6:08
    5. Join The City War 4:07
    6. Ikke Vær Redd, Far 4:38
    7. Have You Seen Your Father’s Face 3:59
    8. Sveins Vise 8:26
    9. Isolation 2:49
    10. Siste Ordre 5:54
    11. Tapha 21:00

    Åsmund Feidje - guitar, violin, vocals, bass
    Knut Heljar Hagen - organ, piano, vocals, bass
    Carl Jørgen Kiønig - drums

    discogs:
    "Rain, Norway's most well kept secret has been betrayed and solved!This great band has only released a very rare 45 EP as a soundtrack for the Norwegian movie Rivalen. Very much like Frank Zappa and The Mothers, RAIN's complex
    compositions are based on the skills of modern classic composers such as Varèse and Strawinsky. As a strong influence they've mentioned Vanilla Fudge. 10 great tracks with horns and orchestra arrangement, with great fuzz guitar, hammond organ and amazing vocals.A Norwegian rock band who had the urge to exceed limits, both musically and technically.Rain was Carl Jørgen Kiønig - drums / Knut Heljar Hagen - organ, piano, vocals, bass / Åsmund Feidje - guitar, violin, vocals, bass.This album was recorded in 1969/70, beside 7 own composition they play mind blowing versions of A Day in the life, Strawberry Fields Forever and Isolation. Their very complex and difficult arrangements required a lot of practice to turn their concerts into a total experience with a spectacular psychedelic light-show and experimented with "surround" sound."



    Norsk Suite

    or

    Norsk Suite


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    1. Mairy Hronopoulou - Tou Agoriou Apenanti (1967)
    2. Vougiouklaki & Papamihail - H Agapi Thelei Dio (1968)
    3. Dimitris Horn - I Thalassies Sou I Hantres (1962)
    4. Giannis Vogiatzis - Enas Ouranos M' Asteria (1965)
    5. Rena Vlahopoulou - Eho Stenahori Kardia (1962)
    6. Kostas Voutsas - Fsst Boing (1963)
    7. Marinella - Anixe Petra (1968)
    8. Panos Tzanetis - Hathikes (1968)
    9. Mairy Hronopoulou - Eimai Gynaika (1967)
    10. Mairy Lo - Garifalo St' Afti (1955)
    11. Doukissa - Thelo Ta Opa Mou (1966)
    12. Giorgos Zabetas - O Penintaris (1972)
    13. Giannis Vogiatzis - Sou To Pa Mia Kai Dio Kai Treis (1963)
    14. Vougiouklaki & Papamihail - Ston Ilio Tou Mesimeriou (1968)
    15. Kostas Voutsas - Apsou Gitses (1964)
    16. Marinella - Zografismena Me Harti (1963)
    17. Melina Merkouri - I Prodosia (1960)
    18. Doukissa - Ta Palikaria (1965)
    19. Melina Merkouri - Ta Paidia Tou Peiraia (1960)
    20. Dimitris Horn - Poios To Xerei ()
    21. Giovanna - An Thimitheis To Oneiro Mou (1959)
    22. Tolis Voskopoulos - Agonia (1969)
    23. Mairy Hronopoulou - Eklapsa Htes (1966)
    24. Rena Vlahopoulou - Fevgoun Ta Hronia (1965)
    25. Karagianni, Liaskou, Voutsas, Prokopiou, Vogiatzis - Menoume Panta Paidia (1965)




    I Megali Othoni

    or

    I Megali Othoni


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    1. Improvisation I 37:04
    2. Improvisation II 29:51
    3. Improvisation III 7:14

    Cecil Taylor - Piano
    Dominic Duval - Bass
    Jackson Krall - Drums

    AMG:
    "Strange as it sounds, this is a somewhat typical date by avant-garde master Cecil Taylor. Recorded live at a Minneapolis concert, the performance consists of three improvisations (two of which are quite lengthy) that have Taylor in mostly thunderous form, leavened by a few brief lyrical moments. Bassist Dominic Duval and drummer Jackson Krall do their best to keep up with Taylor but there is no doubt who the leader is. Taylor's remarkable technique and endurance are in evidence, as is his ability to build on the most abstract ideas and somehow have it all make musical sense. Taylor's followers will enjoy the music while those whose ears are not open to the pianist's very advanced improvising are advised to explore some of his earlier recordings first."



