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FreeFall - LiveJournal.com

older | 1 | .... | 36 | 37 | (Page 38) | 39 | 40 | .... | 57 | newer

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    1. Prologue 5:29
    2. Zounds 2:33
    3. Prelude to a Kiss 5:19
    4. Blue Samba 4:19
    5. All Things Considered 14:38
    6. Synthesthetics 7:29
    7. Taking a Chance on Love 4:12
    8. Piece for My Dad 4:31
    9. Soft Lee 6:14

    Lee Konitz - Sax (Alto), Sax (Soprano), Vocals
    Kenny Werner - Piano, Synthesizer
    Ron McClure - Bass
    Bill Stewart - Drums

    AMG:
    "This is a very interesting if occasionally unsettling CD. Lee Konitz (doubling on alto and soprano) and his 1990 quartet (which is comprised of Kenny Werner on piano and occasional synthesizer, bassist Ron McClure and drummer Bill Stewart) emphasize freely improvised performances throughout the date. Two standards ('Prelude to a Kiss' and 'Taking a Chance on Love') are interpreted pretty freely while all of the other selections are group originals; Konitz even takes an unplanned 'vocal' (more an example of sound explorations then an attempt at conventional singing) on 'Synthesthetics.' This is a consistently stimulating and rather unpredictable outing by the talented group."



    Zounds

    or

    Zounds


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    1. Then I Saw a Face 3:30
    2. Sun Song 3:32
    3. I Really Only Want to Be withYou 2:31
    4. Andrianna 2:12
    5. Mountain Side 4:30
    6. Stop! The Music Is Over 2:53
    7. Why Is Gone 4:51
    8. My Turn to Cry 3:20
    9. So Many Tears 1:24
    10. I Am But Alone 4:06
    11. Earth 4:24
    12. Here and Now 4:34
    13. Empty Rooms 2:18
    14. Dandylions 3:00
    15. What Do You Do 2:59
    16. Waterfall (Pure Land) 2:59
    17. Places 5:39
    18. The Old Tree 2:19
    19. My Babe 2:50
    20. Policeman 2:30
    21. Questions 1:56
    22. Student DeMonstration Time 3:38
    23. Andriannach 2:29
    24. Stop! The Music Is Over 2:47

    Garry McAlpine - lead vocals, percussion
    Graham Wardrop - guitar, lead vocals
    Kevin Foster - keyboards
    Peter Fraser - bass guitar, vocals
    Peter Edmonds - drums, vocals

    nzmusician:
    "This is a compilation of Lutha's two albums, fleshed out with three live tracks. Lutha was formed in Dunedin in 1970 and signed to HMV in 1972 producing their albums 'Lutha' and 'Earth' that year. They were initially insistent on remaining Dunedin-based, even after attracting considerable national interest, but eventually moved to Christchurch before they amicably broke up in 1974. The band line-up consisted of: Graham Wardrop (guitar/lead vocals), Garry McAlpine (lead vocals/percussion), Peter Edmonds (drums/vocals), Peter Fraser (bass guitar/vocals) and Kevin Foster
    (keyboards). Their sound could overall be described as melodic progressive rock, like early Genesis or Yes, but with lush vocal harmonies throughout. There is a great variety of music, between Wardrop's 'McCartney-esque' numbers (soft and melodic, in the vein of The Beatles) and McAlpine's rockier style (possibly a precursor to stars such as Jimmy Barnes). McAlpine's vocals are truly remarkable - he could have fronted any of the
    hugely popular heavy rock acts of the '70s with his unique talent. The original members of Lutha have recently announced that they will reform for a concert in Dunedin during the inaugural Dunedin Heritage Festival in March. 'Stop!' was remastered at Stebbing Recording Centre by Simon Lynch and is highly recommended."



    Stop! The Music Is Over

    or

    Stop! The Music Is Over


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    1. Please Be Kind 03:13
    2. The Midnight Sun Will Never Set 02:48
    3. Live for Love 03:21
    4. Misty 03:00
    5. I'm Lost 03:38
    6. Love Me 03:10
    7. That's All 03:29
    8. Day By Day 03:08
    9. Gone With the Wind 03:26
    10. I'll Close My Eyes 03:38
    11. The Thrill Is Gone 02:27
    12. Charade 02:51
    13. It Could Happen to You 02:48
    14. Blue Orchids 03:21
    15. This Heart of Mine 02:47
    16. Then I'll Be Tired of You 03:32
    17. Funny 03:33
    18. My Coloring Book 03:47
    19. How Beautiful Is Night 03:11
    20. Hey There 02:30
    21. Deep Purple 02:55
    22. I'll Be Around 03:31
    23. Days of Wine and Roses 02:40

    Sarah Vaughan - Vocals
    Jo Hrasko - Saxophone
    Marcel Hrasko - Saxophone
    Michael A. Hauser - Vibraphone
    Ronnell Bright - Piano
    Richard Davis - Bass
    Pierre Michelot - Bass
    Kansas Fields - Drums
    Kenny Clarke - Drums
    Quincy Jones - Conductor
    Robert Farnon - Conductor

    AMG:
    "During the 1950s, Sarah Vaughan wowed the public with her lush, rich vocals, especially in ballad settings. She is backed by a string section for most of this collection of ballads recorded in Paris with conductor/arranger Quincy Jones. This 1958 recording is notable as it is one of the first albums to feature Erroll Garner's mega-hit 'Misty' with Johnny Burke's brand new lyrics; this version is notable for its simplicity and lack of gimmicky vocal effects. Many of the tracks add a rhythm section (usually pianist Ronnell Bright, bassist Richard Davis, and drummer Kenny Clarke, though other drummers also took part), along with a saxophone quartet for backgrounds, with tenor saxophonist Zoot Sims providing occasional brief solos or counterpoint, though the saxophone credits in the booklet don't match up very well with the music. Vaughan is in top form throughout the disc; only the use of excessive reverb on the closing to 'Gone with the Wind' dates these magical sessions."



