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FreeFall - LiveJournal.com

older | 1 | .... | 38 | 39 | (Page 40) | 41 | 42 | .... | 57 | newer

    0 0


    1. Vulture Blood 6:13
    2. No Chance 6:22
    3. Burning 6:17
    4. St. Louis 3:50
    5. Ritual 4:54
    6. Solitude 8:48
    7. Woman of the Devil 7:16
    8. Ritual 5:06
    9. Miss Jane 3:37
    10. Solitude 4:52
    11. Woman of the Devil 6:45
    12. Burning 6:09

    Ashley Holt - Vocals
    Ged Peck - Guitar
    Frank Wilson - Organ
    Nick Simper - Bass
    Mac Poole - Drums

    AMG:
    "Warhorse's self-titled debut was a progressive rock-heavy rock meld that was even less humorless than that of Deep Purple, let alone Black Sabbath, the band that they got compared to most frequently. There's a bit of art rock in the Hammond organ, and an operatic earnestness to Ashley Holt's lead vocals. Titles like 'Vulture Blood,''Burning,''Ritual,''Solitude,' and 'Woman of the Devil' are indicative of the group's desire to set a menacing mood, although the songs don't really forcefully hit the mark for which they were probably targeted. A cover of an Easybeats song ('St. Louis'), of all things, is the only non-original. Angel Air's CD reissue adds bonus live versions of four of the album's songs, as well as a demo, 'Miss Jane,' of a tune that didn't appear on the original LP."



    Warhorse

    or

    Warhorse


    0 0


    1. The Night They Drove Old Dixie Down 3:23
    2. The Brand New Tennessee Waltz 3:07
    3. Outside the Nashville City Limits 3:22
    4. Ghetto 4:33
    5. My Home's Across the Blue Ridge Mountains 4:11
    6. Rock, Salt and Nails 3:48
    7. Help Me Make It Through the Night 2:59
    8. Long Black Veil 3:22
    9. I Still Miss Someone 3:12
    10. San Francisco Mabel Joy 4:23
    11. Take Me Back to the Sweet Sunny South 2:43
    12. Hickory Wind 3:34
    13. Will the Circle Be Unbroken 4:17
    14. Tramp on the Street 3:27
    15. Carry It On Joan Baez 2:18
    16. Gospel Ship 2:48
    17. Little Moses 3:27
    18. Banks of the Ohio 3:06
    19. Engine 143 3:29
    20. Pal of Mine 2:47

    Joan Baez - Guitar, Vocals
    Fred Hellerman - Guitar
    Jeffrey Shurtieff - Vocals
    Norbert Putnam Ensemble
    Grady Martin Ensemble

    AMG:
    "Combining new songs with previously-released material, 1979's double album The Joan Baez Country Music Album is divided into four side-long thematic sections: Songs of the South, Love Songs, Roots and Retrospects, and Old-Timey Songs. The definition of 'country music' is rather fluid, stretching to accommodate the folk-rock of the Band's 'The Night They Drove Old Dixie Down' and Jesse Winchester's 'Brand New Tennessee Waltz,' Delaney and Bonnie's R&B-influenced 'Ghetto' and Gram Parson's country-rock classic 'Hickory Wind,' alongside tunes by Kris Kristofferson and Johnny Cash and a handful of traditional folk tunes. With some songs given full-band electric backup, a handful of acoustic bluegrass tunes and others strictly solo, the performances are as wide-ranging as the repertoire. Not quite so much a true country album as a rather idiosyncratic reinterpretation of country music, The Joan Baez Country Music Album is nonetheless an intriguing release."



    The Joan Baez Country Music Album

    or

    The Joan Baez Country Music Album


    0 0


    1. Liar's Web 7:48
    2. Warchful Eyes 9:14
    3. Between the Lines 9:55
    4. Quicksand 7:37
    5. Dominoes 11:22
    6. A Walk in the Park With Kafka 5:57
    7. Snalking 7:33
    8. O My Bitter Man 5:21

    Tim Berne - Sax (Alto), Sax (Baritone)
    Mark Feldman - Violin
    Wayne Krantz - Guitar
    Michael Formanek - Bass
    Jeff Hirshfield - Drums