    All the Notes

    or

    All the Notes


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    1. Oh Girl 3:43
    2. Living in the Footsteps of Another Man 2:57
    3. Love Is 4:41
    4. Being in Love 3:52
    5. A Lonely Man 6:17
    6. The Man and the Woman (Boy and the Girl) 4:04
    7. Ain't Too Much of Nothin' 3:33
    8. Inner City Blues (Make Me Wanna Holler) 5:07
    9. The Coldest Days Of My Life 8:32
    10. Oh Girl (Live Version) 3:26

    Eugene Record
    Marshall Thompson
    Robert Lester
    Creadel Jones

    AMG:
    "Behind the talents of Eugene Record, the Chi-Lites presented an impeccable album featuring one gem after another. Not losing any steam from their previous album, the Chi-Lites plugged another number one song, the universally appealing 'Oh Girl,' which also claimed the number one spot on the pop charts. 'Coldest Days of My Life' came with a placid arrangement and peaked at number eight, and 'Lonely Man' was a humble extension of 'Have You Seen Her.' From the testimonial 'Living in the Footsteps of Another Man' to the mid-tempo 'Being in Love' to the ballad 'Love Is,' the Chi-Lites were flawless with this effort. Record is masterful with his articulation of the lyric; he stays in control of his vocals. His penmanship is phenomenal and his production skills are irreproachable. The only socially charged number is a remake of the Marvin Gaye classic 'Inner City Blues (Make Me Wanna Holler),' and it's done with skillful execution."



    A Lonely Man

    or

    A Lonely Man


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    1. Reynard the Fox 2:52
    2. Widow of Westmorland's Daughter 4:44
    3. The Hiring Fair 6:35
    4. Crazy Man Michael 4:49
    5. Close to the Wind 6:20
    6. Big Three Medley 10:41
    7. Meet on the Ledge 4:09

    Martin Allcock - Bouzouki, Guitar, Vocals
    Simon Nicol - Guitar, Vocals
    Ric Sanders - Keyboards, Violin
    Dave Pegg - Bass, Keyboards, Mandolin, Vocals
    Dave Mattacks - Drums, Keyboards

    AMG:
    "Not a genuine live album (applause and audience ambience are grafted on to studio cuts), this somewhat misleadingly titled and packaged record did mark the group's brief return to major-label activity, in association with its own 20th anniversary and Island's 25th anniversary. Some of the playing is too loud, especially the amplified fiddle, but it does have robust performances of 'Meet on the Ledge,''The Hiring Fair,' and 'Crazy Man Michael'."



    In Real Time

    or

    In Real Time


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    1. Studio J 6:00
    2. American Ballad 5:45
    3. Quadrille, Anyone? 6:20
    4. Children in the Temple Ground 5:27
    5. The First Night 4:51
    6. Kogun 10:24
    7. Since Perry/Yet Another Tear 12:30
    8. Road Time Shuffle 6:11

    Lew Tabackin - Clarinet
    Bill Perkins - Clarinet, Sax (Baritone)
    Steve Huffsteter - Trumpet
    Richard Cooper - Trumpet
    Mike Price - Trumpet
    Bobby Shew - Trumpet
    Bill Reichenbach Jr. - Trombone
    Britt Woodman - Trombone
    Charles Loper - Trombone
    Phil Teele - Trombone (Bass)
    Toshiko Akiyoshi - Piano
    Don Baldwin - Bass
    Peter Donald - Drums