    Misty

    or

    Misty


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    1. Fool for a Pretty Face 4:12
    2. You Soppy Pratt 4:08
    3. Infatuation 3:45
    4. Take It from Here 3:39
    5. Savin' It 4:41
    6. Baby Don't You Do It 3:25
    7. Get It in the End 2:41
    8. My Lover's Prayer 4:02
    9. Further Down the Road 4:29
    10. Over You 2:22

    Steve Marriott - Guitar, Harmonica, Keyboards, Vocals
    Bob Tench - Guitar, Vocals
    Anthony Jones - Bass, Vocals
    Jerry Shirley - Drums

    AMG:
    "Five years after breaking up Humble Pie, Steve Marriott formed a new version of the band - featuring drummer Jerry Shirley, guitarist Bobby Tench, and bassist Anthony Jones - and recorded On to Victory. Unfortunately, On to Victory picks up exactly where Street Rats left off - it's a rote set of competent but faceless blues boogie."



    On To Victory

    or

    On To Victory


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    1. California Dreamin' 6:20
    2. Frantic Moment 3:43
    3. So Goes the Story 3:57
    4. I Want You (She's So Heavy) 9:26
    5. Physical Love 5:33
    6. What About It? 3:45
    7. California Dreamin' (Reprise) 1:40

    Eddie Hazel - Guitar, Vocals
    Glenn Goins - Guitar
    Mike Hampton - Guitar
    Garry Shider - Guitar
    Doug Duffey - Piano
    Bernie Worrell - Keyboards
    Bootsy Collins - Bass, Percussion
    Billy Bass - Bass
    Cordell Mosson - Bass
    Jerome Brailey - Percussion
    Gary Cooper - Vocals
    Ramon Tiki Fulwood - Percussion
    Lynn Mabry - Vocals
    Dawn Silva - Vocals

    AMG:
    "For many years, Eddie Hazel's Game, Dames and Guitar Thangs was a holy grail of sorts for real funkateers, as it was the only thing released under Hazel's name while he was still alive, and it had been out of print for years. Truth be told, the album itself is a bit light. Barely over 30 minutes long, about half of the album consists of two covers (and a reprise), and the other tracks are little more than slightly fleshed-out jam sessions. But what the album lacks in songwriting and original material, Hazel more than makes up for with his guitar playing. The album starts with the most soulful version of 'California Dreamin'' you've ever heard. Hazel totally makes the song his own by slowing it down and adding an even more pronounced sense of longing; then there are the wicked molten guitar leads that are alone worth the price of admission. 'Frantic Moment' and 'So Goes the Story' are little more than jams with some Brides of Funkenstein vocals added (and of course, great guitar), but the epic cover of the Beatles''I Want You (She's So Heavy)' is just fantastic. 'Physical Love' and 'What About It?' are solid instrumentals that just let Hazel strut his stuff ('Physical Love' also gives some spotlight to Bernie Worrell) before the reprise of 'California Dreamin'' closes the set. Again, what this album lacks in substance it makes up for in performance, and there just isn't enough material that really features Hazel's guitar playing up-front like this. Eddie Hazel was an undeniable guitar genius, but his troubled lifestyle led to a dearth of material that really showed his strengths. Thankfully, this lost classic is available again, putting some spotlight back on a pioneering and under-recognized guitar great."



    Game, Dames And Guitar Thangs

    or

    Game, Dames And Guitar Thangs


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    1 Fonogrammi 7:05
    2 The Awakening of Jacob 9:24
    3 Anaklasis 6:38
    4 De natura sonoris No. 1 8:51
    5 Partita 18:42
    6 Horn concerto "Winterreise" 18:08

    Urszula Janik - Flute
    Jennifer Montone - Horn
    Barbara Witkowska - Harp
    Elzbieta Stefanska Lukowicz - Harpsichord
    Michal Pindakiewicz - Guitar (Electric)
    Jerzy Cembrzynski - Double Bass
    Konrad Kubicki - Guitar (Bass)
    Warsaw Philharmonic Orchestra
    Antoni Wit - Conductor

    AMG:
    "As one of the leading lights of the avant-garde in the middle of the 20th century, Krzysztof Penderecki became famous for his uncompromising experimental music, most of all for his wrenching Threnody for the Victims of Hiroshima (1960). Three of the works on this 2012 Naxos release by Antoni Wit and the Warsaw Philharmonic Orchestra date to his early period: Anaklasis, for string orchestra (1960), Fonogrammi, for flute and chamber orchestra (1961), and De natura sonoris I for orchestra (1966). Unusual orchestral sonorities, sharp bursts in high registers, rumbling drones, and cluster-chord textures dominate these pieces. Though some of Penderecki's compositional strategies changed in the Partita, for harpsichord, electric guitar, bass guitar, harp, double bass, and orchestra (1971, revised 1991) and The Awakening of Jacob (1974), these transitional works still emphasize the severe and often abrasive sounds for which he became known. This is why the tonal and much more conventional Horn Concerto, 'Winterreise' (2008, revised 2009), comes as the biggest shock of the CD, even more than the challenging works preceding it, because Penderecki abandoned his early style completely by the 1980s, and adopted a more accessible style, which in this work is quite similar to Shostakovich. Because of this dramatic change of methods, Penderecki's music is the object of divided opinion and debate. Even so, this disc offers clear and compelling performances of all six pieces, and Naxos provides exceptional sound to give the listener every advantage in approaching both early and late Penderecki."