    AMG:
    "Bassist and composer Michael Formanek has been a major presence on the creative jazz scene since the 1990 release of his debut album as a leader, Wide Open Spaces, on the Enja label. Formanek had already proven himself a skillful sideman in ensembles led by the likes of Freddie Hubbard, Joe Henderson, Dave Liebman, Fred Hersch, and Attila Zollar, but Wide Open Spaces was the first recording that revealed the bassist's ability to write widely varied compositions emphasizing the strong talents of his own ensemble members (in this case saxophonist Greg Osby, violinist Mark Feldman, guitarist Wayne Krantz, and drummer Jeff Hirshfield). In 1992, Enja released Formanek's second recording, Extended Animation, which featured the same bandmembers as Wide Open Spaces except for one important difference: a switch in saxophonist from Osby to Tim Berne.
    From the unison bass-sax line in the opening measures of the first tune 'Liar's Web,' the compatibility of Formanek and Berne is apparent; they would continue a fruitful musical partnership for the remainder of the decade. Extended Animation also reveals Formanek's skill in writing compositions of greater length and complexity than the generally shorter vignettes on Wide Open Spaces. The same year that Extended Animation was released, Formanek, Berne, and Hirshfield entered the studio to record Loose Cannon for Italian producer Giovanni Bonandrini's Soul Note label. This trio session, with bass and sax squarely in the spotlight, further cemented the nascent Formanek-Berne relationship. Loose Cannon was released in 1993, as Formanek returned to the studio for another Enja session, this time with his largest group yet. The septet on Low Profile included Formanek and Berne along with trumpeter Dave Douglas, multi-reedist Marty Ehrlich, trombonist Ku-umba Frank Lacy, drummer Marvin 'Smitty' Smith, and pianist Salvatore Bonafede. With its balance of high-energy improvisational passages and intricate ensemble arrangements, Low Profile was regarded by many critics as one of the strongest creative jazz CDs of 1994.
    Meanwhile, Tim Berne decided to tap Formanek for Bloodcount, his quartet also featuring saxophonist/clarinetist Chris Speed and drummer Jim Black. In September 1994, the four musicians, plus guitarist Marc Ducret, recorded several nights of concerts for Stefan Winter's JMT label; the resulting music was released in 1995 on a trio of classic Bloodcount CDs: Lowlife, Poisoned Minds, and Memory Select. The demise of JMT came soon after, but Bloodcount continued to record (minus Ducret) for Berne's new Screwgun label. Formanek appears on three Bloodcount recordings issued by Screwgun: the Bloodcount Unwound three-CD box set (1996), as well as Discretion and Saturation Point (both 1997). Still under contract to Enja, Formanek recorded Nature of the Beast, his fourth album for the label, in 1996. The CD was released the following year and features a core quartet including trumpeter Douglas, trombonist Steve Swell, and a drummer with whom Formanek had been developing a particularly strong rapport: Bloodcount's Jim Black. Also making appearances on selected tracks were tenor saxophonist Tony Malaby, a relative newcomer to the New York creative improvising community, and both Berne and Speed. Everyone appears on the stunning, 12-minute 'Thick Skin/Dangerous Crustaceans,' sounding quite like an extended ensemble version of Bloodcount.
    As the 1990s drew to a close, Berne put Bloodcount on hold, but Formanek continued his liaison with the saxophonist. They toured throughout the United States as a duo and in 1998 released the CD Ornery People on the Little Brother label. That same year, Screwgun issued Am I Bothering You?, a Formanek solo CD that fully reveals the bassist's improvisational skills and mastery of extended techniques. In addition, Formanek toured in 1998 as a member of drummer Gerry Hemingway's new American quartet, which also included trombonist Ray Anderson and tenor saxophonist Ellery Eskelin. On the 1999 Enja CD Relativity, Formanek appeared in a new collaborative trio with reedman Ehrlich and drummer Peter Erskine, drawing critical praise for his ability to maintain a propulsive groove while also providing the ensemble with plenty of room for abstract exploration. At the June 2000 Bell Atlantic Jazz Festival in New York City, Formanek premiered Northern Exposure, a new quartet with drummer Black, trumpeter Dave Ballou, and saxophonist Henrik Frisk. Despite all this activity, Formanek remained an in-demand session bassist throughout the 1990s, performing on CDs by leading creative jazz artists such as Jane Ira Bloom, Uri Caine, Marty Ehrlich, James Emery, Lee Konitz, Kevin Mahogany, the Mingus Big Band, the New York Jazz Collective, Daniel Schnyder, and Jack Walrath. By the year 2000, he had appeared on over 60 recordings as leader, collaborator, or sideman.
    At the beginning of the new millennium, Formanek accepted a limited-time faculty appointment to the Jazz Studies Department at Baltimore's Peabody Institute, one of the oldest music conservatories in the U.S. and since 1977 a division of Johns Hopkins University. Two years later he was appointed as a full-time faculty member, and - while continuing to participate in a number of recordings as a sideman - he devoted much of his creative energy to the academic arena for the remainder of the decade, also receiving fellowships and commissions for the composition of new works. He re-emerged as a recording session leader in 2010 with the release of The Rub and Spare Change on the ECM label; in addition to Formanek on bass (and as composer), the quartet date featured saxophonist Berne, pianist Craig Taborn, and drummer Gerald Cleaver. Michael Formanek has proven that he can do it all: bassist, composer, educator, bandleader, and first-call sideman to many of the most highly regarded artists in creative jazz. Given his string of accomplishments, jazz fans can remain hopeful that Formanek has even more to offer in the years ahead."