    AMG:
    "The Toshiko Akiyoshi-Lew Tabackin Big Band recorded frequently during the 1970s, including several LPs for RCA, four of which are heard in part on this 1991 Novus CD compilation. Akiyoshi, a talented pianist who was recommended by Oscar Peterson to producer Norman Granz after he heard her during a tour of Japan in the '50s, proves herself an inventive composer/arranger whose charts don't use commonplace voicings. 'Studio J' is a punchy opener featuring the leader and trombonist Bill Reichenbach to good effect, while the rich 'American Ballad' was specifically written for trombonist Britt Woodman, a former sideman with Duke Ellington. 'Children in the Temple Ground' incorporates the traditional vocal chant, sung by Tokuko Kaga in the introduction, though it quickly transforms into an exotic Oriental waltz. The haunting 'Kogun,' a feature for Tabackin on flute, also reflects traditional influences, mixed with modern big band, honoring a World War II Japanese veteran who finally came out of hiding in the Philippines in the mid-'70s and discovered the conflict was long over. Though this excellent compilation is long out of print, most fans of the Toshiko Akiyoshi-Lew Tabackin Big Band will want to acquire each of the four LPs (Insights, Kogun, Long Yellow Road, and Road Time) in their entirety, though that may be a bit more difficult and expensive."



    Akiyoshi-Tabackin Big Band

    or

    Akiyoshi-Tabackin Big Band


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    1. Det Kan Väl Inte Vara Farligt 5:37
    2. You Know It Ain't Easy 7:17
    3. Spångaforsens Brus 5:52
    4. Jan Banan 5:10
    5. Naked Man 6:12
    6. Queen of Darkness 4:31
    7. Sanningsserum 6:30
    8. Sanningsserum live 7:26
    9. Jan Banan live 5:26
    10. Land Over the Rainbow (live) 5:15

    Jonas Warnerbring - vocals, flute
    Björn Nyström - guitar
    Jan Aggemyr - guitar
    Christer Sjöborg - organ, synthesizer, string thing
    Bjorn Aggemyr - bass
    Peter Sandberg - drums

    progarchives:
    "Swedish act Råg I Ryggen was founded in 1971, based in the captitol city of Stockholm. According to the sparse sources available on the band they never managed to get a consistant line-up, as members were coming and going quite a lot.
    Legend has it that a night of boozing lead to the band being signed. Peter Sandberg (drums) had apparently been out enjoying Stockholm's nightlife, and while waiting for public transport to arrive at Stockholm's Central Station he met and started discussing music with a guy who was there. Both of them were in a rather jolly mood according to the sources; and as the guy in question was a record producer the drunken discussion ended with Sandberg's band being invited to record an album at the studio the guy was working at.
    The end result of this was that Sandberg and his fellow musicians Björn Aggemyr (bass), Björn Nyström (guitar), Christer Sjöborg (organ, keyboards), Jan Aggemyr (guitar), and Jonas Warnerbring (vocals, flute) got to record their one and only album; the self-titles production 'Råg I Ryggen' which was released in 1975.
    In 1976 Warnerbring and Sandberg left the band; replaced by Bo Lantz (vocals) and Jonas Edgren (drums). This new line-up didn't last long though, and after a concert late in 1976 the band fell apart."



    Råg i Ryggen

    or

    Råg i Ryggen


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  • 03/20/13--12:22: Bilzen Jazz Festival, 1969

  • Shocking Blue
    Deep Purple
    Bonzo Dog Doo Dah Band
    Taste
    Moody Blues
    Soft Machine
    Marsha Hunt & White Trash
    Brian Auger & The Trinity
    Steve Shorter & Tilly Set
    Humble Pie
    Life
    Blossom Toes
    The Move
    Roland And The Bluesworkshop

    0 0


    1. Babble a la Roy 0:10
    2. Maybe I'm Lost 5:23
    3. Lil' Darlin' 5:01
    4. Angel Eyes 5:27
    5. Pork Chop 6:16
    6. Aubergine 4:16
    7. Olé 4:32
    8. Imitation of a Kiss 5:55
    9. Jive Samba, Pt. 2 2:34
    10. Don'cha Go 'Way Mad 3:21
    11. The Tide Is High 3:49
    12. It Came from Outer Space/Star Dust 1:19

    Deborah Harry
    Bill Ware
    Brad Jones
    Curtis Fowlkes
    E.J. Rodriguez
    Rob Thomas
    Roy Nathanson
    Elvis Costello (6,10)