    Fonogrammi/Horn Concerto/Partita

    or

    Fonogrammi/Horn Concerto/Partita


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    1. Mody 3:25
    2. Jonny and Blanche 2:46
    3. Linda 3:02
    4. Cielito Lindo 2:48
    5. Frankie and Jonny 2:59
    6. Auprès de Ma Blonde 2:31
    7. Jonny's Harp 3:27
    8. La La Mucura 2:28
    9. Sur le Pont d'Avignon 2:31
    10. Reservado 2:59
    11. C'est Re-Na-Ta 3:00
    12. Ding 2:15
    13. Ballade 3:10
    14. No Name Samba 2:43
    15. Sambleebloo 2:40

    Jonny Teupen – Harp
    Leonard Blech – Flugelhorn
    Karl-Heinz Kästel – Guitar
    Rob Pronk – Piano
    John Fischer – Bass
    Stuff Combe – Drums
    Blanche Birdsong – Vocals
    Rob Pronk – Vocals

    clone.nl:
    "Brilliant Harp Jazz album from 1965, vocals by Rob Pronk & Blanche Birdsong. Dreamy Latin Jazz and bossa beats with beautiful singing & scat vocals, soft like a summer breeze, with sidemen Stuff Combe, John Fischer and others, produced by Friedel Berlipp aka Berry Lipman. Completely vanished original LP on the German Vogue label, never re-released before, remastered 2008, plus original cover artwork, unreleased session photos and new liner notes."



    Love and Harp a la Latin

    or

    Love and Harp a la Latin


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    1. Break into pieces 4:42
    2. Endless feeling 7:18
    3. Together 5:39
    4. Knast-funk 5:57
    5. Amnesty total 9:09
    6. Getalongwithasong 14:13

    Roman Bunka - vocals, veena, oud, guitars
    Christian Burchard - vocals, organ, electric vibes & marimbas
    Michael Wehmayer - keyboards
    Uwe Müllrich - bass
    Butze fischer - drums, percussion
    +
    Edgar Hofmann - flutes (5)
    Shoba Gurtu - vocals, tamboura (6)
    Trilok Gurtu - tabla (6)

    AMG:
    "One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space rock style. Over their 30-year existence, during which Christian Burchard has been the only consistent member, the group has traveled the world, playing with hundreds of different musicians and releasing over 20 records.
    Originally a jazzy space rock group, Embryo was formed in 1969 in Munich, Germany, by former R&B and jazz organist Christian Burchard (vibraphone, hammer dulcimer, percussion, marimba), Edgar Hofmann (saxophone), Luther Meid (bass), Jimmy Jackson (organ), Dieter Serfas (drums, percussion), Wolfgang Paap (drums), Ingo Schmidt (saxophone), and John Kelly (guitar). However, the lineup was already different by the time of the sessions for their debut album. The resulting record, Opal (1970), is considered the band's masterpiece of their early, more psychedelic sound. By the time of Embryo's Rache (1971), the group was already adding ethnic touches to their music.
    In 1972, the same year they played at the Olympic Games in Munich, Embryo was invited by the Goethe Institute to tour Northern Africa and Portugal. In Morocco, the band was fascinated by the different tonal scales used by Moroccan musicians, profoundly shaping the group's music to come. In 1973, the band was joined by saxophonist Charlie Mariano and guitarist Roman Bunka, who were both influential in moving Embryo towards their genre-blending mixture of space rock with ethnic sounds. We Keep On, released in 1973, was the most successful album in the group's career. However, after Surfin' (1974) and Bad Heads and Bad Cats (1975), Burchard decided the band was moving in too commercial a direction and led them on an eight-month excursion to India, where they met local musicians. Shoba Gurtu, an Indian singer the band met during their travels, would later record an album with them, 1979's Apo Calypso. Embryo also set up their own record label, Schneeball, with the rock band Checkpoint Charlie during this time. The band then took off on a two-year journey through the Middle East, India, Pakistan, and Afghanistan, during which the band's bus broke down in Tehran in the middle of a civil war in 1981. The double album Embryo Reise (1981) captured this musical expedition as did the documentary film Vagabunden-Karawane. After touring Asia, the Middle East, and Egypt during the early '80s, Embryo released their first studio album in seven years, Zack Gluck, in 1984. The band then toured Africa and became involved with Nigeria's Yoruba Dun Dun Ensemble. However, after internal conflicts, Embryo split up. Burchard then continued under the name of Embryo with new musicians while a new group, Embryos Dissidenten, was formed. The band released 2001 Live: Vol. 1."



    Apo-Calypso

    or

    Apo-Calypso


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    1. This is What Happens 5:45
    2. Thoughts to Geoff 10:19
    3. Green and Orange Night 8:12
    4. Gridal Suite 6:13
    5. Five After Dawn 5:24
    6. Dedicated to You, But You Weren't Listening 0:36
    7. Black Horse 5:53

    Elton Dean - sax
    Mark Charig - Cornet
    Nick Evans - trombone
    Keith Tippet - Piano, keyboards
    Jeff Clyne - bass
    Roy Babbington - bass
    Robert Wyatt - drums
    Phil Howard - drums