    Extended Animation

    or

    Extended Animation


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    1. A Lover's Holiday 6:30
    2. It's a Girl's Affair 5:32
    3. Angel in My Pocket 6:11
    4. The Glow of Love 6:14
    5. Searching 8:03
    6. The End 5:53
    7. Searching 9:03

    Deborah Cooper - Vocals
    Luther Vandross - Vocals
    James Robinson - Vocals
    Goody Music Orchestra

    AMG:
    "To Change's detractors, the studio group was nothing more than a poor man's Chic. But knowledgeable disco and R&B enthusiasts knew better; Change wasn't a carbon copy of Chic any more than jazz great Chet Baker was a clone of Miles Davis. Without question, Change was heavily influenced by the Nile Rodgers/Bernard Edwards sound; nonetheless, Change had an energy of its own, and anyone who seriously listened to its first album, The Glow of Love, could easily tell the difference between Chic and Change (just as serious jazz fans can tell the difference between Baker's trumpet playing and Davis'). Produced by Jacques Fred Petrus and arranged by David Romani and Paolo Gianolio, this 1980 debut is a disco/R&B masterpiece. The playful opener 'A Lover's Holiday' is Change's best-known song, but the group is just as captivating on the sassy 'It's a Girl's Affair' and the passionate 'Angel in My Pocket.' Meanwhile, Luther Vandross is featured on 'Searching' and the dreamy, laid-back title song, which became a quiet storm favorite and demonstrates that not everything Change recorded was aimed at the dancefloor. In 1980, Vandross had yet to provide his first solo album, although many of the people who heard his performances on those two gems agreed that a solo career was inevitable; and sure enough, his first big solo hit, 'Never Too Much,' came out the following year. Excellent from start to finish, The Glow of Love is Change's most essential album."



    The Glow Of Love

    or

    The Glow Of Love


    0 0


    1. Easter Woman 1:03
    2. Perfect Love 1:03
    3. Picnic Boy 1:01
    4. End of Home 1:04
    5. Amber 1:02
    6. Japanese Watercolor 1:02
    7. Secrets 1:03
    8. Die in Terror 1:03
    9. Red Rider 1:02
    10. My Second Wife 1:02
    11. Floyd 1:03
    12. Suburban Bathers 1:04
    13. Dimples and Toes 1:03
    14. The Nameless Souls 1:04
    15. Love Leaks Out 1:04
    16. Act of Being Polite 1:03
    17. Medicine Man 1:04
    18. Tragic Bells 1:03
    19. Loss of Innocence 1:04
    20. The Simple Song 1:02
    21. Ups and Downs 1:04
    22. Possessions 1:03
    23. Give it to Someone Else 1:03
    24. Phantom 1:04
    25. Less Not More 1:03
    26. My Work is So Behind 1:04
    27. Birds in the Trees 1:04
    28. Handful of Desire 1:04
    29. Moisture 1:04
    30. Love Is... 1:03
    31. Troubled Man 1:04
    32. La La 1:04
    33. Loneliness 1:04
    34. Nice Old Man 1:04
    35. The Talk of Creatures 1:04
    36. Fingertips 1:04
    37. In Between Dreams 1:04
    38. Margaret Freeman 1:03
    39. The Coming of Crow 1:04
    40. When We Were Young 1:02