    AMG:
    "The Jazz Passengers were founded in 1987 by Roy Nathanson and trombonist Curtis Fowlkes in order to bring lively humor and entertainment back into modern jazz. The name, a takeoff on Art Blakey's Jazz Messengers, signifies that the musicians are merely along for a wild ride. The band also includes percussionist E.J. Rodriguez, bassist Brad Jones (a cohort of Elvin Jones and Muhal Richard Abrams), Steely Dan touring vibist Bill Ware and guitarist Marc Ribot, who has appeared on albums by noted singer/songwriters Elvis Costello and Tom Waits. Nathanson and Fowlkes met while playing in the pit band for the Big Apple Circus, which gave them the opportunity to play the Charles Mingus music they loved and pay the bills as well. The two joined John Lurie's Lounge Lizards and left after a short time to record a duet album together. They added more and more studio musicians until eventually, the Jazz Passengers were born. The group made a name for itself in the New York City avant-garde scene centering on the Knitting Factory with its hybrid of Mingus-influenced postbop, dance rhythms and original tunes complete with lyrics and/or entertaining stories. After five albums on small independent labels, the Passengers finally recorded their major-label debut, Jazz Passengers in Love. In 1994, rock singer Deborah Harry started touring and recording with the band.

    On Individually Twisted, Deborah Harry became the Jazz Passengers' lead vocalist, and she acquits herself well, helping to turn the album into a thoroughly enjoyable, jazzy hipster pastiche. Elvis Costello also appears on two tracks, including a fun duet with Harry on 'Doncha Go 'Way Mad'."



    Individually Twisted

    or

    Individually Twisted


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    1. Let Your Love Go 2:26
    2. Take Comfort 3:33
    3. Too Much Love 2:46
    4. If 2:35
    5. Be Kind to Me 3:04
    6. He's a Good Lad 2:59
    7. She Was My Lady 2:51
    8. Live in Your Love 2:46
    9. What a Change 3:40
    10. I Say Again 2:53
    11. Come Again 4:03
    12. Truckin' 2:32

    David Gates - Guitar, Keyboards, Violin, Vocals
    James Griffin - Guitar, Keyboards, Vocals
    Robb Royer - Bass
    Michael Botts - Drums

    AMG:
    "Bread's third album, Manna, isn't so much a step forward as it is a consolidation of strengths, as the group sharpens their skills and carves out their own identities. It's clear that the rift between David Gates and Robb Royer and James Griffin is beginning to take shape, as the album is evenly divided between Gates tunes and Royer/Griffin compositions. This benefits the album, since it spurs each member to greater heights, and they even tend to sequence the record in ways that support that sentiment - Gates''Let Your Love Go,' complete with its rockin' harpsichords, is followed by the hard-driving verses of 'Take Comfort,' which, admittedly, is tempered by a dreamy chorus. And while some of the rougher edges present on Bread or On the Waters are sanded down slightly, they're still there, providing good contrast to such soft pop landmarks as 'If.' Yet, this is a record that is laid-back and even tempered, which isn't a bad thing - it results in a fine listen, especially since the group's songwriting remains at the high standard instituted on that first Bread album."



    Manna

    or

    Manna


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    1. Trilo 1:16
    2. Kom Helge Ande 3:07
    3. Gullharpan 6:34
    4. Mannelig 4:39
    5. Polska Efter Roligs Per 3:01
    6. Hornlåt 2:12
    7. Sven i Rosengård 5:42
    8. S:t Göran och Draken 6:19
    9. Tacker Herranom/Mats Hansu Polskan 4:08
    10. Knut Hauling 5:52
    11. Polska Efter Jones Olle 3:04
    12. Svanegångare/Sven Svanehvit 6:52
    13. Jemsken 1:53
    14. Båtsman/Turklåten 3:29
    15. Vallsvit 4:59
    16. Drömspår - Eftrerspel 1:51