    AMG:
    "Pianist, composer, arranger, and bandleader Keith Tippett's first album, You Are Here...I Am There, was issued in 1969, and received some notice as the work of an ambitious composer looking for a voice. Apparently, by the time he recorded Dedicated to You, But You Weren't Listening, which was released in 1971, he'd found it in spades. Tippett has become one of the great lights of the British free jazz movement, and for more than 30 years he has led groups of improvising musicians, from two to 40 in number, on some of the most exploratory and revelatory harmonic adventures in musical history - whether those in America know it or not. The band here is comprised of 11 pieces, including Elton Dean, Robert Wyatt, Nick Evans, Roy Babbington, Gary Boyle, Neville Whitehead, and others. The commitment to jazz here is total, as Tippett grafts the dynamic sensibilities of George Russell, the textural and chromatic palettes of Gil Evans, and the sheer force of Oliver Nelson onto his own palette. The interplay between soloists and ensembles is dazzling - check 'Thoughts for Geoff,' with blazing solos by Nick Evans, cornetist Marc Charig, and Tippett himself in a series of angular arpeggios interspersed with chordal elocution. Wyatt's drumming, which opens the record with a bang on 'This Is What Happens,' is easily the most inspired of his career on record. The nod to Mingus on 'Green and Orange Night Park' is more than formal; it's an engagement with some of the same melodic constructs Mingus was working out in New Tijuana Moods. In sum, this is an adventurous kind of jazz that still swings very hard despite its dissonance and regards a written chart as something more than a constraint to creative expression. Brilliant."



    Dedicated to You, But You Weren't Listening : Scans

    or

    Dedicated to You, But You Weren't Listening


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    1. Deal 3:11
    2. Bird Song 4:25
    3. Sugaree 5:54
    4. Loser 4:07
    5. Late for Supper 1:37
    6. Spidergawd 3:25
    7. Eep Hour 5:09
    8. To Lay Me Down 6:19
    9. An Odd Little Place 1:38
    10. The Wheel 4:04

    Jerry Garcia - Guitar, Vocals
    Richard Greene - Violin
    Terry Adams - Cello
    Ben Benay - Guitar
    Larry Carlton - Guitar
    Amos Garrett - Guitar
    Robert Hunter - Guitar
    Michael Omartian - Keyboards
    Bill Kreutzmann - Drums
    Bobbye Hall - Percussion
    Merry Clayton - Vocals
    Clydie King - Vocals
    Maria Muldaur - Vocals

    AMG:
    "This disc was a happy byproduct of the Grateful Dead re-signing with Warner Bros. It was mutually beneficial for Bob Weir (guitar/vocals) as well as Mickey Hart (percussion) and his criminally overlooked debut long-player, Rolling Thunder (1972). Jerry Garcia's (acoustic guitar, electric guitar, pedal steel guitar, bass, piano, organ, samples, vocals) simply titled Garcia (1972) is arguably the most solo of all these projects, as only he and the Grateful Dead's Billy Kreutzmann (percussion) contribute instrumentally. That said, Robert Hunter's lyrics should not be underestimated as all six of his co-compositions became staples in the Dead's live songbook for the remainder of their concert career. The infusion of new material can be attributed to the lack of any Dead-related releases since Workingman's Dead (1970) over 14 months earlier. Although Garcia is the primary musician on the ten tracks, he has given each arrangement a wholly unique persona. These range from straight-ahead blues-based rock & roll ("Sugaree") to the avant-garde ("Late for Supper"). Within those extremes are discerning renditions and solid performances of stone gems such as the noir folkie "Loser" as well as the lilting balladry of "Bird Song" and the cyclical psychedelia of "The Wheel," the latter of which features some of the finest pedal steel guitar work to have come from Garcia's brief infatuation with the twangy instrument. He brings an intimacy to the affective love song "To Lay Me Down" that was rarely equalled by the Grateful Dead. His prowess as an emotive pianist can be heard throughout not only that cut, but also on the trippy medley consisting of the previously mentioned "Late for Supper,""Spidergawd," and "Eep Hour." Ever the self-effacing artist, at the time of release the guitarist overtly downplayed the album as "overindulgent." Time has rendered that assessment utterly false, as Garcia is nothing short of a full-bodied artistic expression from one of rock & roll's most multi-faceted musicians. Both initiated Deadheads as well as enthusiasts of the burgeoning early-'70s singer/songwriter movement will find much to cherish on this recording as Garcia redefines his immense talents and seemingly undiluted musical potential."



    Garcia

    or

    Garcia


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    1. Herbie Hancock - Main Title (Blow-Up)
    2. Herbie Hancock - Verushka (part 1)
    3. Herbie Hancock - Verushka (part 2)
    4. Unamed studio musicians - Butchie's Tune
    5. Unamed studio musicians - Did You Ever Have To Make Up Your Mind?
    6. Herbie Hancock - Bring Down the Birds
    7. Herbie Hancock - The Naked Camera
    8. Herbie Hancock - Jane's Theme
    9. Herbie Hancock - The Thief
    10. Herbie Hancock - The Kiss
    11. Herbie Hancock - Curiosity
    12. Herbie Hancock - Thomas Studies Photos
    13. Herbie Hancock - The Bed
    14. The Yardbirds - Stroll On
    15. Herbie Hancock - End Title (Blow-Up)
    16. Tomorrow - Am I Glad To See You (outtake)
    17. Tomorrow - Blow-Up (outtake)

    AMG:
    "A young Herbie Hancock contributed the bulk of the score to Michelangelo Antonioni's 1966 screen classic, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, 'Stroll On' (actually, an adaptation of 'The Train Kept A-Rollin''), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. That cut is also included (although it's also been reissued elsewhere)."