    The Residents
    Fred Frith - guitar
    Snakefinger - guitar, violin, vocals
    Don Preston - synthesizer
    Chris Cutler - drums
    Sandy Sandwich - guest
    Don Jackovich - guest
    Mud's Sis - guest

    AMG:
    "Here's the concept: The structure of most pop songs consists of only two parts, the verse and the chorus. Since the verse and chorus usually repeat three times in a three-minute song, a pop tune really only consists of one minute of music. Cut out the repetition and you can, therefore, fit 40 pop songs onto a 40-minute record. And that's exactly what the Residents have done on The Commercial Album, the title of which comes from the band's deduction that since pop songs only consist of one minute of music and most advertisements are about a minute long also, ad jingles are 'therefore the music of America.' Got it? Whatever the concept behind it, this album is not only weird in that special way that only Residents albums are, but it's also surprisingly musically satisfying. A few of its 40 tracks ('Secrets' and 'The Simple Song,' for example) feel like throwaways, but most of them are surprisingly well organized and complete. The instrumental 'Japanese Watercolor' is particularly impressive, as are the songs 'Picnic Boy' and 'Troubled Man.' This album would make a great introduction to the Residents for anyone who hasn't yet been exposed to the band's unique brand of whimsy."



    The Commercial Album

    or

    The Commercial Album


    0 0


    Notations, 12 pieces for piano
    1. Movement I: Fantasque - Modéré 0:59
    2. Movement II: Très Vif 0:22
    3. Movement III: Assez Lent 0:56
    4. Movement IV: Rythmique 0:31
    5. Movement V: Doux Et Improvisé 0:50
    6. Movement VI: Rapide 0:25
    7. Movement VII: Hiératique 1:25
    8. Movement VIII: Modéré Jusqu'à Très Sec 0:45
    9. Movement IX: Lointain - Calme 2:20
    10. Movement X: Mécanique Et Très Sex 0:19
    11. Movement XI: Scintillant 0:38
    12. Movement XII: Lent - Puissant Et Âpre 1:18

    Structures, Book II, for 2 pianos
    13. Chapitre I 8:59
    14. Chapitre II (Pièces 1-2, Encarts 1-4, Textes 1-6) 13:16

    ...explosante-fixe..., for flute, chamber ensemble & electronics (various versions)
    15. Transitoire VII - Interstitiel 1 - Transitoire V - Interstitiel 2

    Sophie Cherrier - MIDI Flute
    Emmanuelle Ophèle - Flute
    Pierre-Andre Valade - Flute
    Andrew Gerzso - Electro-Acoustics
    Pierre-Laurent Aimard - Piano
    Florent Boffard - Piano
    Ensemble InterContemporain
    Pierre Boulez - Conductor

    AMG:
    "Die-hard fans of Pierre Boulez's music may find no difficulty in this disc's selections, though others less familiar with the composer's music may question the rationale behind the program. Notations and Structures, Book II, for two pianos are logically paired, since both inhabit the same sound world and, more subtly, can be positioned fairly closely on the continuum of Boulez's serial thought and development. Granted, Notations is terse and rigorous in its dialectic contrasts, while the second set of Structures, in reaction to the severe economy of the previous piece, is overflowing with ideas and more effusive in its gestural language. Yet for all their differences, these works complement each other and would have been natural choices for an all-piano CD, perhaps followed by one of Boulez's piano sonatas. But they give no preparation for the shock of ...explosante-fixe..., a piece for flute, ensemble, and electronics that bursts with color, activity, and imagination. This stunning work is the disc's tour de force, and its dazzling sonorities are enhanced by the great sound of Deutsche Grammophon's 4D reproduction. Once it takes hold, ...explosante-fixe... carries the listener into another musical dimension, and its brilliance makes the previous works seem pedestrian in comparison."