    Lena Willemark - Fiddle, Viola, Vocals
    Ale Möller - Accordion, Cowbell, Dulcimer, Flute, Harp, Horn, Lute, Vocals
    Jonas Knutsson - Harmonium, Percussion, Sax (Baritone), Sax (Soprano), Vocals
    Mats Edén - Drones, Fiddle, Kantele
    Per Gudmundson - Bagpipes, Fiddle, Swedish Bagpipes, Vocals
    Palle Danielsson - Double Bass
    Tina Johansson - Berimbau, Percussion, Vocals
    Bjorn Tollin - Percussion

    AMG:
    "Nordan is a respectful sampling of sacred Swedish folk music, whereby Ale Möller shows off his strengths as a multi-instrumentalist and arranger for a record label that fits him like a glove: the equally chilling and crisp ECM from Germany. The album showcases material laid down hundreds (if not thousands) of years earlier, tapping the veins of medieval folklore as it speaks through the voice of the fisherman's wife, the exiled brother, the shepherd, the knight, and various other historical archetypes. Lena Willemark fuels these various tall tales with a gorgeous voice and accomplished fiddle playing, along with an ensemble of half a dozen other musicians. Her playing smolders at various points on the disc (but especially so on the brief instrumental 'Jemsken'). In addition, it almost goes without saying that Manfred Eicher further serves the material with his faithfully minimalist production values, emphasizing the natural sounds of the dulcimer, accordion, mandolas, percussion, drone fiddles, and double bass. Consequently, the music has a timelessness to it, and a legitimacy that would certainly perish if there were any attempts to make it 'hip' (perhaps the alto saxophone would be the only guilty party). The disc closes simply and beautifully with 'Drömspår - Efterspel,' a prayer on Möller's accordion that drifts under the northern lights, somewhere out at sea. Its impact lays in its simplicity. By playing it straight, Nordan preserves something more intimate than history - it revives the thinning fires of legend and myth."



    Nordan

    or

    Nordan


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    Different Trains, for double string quartet & tape
    1. I. America - Before the war 8:58
    2. II. Europe - During the war 7:30
    3. III. After the war 10:35

    Triple Quartet, for 3 string quartets
    4. Part 1 7:17
    5. Part 2 3:51
    6. Part 3 3:39

    The Four Sections, for orchestra
    7. Section 1 10:08
    8. Section 2 2:14
    9. Section 3 5:33
    10. Section 4 5:13

    Orchestre National de Lyon
    David Robertson

    AMG:
    "In Naïve's Reich: Different Trains - Triple Quartet - The Four Sections the orchestral music of American composer Steve Reich is performed by the Orchestre National de Lyon under conductor David Robertson. The first two works are new to the orchestral format; in the case of Different Trains, Reich's string quartet and tape original is expanded to a rank of 48 strings, and the Triple Quartet is performed in its third original performance option of three groups of 12 musicians. The Four Sections, of course, is an orchestral work to begin with, but the arrangement of Different Trains dates only from 2001 and the Triple Quartet from 1999, so in a sense these works are newly minted.
    Robertson's handling of this music is without fuss, but also without flair - The Four Sections is performed with accuracy but minus inspiration and spark, and tends to just plod along. Some of the acoustical phenomena typically present in large-scale Reich works, such as the beating of slightly differing harmonic tones in the air, are captured only dimly by Naïve's rather shallow and distant recording. Most of this difficulty can be somewhat alleviated by simply kicking up the volume a notch, but the pre-recorded voices in Different Trains are quite loud in relation to the orchestral parts, rendering this performance almost unlistenable.
    It is not often that new orchestral works by American composers of any reputation get such prompt attention from record companies, and this aspect of the project deserves praise. Otherwise this disc is only workable for hardcore devotees of the music of Reich, and even then only those with a lot of patience and a good equalizer."