    Blow-Up

    or

    Blow-Up


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    1. M M 2:38
    2. Optical 5:04
    3. Maybe 4:09
    4. Ambacharm 6:31
    5. Garden Frequency 3:09
    6. Poet Staggered 1:11
    7. Backfloatpedal 2:46
    8. Icon 5:59
    9. Luxuriate 6:52
    10. Boombye 5:26
    11. Auk and Dromedary 5:58
    12. Trace 3:15
    13. Nion 4:17
    14. Melize 6:54
    15. Angels and Artiface 8:06

    Chris Speed - Clarinet, Sax (Tenor)
    Skúli Sverrisson - Bass
    Hilmar Jensson - Guitar
    Jim Black - Drums

    AMG:
    "In live performance, N.Y.C. drummer Jim Black can't help but grab a lion's share of the audience attention from his bandmates. Even in ensembles led by such stellar players as Dave Douglas, Tim Berne, Ellery Eskelin, and Chris Speed, his percussive pyrotechnics are simply riveting, and one wonders whether those bandleaders have noticed the many instances when everyone's eyes are locked on the guy back there thrashing away on the skins and adding coloristic flourishes with a host of oddball paraphernalia. Fans of post-bop are among those who sit up straight and take notice; yes, he has caused even trad jazz jaws to drop. Black now has his first CD out on the estimable Winter & Winter label, and he's pulled a bit of a fast one on the jazz crowd - this skews away from being a jazz record, even an avant jazz record, much of the time. Black sometimes tips his hi-hat to the type of music his jazz-focused fans might expect; there may be some modern creative experimentation as practiced by Berne or Eskelin, but the avant Balkan jazz of Tiny Bell Trio or the Mediterranean-influenced groovefest of Pachora is not much in evidence at all. This is closer to Black's work with Chris Speed's yeah NO or the Human Feel collective, but even rockier, or at least post-rockier, than either of those. And, whether intentionally or not, Alasnoaxis even draws a bit from the annals of prog and art rock, with Icelandic electric guitarist Hilmar Jensson throwing a few Robert Fripp and David Torn influences into the mix now and again (certainly taking this group farther from the territory where one would find Brad Shepik). Wisely, Black seems to understand that an album such as this can't rely on his percussive skills alone; the kinetic excitement of his live performances won't transfer 100 percent to the CD format, so composing and arranging skills will have to come into play. And come into play they do. Black has fashioned a set of 15 mainly short pieces, some even structured like instrumental indie rock tunes. There are explosive, distorted power chords from Jensson, and ominous underlying textures are employed as undercurrents to the conventionally structured pieces as well as stand-alone ambient-flavored tracks, giving the proceedings a sense of both melancholy and unease. While saxophonist and clarinetist Speed (a partner to Black on many projects) has plenty of wild and forceful moments here, Black has also placed him in settings that tend to bring out a plaintive and fragile quality in his tone, creating a striking contrast when the reedman faces off against the deep growling beast of Jensson's guitar. Skuli Sverrisson, like Jensson a native of Iceland, anchors the goings-on with deep basslines that settle in and move the band along or - in the case of the impressive, loping 'Optical' - thrust against the music's prevailing currents. Of course, it may be difficult to pinpoint exactly where the current is in 'Optical,' as all four bandmembers seemingly occupy different universes (with Jensson exploring Frippertronics-like sound washes) that only intersect at the piece's conclusion. In 'Icon,' nearly static multi-layered atmospheric ruminations balance with a beautiful slowly unfolding melody that emerges in altered form as a solo clarinet statement from Speed at the piece's conclusion. The following number, ' Luxuriate,' is given over to ominous low textural soundscapes for much of its length; the mid-tempo groove and pretty theme of 'Boombye' become unhinged by crashing power chords from Jensson that again recall Fripp, as Speed places his mellow clarinet over the top in one of the album's characteristically unusual juxtapositions. The crisp and propulsive up-tempo drumming that often elicits cheers from live audiences emerges most clearly on 'Nion' and the unlisted portion of the album closer 'Angels and Artiface.' (The off-kilter ostinatos from the guitar on 'Neon' actually recall King Crimson's 'Discipline.') Alasnoaxis is a great debut for Black, although those who prefer their jazz unsullied by elements of the indie, prog, and avant rock worlds may be a bit put off. Oh well, you can't please everybody."



    Alasnoaxis

    or

    Alasnoaxis


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    1. Sandino
    2. Neruda Requiem Eterna
    3. United Fruit
    4. Vegetaciones
    5. Amor America
    6. Emiliano Zapata
    7. America Insurecta

    Maria Farandouri – Vocals
    Petros Pandis – Vocals
    St.Jakob's Chorus
    Stockholm Orchestra
    Mikis Theodorakis - Conductor

    mikis-theodorakis.net:
    "Pablo Neruda's Canto General, the 'bible' of Latin America, is a great hymn to the nature and humanity of a continent, its heroes and its insurrections and struggles against its oppressors, the tyrants, the dictatorships of 'flies'.
    Pablo Neruda wrote the major part of his epic while in flight and in hiding. He had supported Gonzalez Videla in his bid to become president of Chile, but Videla turned out to be ferociously anti-communist. Neruda, a senator, attacked him in a virulent diatribe entitled 'I accuse'. The future dictator put a price on his head. Hunted by the police, Neruda was forced to write his masterpiece in secret.
    And as a result, the Canto General turned into a devastating cry of revolt against all forms and all forces of oppression, but also a great hymn of solidarity with the oppressed, the humiliated and the exploited.
    A fighter's soul, Mikis Theodorakis discovered the Canto General when in 1971, exiled from Greece by the colonels, he was on a concert-tour in Chile at the invitation of president Salvador Allende. For the Greek composer, Neruda's great hymn is 'a gospel of our time. In it, Neruda lays bare his fighter's soul. The work brings the historical events of his country to vivid life. It is destined to help men to vanquish in times of crisis and enforce the law. Neruda, deliberately, puts himself at the service of the peoples' revolution for freedom, independance and democracy.' Theodorakis's musical setting of 13 parts of the great poem by Neruda has given us one of the major choral works of the latter half of the 20th century.
    A poignant fact: Theodorakis was to premiere the first seven parts of his work in Chile in September 1973, in the stadium of Santiago. On 11th September, the military junta under Pinochet overthrows and assassinates Allende, and emprisons the supporters of the 'Unidad Popular' in that same stadium, where the soldiers also torture and kill Victor Jara; they go on to lay waste the home of Pablo Neruda, who dies on the 24th from leucaemia.
    Two years later, Theodorakis gives the first performance of the work in his native Greece, freed at last from the colonels' régime.
    He had made the promise, on hearing of Neruda's death, to play at least one part of the Canto General in each of his popular concerts until Chile's liberation from the dictatorship.
    In 1993, Theodorakis could at last conduct his score in Chile and pay homage at the tomb of Neruda."



    Canto General

    or

    Canto General


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    1. Mamy Blue 3:51
    2. Just Pretend 3:39
    3. You Finally Found Your Man 3:08
    4. Sometimes You Win, Sometimes You Lose 3:08
    5. Road To Freedom 3:39
    6. Oh Lord, Why Lord? 4:03
    7. What A Place To Live In 3:15
    8. Grandma 3:37
    9. Walk Along By The Riverside 2:38
    10. Give Me Up As Lost 2:21

    Phil Trim - vocals
    Alberto Vega López - sax-clarinet
    Julián Luis Angulo - guitar & occasional singer
    Ignacio Pérez Romero - organ
    Enrique Gómez Molina - bass, trumpet
    José Lipiani - drums

    Wiki:
    "Pop Tops (or Los Pop-Tops) were a vocal/instrumental band, formed in 1967 in Madrid, Spain and consisting of José Lipiani, Alberto Vega, Ignacio Pérez, Julián Luis Angulo, Enrique Gómez, Ray Gómez plus lead singer Phil Trim (born January 5, 1940, Trinidad and Tobago).
    Their sound was a blend of baroque classical-styled pop with the soulful vocals of Trim. Major influences included Procol Harum and The Left Banke.[citation needed]
    Their first release to gain attention was 'Oh Lord, Why Lord' (1968), written by Jean Marcel Bouchety and Phil Trim. It was the first pop song to incorporate the melody of Pachelbel's Canon in D. That single's b-side, 'The Voice Of The Dying Man' (based on a Johann Sebastian Bach composition) was also recorded in Spanish as 'La Voz del Hombre Caido'.
    They are best known for their 1971 hit 'Mamy Blue' (sic), referring to a son's poignant song addressed to his departed mother about his childhood memories and life in general, sometimes spelled 'Mommy Blue' or 'Mammy Blue' or 'Mummy Blue', which was a Top 10 hit throughout much of Europe, Japan (#2), and Canada (#42), and a minor Billboard Hot 100 chart hit in the United States (#57). It sold over one million copies, and was awarded a gold disc. As follow-up singles they released 'Suzanne Suzanne' (early 1972) and 'Hideaway' (mid 1972), which were only minor hits in some European countries.
    The composer and lyricist of the French song 'Mamy Blue' was Hubert Giraud. English lyrics were written by Phil Trim. The Pop Tops also recorded Italian and Spanish versions, with lyrics by Gefingal."



    Mamy Blue

    or

    Mamy Blue


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    1. Handmade 5:42
    2. Freedom Jazz Dance 6:00
    3. Schirokko 9:30
    4. Rockport 9:15
    5. Rock Me Baby 4:40
    6. Lemuria's Dance 6:55

    Klaus Doldinger - saxophone (Soprano & Tenor), Moog synthesizer
    Johnny Griffin - saxophone (Tenor)
    Alexis Korner – Guitar, Vocals
    Volker Kriegel – Guitar
    Brian Auger - Organ
    Kristian Schultze - Mellotron, Moog synthesizer
    Wolfgang Schmid - Bass
    Pete York – Drums, Percussion
    Curt Cress - Drums

    Wiki:
    "Passport was initiated in 1971 as a jazz fusion experimental group, similar to American groups such as Weather Report. The ensemble's first recording was issued in 1971, and through the 1970s had a constantly revolving membership, though it continued to release albums frequently. The group was active into the 2000s, recording for Atlantic Records and Warner Bros. Records among others."



    1. Compared to What 5:15
    2. Albatros Song 7:30
    3. Abracadabra 7:30
    4. Jadoo 4:55
    5. I Just Want to Make Love to You 5:55
    6. Ready For Takeoff 7:22
    7. Angel Wings 8:20

    Klaus Doldinger - saxophone (Soprano & Tenor), Moog synthesizer
    Johnny Griffin - saxophone (Tenor)
    Buddy Guy – Guitar
    Philip Catherine – Guitar
    Les McCann - Piano, Keyboards, Vocals
    Kristian Schultze – Piano
    Wolfgang Schmid – Bass
    Pete York – Drums, Percussion
    Curt Cress – Drums

    AMG:
    "It's a curious fact that the presence of virtuoso guests on a live album can sometimes subtract from the actual quality of the performance. So it is on this release, which features splendid players like Les McCann, Buddy Guy, Pete York, and Philip Catherine on a mixed set of Passport favorites and standards. Unfortunately, the word that best describes most of the performances is overheated. The thing that makes Passport's work special is the uncommon delicacy with which arranger Klaus Doldinger straddles the line between jazz and rock. Alas, on Doldinger Jubilee '75, everything is played at full throttle, with a busy percussion background that doesn't leave space for pauses and soft passages. At times the result is embarrassing, with the band showing great enthusiasm but a complete loss of subtlety. Listeners are left with Passport the high-energy rock band, which is good as far as energetic rock bands go, but not up to the level expected from this band or these soloists."