    Different trains/Triple quartet/The four sections

    or

    Different trains/Triple quartet/The four sections


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    0 0


    1 Introduction/Maiden Voyage 7:58
    2 Actual Proof 8:28
    3 Spank-A-Lee 8:47
    4 Watermelon Man 5:50

    5 Butterfly 12:44
    6 Chameleon 10:24
    7 Hang up Your Hang Ups 19:54

    Bennie Maupin
    - Soprano and tenor saxophones, Saxello, Bass clarinet, Alto flute
    Herbie Hancock - Fender Rhodes electric piano, Hohner D6 clavinet, ARP Odyssey synthesizer, ARP Soloist synthesizer
    Paul Jackson - Electric bass, Marimbula
    Mike Clark - Yamaha drums
    Bill Summers - Congas, Shekere, Balafon, Agogo, Cabasa, Hindewho, Tambourine, Log drum, Surdo, Gankogui, Beer Bottle

    AMG:
    "Herbie Hancock and the Headhunters take to the road in the live double album Flood, recorded and released only in Japan. Contrary to the impression left by his American releases at this time, Hancock was still very much attached to the acoustic piano, as his erudite opening workout on 'Maiden Voyage/Actual Proof' with his funk rhythm section makes clear. The electric keyboards, mostly Rhodes piano and clavinet, make their first appearances on side two, where Hancock now becomes more of a funky adjunct to the rhythm section, bumping along with a superb feeling for the groove while Bennie Maupin takes the high road above on a panoply of winds. Except for 'Voyage,' the tunes come from the Head Hunters, Thrust, and Man-Child albums (another reason why this was not released in the U.S.). 'Chameleon' comes with a lengthy outbreak of machine pink noise that attests to Hancock's wide-eyed love of gadgetry. In all, this was a great funk band, not all that danceable because of the rapid complexities of Mike Clark's drumming, and quite often, full of harmonic depth and adventure."



    Flood

    or

    Flood


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    1. Stone Free
    2. Romeo Y Julieta
    3. Zenith
    4. Cyclops
    5. Magnetism
    6. Mauritius
    7. Green Eyed Lady
    8. Circumstances
    9. Sitting In The Park
    10. Understanding
    11. I Love You
    12. Girl
    13. Love Machine

    Walter Ziman - vocals, piano
    Lito Benito - guitar
    Ricardo Mendeville - guitar
    José Rosemblut - bass
    Michel Boisier - drums

    discogs:
    "Escombros where active in the underground scene in Chile together with Los Jaivas, Blops, Aguaturbia and Kissing Spell. Escombros recorded in 1970 for the Arena label. Only one single and one LP were released. Escombros are: Walter Sitzmann, Lito Benito, Ricardo Mendeville, Jose Rosenblut and Michel Boisier. Their influences are Jimi Hendrix, Cream, Pink Floyd and Great Funk Railroad. After their self-titled album, Walter left Chile so the band split up."



    Escombros

    or

    Escombros


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    1. Els Segadors (The Reapers) 4:14
    2. The Ballad of the Fallen 4:19
    3. If You Want to Write Me (Si Me Quieres Escribir) 3:55
    4. Grandola Vila Morena 2:11
    5. Introduction to People 3:55
    6. The People United Will Never Be Defeated (El Pueble Unido Jamás Será ...) 1:40
    7. Silence 5:49
    8. Too Late 8:24
    9. La Pasionaria 10:26
    10. La Santa Espina 6:58

    Dewey Redman - Sax (Tenor)
    Steve Slagle - Clarinet, Flute, Sax (Alto), Sax (Soprano)
    Jim Pepper - Flute, Sax (Soprano), Sax (Tenor)
    Don Cherry - Trumpet (Pocket)
    Michael Mantler - Trumpet
    Sharon Freeman - French Horn
    Gary Valente - Trombone
    Jack Jeffers - Tuba
    Mick Goodrick - Guitar
    Carla Bley - Glockenspiel, Piano
    Charlie Haden - Bass
    Paul Motian - Drums, Percussion

    AMG:
    "The second recording by Charlie Haden's Liberation Music Orchestra utilizes a few alumni (the bassist/leader, trumpeters Don Cherry and Mike Mantler, tenor saxophonist Dewey Redman, drummer Paul Motian and pianist Carla Bley), along with other musicians who rose to prominence since the 1969 debut album (Jim Pepper and Steve Slagle on reeds, trombonist Gary Valante, guitarist Mick Goodrick, Sharon Freeman on French horn, and Jack Jeffers on tuba). As with the first set, the music mixes together some melodic but avant-garde explorations with revolutionary themes including songs from the Spanish Civil War, El Salvador, Portugal and Chile. 'Too Late,' a duet by Bley and Haden, serves as a change of pace. The music is quite credible and emotional, and has dated well."