    Doldinger Jubilee Concert or Doldinger Jubilee Concert


    Doldinger Jubilee '75 or Doldinger Jubilee '75

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    1. Dr. Siegel's Fried Egg Shooting Machine 6:05
    2. Rolling Down The Broadway 4:34
    3. Burning Fever 3:14
    4. Plastic Fantasy 6:08
    5. 15 Seconds Of Schizophrenic Sabbath 0:18
    6. I'm Gonna See My Babby Tonight 5:34
    7. Oke-Kas 4:37
    8. Guide Me To The Quietness 8:08

    9. Leave Me Woman 4:28
    10. Rolling Down The Broadway 4:04
    11. Rock Me Baby 3:39
    12. Five More Pennies 12:10
    13. Before You Descend 3:59
    14. Out To The Sea 2:35
    15. 521 Seconds Schizophrenic Symphony 8:45

    Shigeru Narumo - guitar, acoustic guitar, hammond organ, piano, Moog synthesizer, harpsicord, distorted organ, chelesta, vocal, equalized vocal, harmony, toy instruments, sound effects
    Hiro Tsunoda - drums, percussion, lead vocal, high boosted vocal, harmony, toy instruments, jokes, noise
    Masayoshi Takanaka - bass, bowing guitar, acoustic guitar, vocal, harmony, toy instruments

    progarchives:
    "Flied Egg / Strawberry Path was a series of Japanese progressive rock projects in early seventies carried out by two key players Shigeru Narumo (guitars, keyboards) and Hiro Tsunoda (drums). In the late sixties, Shigeru has already been famous and charismatic on Japanese underground rock scene. Woodstock Festival could notify him of a need to hold Japanese rock festivals and let him give some reasonable concerts (called '10 yen concert') in Hibiya Open-Air Concert Hall with great players ... Shinki Chen (ex-Food Brain, Speed Glue and Shinki), George Yanagi (ex-Power House), Hiro Yanagida (ex-Apryl Fool, Food Brain), or Hiro Tsunoda (ex-Sadao Watanabe Quartet, Food Brain). This experience might be the basis of a project named Strawberry Path.
    Strawberry Path shot only one album - 'When The Raven Has Come To The Earth' (1971). In this work, Shigeru could play multi-instruments at the same time (a keyboard by his left hand, a guitar by his right hand, a bass pedal by his feet!). Influenced of Jimi Hendrix or lots of British progressive artists, he tried to shoot the psychedelic and progressive style with Hiro's jazzy and freaky drumming. At an opening performance of the Pink Floyd Japan tour, Shigeru and Hiro persuaded Masayoshi Takanaka (bass) to join them...after a month, these three talented players changed their outfit name from Strawberry Path to Flied Egg.
    Flied Egg produced two album - 'Dr. Siegel's Fried Egg Shooting Machine' (1972) and 'Good Bye Flied Egg' (1972). (Anyway, Dr. Siegel is of course Shigeru Narumo himself.) They turned up the colours and influences of British rock. Masayoshi, an only 17 year-old bassist, could evolve and dignify the works with his heavy and steady bass plays. The novel project could impress strongly Japanese rock fans and broke up in 1973.
    Shigeru trained lots of younger musicians or enjoyed playing some gigs with his mates in his later years, and passed away in 2007."



    Dr.Siegel's Fried Egg Shooting Machine/Good Bye

    or

    Dr.Siegel's Fried Egg Shooting Machine/Good Bye


    0 0


    1. Cello Concerto No. 2 ("Y: La Fiesta está en Pleno Apogeo") 25:48
    2. Prelude 1: Staccato - legato 1:17
    3. Prelude 2: Legato - staccato 2:08
    4. Prelude 3: Con sordino - senza sordino 2:26
    5. Prelude 4: Ricochet 1:45
    6. Prelude 5: Sul ponticello - ordinario - sul tasto 3:36
    7. Prelude 6: Flagioletti 2:21
    8. Prelude 7: Al taco - da punta d'arco 1:17
    9. Prelude 8: Arco - pizzicato 1:30
    10. Prelude 9: Pizzicato - arco 2:01
    11. Prelude 10: Senza arco 2:54

    David Geringas - Cello
    Vladimir Tinkha - Cello
    Jukka-Pekka Saraste - Conductor
    Finnish Radio Symphony Orchestra

    AMG:
    "'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.' - Sofia Gubaidulina
    In Russian composer Sofia Gubaidulina'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 Gubaidulina'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, Gubaidulina'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 Gubaidulina was born on October 24, 1931, in Chistopol', in the Tatar Republic; growing up there, Gubaidulina 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, Gubaidulina 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 Gubaidulina founded a folk-instrument improvisation group with fellow composers Victor Suslin and Vyacheslav Artyomov called Astreja, still active in the late 1990s. Today Gubaidulina 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 Gubaidulina'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), 1980's Offertorium (violin and orchestra), and 1997's Canticle of the Sun (cello, percussion, and chorus). 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 Gubaidulina'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. Gubaidulina'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 Gubaidulina's success in the West in the late 20th and early 21st centuries; she is now certainly considered one of the most important composers alive today."



    And: The Feast is in Full Progress/Ten Preludes

    or

    And: The Feast is in Full Progress/Ten Preludes


    0 0


    1. I Can't Turn You Loose 5:16
    2. My Girl/Them Changes 8:28
    3. Soul Serenade 6:39
    4. A Whiter Shade of Pale 3:50
    5. Tippin' 7:09
    6. Things Ain't What They Used to Be 5:57
    7. Che Ore So' 5:40
    8. Signed, Sealed, Delivered 5:24
    9. America The Beautiful 4:18

    Ronnie Cuber - Sax (Baritone)
    Cornell Dupree - Guitar
    Richard Tee - DX-7, Organ, Piano
    Eddie Gomez - Bass
    Steve Gadd - Congas, Drums, Percussion

    AMG:
    "For their second and final recording, the Gadd Gang expanded to a quintet with the addition of baritonist Ronnie Cuber, who appeared as a guest on their debut release. Drummer Steve Gadd's unit (which also features keyboardist Richard Tee, guitarist Cornell Dupree and bassist Eddie Gomez) plays appealing R&B/jazz instrumentals that groove lightly and feature some worthy solos. The repertoire ranges from flexible pop tunes to 'Things Ain't What They Used to Be.' Richard Tee's death eventually ended this band."



    Here & Now

    or

    Here & Now


    0 0


    1. Les Moulins de Mon Coeur 3:29
    2. Les Demoiselles de Rochefort: Chanson des Jumelles 3:53
    3. Une Été '42 (The Summer Knows) 3:52
    4. Quand on S'aime 3:44
    5. La Valse des Lilas 3:21
    6. Di-Gue-Ding-Ding 2:41
    7. Je Vivrai Sans Toi 1:51
    8. L'Âme Soeur à l'Hameçon 2:12
    9. Le Cinéma 2:54
    10. Trombone, Guitare et Compagnie 3:27
    11. Et la Mer 2:30
    12. Quand Ça Balance 2:44
    13. Les Parapluies de Cherbourg: Je Ne Pourrai Jamais Vivre Sans Toi 3:52
    14. Où Vont Les Ballons? 2:20
    15. Comme Elle Est Longue À Mourir Ma Jeunesse 3:07
    16. Les Demoiselles de Rochefort: Marins, Amis, Amants Ou Maris 2:38
    17. Oum le Dauphin 1:56
    18. Elle A...Elle a Pas... 2:45
    19. Les Demoiselles de Rochefort: Chanson de Maxence 3:22
    20. Peau d'Âne Gènérique 2:06
    21. Les Enfants Qui Pleurent 2:10
    22. L' Amour en Scie 1:43
    23. Cinq Jours en Juin: Scènes de la Vie Quotidienne 3:19
    24. Les Baladins du Siècle d'Aujourd'hui 3:12

    Michel Legrand - Piano, Vocals
    Anne Germain - Vocals (2)
    Nana Mouskouri - Vocals (4)
    Stéphane Grappelli - Violin (13)
    Jacques Revaux - Vocals (19)

    AMG:
    "Respected film composer Michel Legrand is very deserving of a 'best songs' collection, and Le Meilleur de Michel Legrand is an appropriate choice. From his swaying romantic ballads to his jazzy, up-tempo numbers, Legrand is a fine composer and incredible musician. Without recognizing the films they are taken from, his themes are still vivid and lovely portrayals of emotions that are easy to relate to. Fans of the jazzy film work of Elmer Bernstein and Henry Mancini should definitely give this a listen, but all curious film music buffs would do themselves a big favor by checking out Legrand. In fact, anyone looking for some beautiful romantic jazz could easily program out a few songs and create a knockout album, making this a highly recommendable collection of one of the best French film composers of the 20th century."



    Le Meilleur de Michel Legrand

    or

    Le Meilleur de Michel Legrand


    0 0


    1. Csodaszarvas-Idéző 3:51
    2. Sugallat 1:29
    3. Naptánc 5:31
    4. Kristályosodó Vágy 8:21
    5. Kis Piros Sárkányok 5:27
    6. Mesebeli Játszótér 16:32
    7. Örömbe Pördülés 1:08
    8. Égi Jelek Élete 6:27
    9. Tüzitánc 4:24
    10. Őseimmel 6:36
    11. Hunok Budapesten 4:24
    12. Táltoscsillag 9:05

    Grandpierre Attila – Vocals, Xylophone
    Molnár Lajos – Acoustic Guitar, Flute
    Irtl Melinda – Violin
    Németh László Fritz – Guitar, Percussion
    Mestyán Ádám – Bass Guitar, Vocals, Jew's Harp (Trump)
    Ipacs László– Drums, Vocals
    Balatoni Boli – Percussion, Kalimba, Timpani (Cattledrums)

    AMG:
    "Hungary's Vagtazo Halottkemek, loosely translated as Galloping Coroners, possess a fascinating, harrowing history. If rock & roll is truly the music of rebellion, then Galloping Coroners are prime exemplars. Blacklisted in their native land by the then-existing oppressive government, the band played in literal fear of their physical freedom. Dancing With the Sun is a glorious, otherworldly hybrid of space rock, prog, avant-punk, and traditional Hungarian folk music. Galloping Coroners sound like an improvisational Hawkwind fronted by Copernicus. Therefore, it is no surprise that frontman Attila Grandpiere is a noted astrophysicist. This disc comprises both live and studio recordings. The music contained within is nothing if not a basic, elemental celebration of human life and death, equally martial and mystical in nature."



    Naptánc

    or

    Naptánc


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