    The Ballad Of The Fallen

    or

    The Ballad Of The Fallen


    0 0
  • 03/26/13--15:46: Soft Machine, 1968-1971
  • Soft Machine - Ce Soir On Danse, August 25, 1968


    Soft Machine - Theatre De La Musique, March 2, 1970


    Soft Machine - Brussels, January 15, 1971

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    1. Moon in June 13:05
    2. Esther's Nose Job 11:58
    3. Mousetrap/Noisette/Backwards/Mousetrap Reprise/Esther's Nose Job 8:47
    4. Slightly All the Time 15:20

    1. Facelift 11:58
    2. Virtually 9:58
    3. Neo Caliban Grides 7:34
    4. Drop 6:59
    5. As If 7:49
    6. Dedicated to You But You Weren't Listening 2:45

    Elton Dean - alto sax, saxello
    Mike Ratledge - keyboards
    Robert Wyatt - drums
    Hugh Hopper - bass
    +
    Lyn Dobson - soprano sax, flute
    Mark Charig - cornet
    Nick Evans - trombone

    AMG:
    "On their good days, Soft Machine could slide effortlessly between jazz, rock, and classical influences and show a lot of other bands how it's done. Unlike a lot of other Peel Sessions releases, which include as little as a quartet of tracks, this volume, drawn from appearances on the BBC from June 1969 through November 1971, takes up two full CDs, and none of the space is wasted - disc one also opens with Robert Wyatt's special invocational version of 'Moon in June,' written for the occasion and referring to it throughout. It is strange, but the bandmembers' playing is so confident and elegant that they make their case and then some - they were already acquitting themselves better than other neophyte outfits like King Crimson, based on the evidence presented here. The sound is good and the group was on form throughout these appearances, evidently having been given a blank check (within reason) by the BBC. [All of the tracks here that include Robert Wyatt - that is, everything except 'Drop' and 'As If,' were later included in the definitive BBC Radio 1967-1971 two-disc set released in 2003. That set also features improved sound and a booklet featuring extensive liner notes, historical photographs, and session details. If one is inclined to miss the presence of 'Drop' and 'As If,' those tracks are included in the companion volume, BBC Radio 1971-1974]."



    The Peel Sessions

    or

    The Peel Sessions


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    1. Welfare Flower Child 6:07
    2. Song of Allah 5:41
    3. Travelin' Across the Land 4:45
    4. (Gotta Have) Soul 5:30
    5. Steppin' on the Giant 5:39
    6. Runaway Train 4:24
    7. Lover's Cool-Out 2:59
    8. Thinkin' Bout Money 8:15
    9. Restless Waves 11:10
    10. Surrender 3:42

    John Stubblefield - Sax (Tenor)
    Jean-Paul Bourelly - Guitar, Keyboards, Vocals
    Blue Black - Rap
    Mark Batson - Keyboards, Vocals
    Carl Bourelly - Keyboards
    Djinji Brown - Sample Programming
    Alfredo Alias - Cymbals, Drums, Vocals
    Kevin Johnson - Drums

    AMG:
    "Blues-rock/fusion guitarist Jean-Paul Bourelly was born on November 23, 1960, in Chicago, IL, to parents who were first-generation Haitians. Early on, Bourelly learned about Yoruba music from his grandmother, sang Rossini at the Lyric Opera House at ten years of age, and took both piano and drum lessons. But by the age of 14, Bourelly had shifted his focus entirely onto guitar upon discovering Jimi Hendrix. After relocating to New York City in 1979, Bourelly soon landed gigs with the likes of Muhal Richard Abrams, Roy Haynes, McCoy Tyner, and Elvin Jones, and a bit spot in Francis Ford Coppola's movie The Cotton Club. The late '80s saw Bourelly launch a solo career (with 1987's Jungle Cowboy), and a year later, landed a once in a lifetime opportunity by playing on one of Miles Davis' latter-day recordings, Amandla.
    In addition, Bourelly became involved in the Black Rock Coalition (which was founded by Living Colour guitarist Vernon Reid), all the while continuing to play with others -- including former Hendrix drummer Buddy Miles, Robin Trower, Jack Bruce, and Terry Bozzio, as well as producing artists (including the European rock band Matalex, and Cassandra Wilson, the latter of which Bourelly has played with over several albums). Bourelly has also steadily issued solo releases throughout the 1990s and early 21st century (1992's Trippin', 1994's Saints & Sinners and Blackadelic Blu, 1995's Tribute to Jimi, 1997's Fade to Cacophony: Live, 1998's Rock the Cathartic Spirits, 1999's Vibe Music, 2001's Boom Bop, and 2002's Trance Atlantic), as he has enjoyed quite a bit of critical and commercial success over in Japan. Bourelly has collaborated with others, too, including Vernon Reid (the Reid/Bourelly Project), Marc Ribot, David Torn, and Elliott Sharp, and African Boom Bop."



    Blackadelic-Blu

    or

    Blackadelic-Blu


    0 0


    1. Main Titles (Overture) 2:20
    2. Deceleration 0:50
    3. Once Around Altair 1:09
    4. The Landing 0:40
    5. Flurry of Dust-A Robot Approaches 1:09
    6. A Shangri-La in the Desert/Garden With a Cuddly Tiger 1:32
    7. Graveyard-A Night With Two Moons 1:15
    8. "Robby, Make Me a Gown" 1:16
    9. An Invisible Monster Approaches 0:46
    10. Robby Arranges Flowers, Zaps Monkey 1:17
    11. Love at the Swimming Hole 3:11
    12. Morbius' Study 0:37
    13. Ancient Krell Music 1:47
    14. The Mind Booster/Creation of Matter 0:56
    15. Krell Shuttle Ride and Power Station 2:31
    16. Giant Footprints in the Sand 0:45
    17. "Nothing Like This Claw Found in Nature!" 1:23
    18. Robby, the Cook, and 60 Gallons of Booze 0:56
    19. Battle With the Invisible Monster 2:50
    20. Come Back to Earth with Me 1:17
    21. The Monster Pursues/Morbius Is Overcome 5:45
    22. The Homecoming 1:56
    23. Overture (Reprise) 2:13

    AMG:

    "The late Louis Barron and his then-wife Bebe created a unique score for the 1956 MGM film Forbidden Planet. Made up entirely of electronic tonalities generated by cybernetic circuits feeding back (many in their 'death throes'), the music for the movie was as unearthly as anything ever heard in a Hollywood soundtrack up to that time (and for many years after as well), and captured perfectly the film's futuristic extraterrestrial setting and action. Despite their 'unnatural' textures, the oscillations, pulses, beeps, wails, and electronic shrieks that make up this soundtrack are, indeed, very musical: they have distinctive patterns that evolve, shift, and change as the circuits creating them go through their 'life cycles'; they interweave with each other; and they also occasionally match the action in the scenes to which they are attached. The latter element may tempt one to accuse the Barrons of having 'Mickey Moused' the soundtrack, to use a derisive term indicating music that slavishly mimicks action, but in this case they can be forgiven, allowing for the unearthly setting of the movie and the need to envelop the viewer. Additionally, the Barrons were not members of the proper union to allow them to officially 'score' a major studio film, and were credited with 'tonalities' rather than music, which gave them considerably more freedom. Officially, they were creating a special film environment, not a film score, and succeeded so well that their work stands favorably on its own as a soundtrack. The GNP Crescendo CD release allows one to avoid the problems of noisy vinyl pressings that afflicted the original Planet Records (later changed to Small Planet Records) LP issue from the late '70s."



    Forbidden Planet

    or

    Forbidden Planet


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