    Boulez Conducts Boulez

    or

    Boulez Conducts Boulez


    0 0


    1. Minuet Circa '61 10:38
    2. Who Could Care? 4:46
    3. Nice Work If You Can Get It 5:58
    4. Thump, Thump, Thump 6:52
    5. A Nightingale Sang in Berkeley Square 6:59
    6. Love Jumped Out 7:46

    Stan Getz - Sax (Tenor)
    Bob Brookmeyer - Trombone
    Steve Kuhn - Piano
    John Neves - Bass
    Roy Haynes - Drums

    AMG:
    "In spite of its rather bland album title, Recorded Fall 1961 is an overlooked masterpiece within the extensive discography of Stan Getz, not only because of his playing, but especially that of valve trombonist Bob Brookmeyer, along with Brookmeyer's excellent charts, which have stood the test of time very well. Rounding out the quintet is pianist Steve Kuhn, bassist John Neves and drummer Roy Haynes. The trombonist contributed three originals to the sessions, highlighted by the loping waltz 'Minuet Circa '61,' an extended piece with a catchy theme and superb solos. The humorous interpretation of 'Nice Work If You Can Get It' avoids the typical banal approaches. Getz and Brookmeyer blend well together and excel in their use of counterpoint, while the rhythm section is superb. Long unavailable, this highly recommended recording was finally reissued as a CD in 2002."



    Recorded Fall 1961

    or

    Recorded Fall 1961


    0 0


    1. I'm a Believer 3:05
    2. Downtown 2:42
    3. Young Girl 2:26
    4. Stranger on the Shore 2:50
    5. Pretty Flamingo 2:47
    6. God Only Knows 2:35
    7. I'll Never Fall in Love Again 2:36
    8. What a Wonderful World 2:39
    9. Michelle 2:49
    10. Moon River 2:42
    11. Black Is Black 2:38
    12. Sunshine Superman 3:01
    13. Something 3:06
    14. Puppet on a String 2:03
    15. Je T'Aime...Moi Non Plus 3:44
    16. A Walk in the Black Forest 3:05
    17. Simon Says 2:28
    18. (If Paradise Is) Half as Nice 3:07
    19. He Ain't Heavy, He's My Brother 4:37
    20. Love Letters 2:52

    Tony Gilbert - Violin
    Johnny Pearson - Organ, Piano
    Tony Reeves/Pete McGurk/Frank Clark - Bass
    Kenny Clare - Drums

    AMG:
    "Sounds Orchestral was, for a time, Pye Records' answer to EMI's Sounds Incorporated, although unlike their better known rivals, they were more of a studio ensemble and never got into the position of touring with the Beatles. The group was formed in early 1965 by Pye Records producer John Schroeder, who perceived an audience looking for a sound other than the driving Liverpool beat that had dominated the British airwaves and charts for almost two years. The original line-up included veteran pianist John Pearson, born in 1925 and a bit long-of-tooth to be competing in the rock 'n' roll world, and ex-Johnny Dankworth drummer Kenny Clare, along with 21-year old bassist Tony Reeves, later of Curved Air, Greenslade, and Colosseum, among other bands. Schroeder got some considerable help from Reeves, who brought him a 1960-vintage Vince Guaraldi-trio record called 'Cast Your Fate To the Wind'. In the hands of Sounds Orchestral, the tune made it to number three on the British charts and even cracked the top 10 in America. It was to be their only major chart entry, but that was enough to yield a pair of LPs and several singles over the ensuing half-decade, and the group continued releasing music intermittently, in one form or another, at least thru the 1970's and early 1980's. Their rendition of 'Black Is Black' was also a popular dance record, and has turned up on several Northern Soul collections."



    Sounds Chartbound

    or

    Sounds Chartbound


    0 0


    1. Masq 6:16
    2. 4 art 6 8:44
    3. Cantique 6:59
    4. Tunnel exatique 7:19
    5. Tunnel exatique 2:41

    Roland Bocquet - organ, piano, glock, vocal
    Niles Brown - guitar, violin, clochettes, vocal
    Charlotte - vocal, violin, crecelle, clochettes, grelots
    Yves de Roubaix - guitar, vocal, crecelle
    Allain Geoffroy - charango, piano, moulinette, vocal
    Patrick Moulia - guitar, tambourin, scie, guimbarde, crecelle, harmonica, vocal
    Charles Eddie - percussion, tarabocca

    discogs:
    "French psychedelic band who nad singers, but never did 'songs'; they chanted, wailed, screamed. The female singer Charlotte left shortly after the debut, but she also features on the 4th LP which was old archives.
    Catharsis also made two LPs with poet Bernard Verley. They reformed for a further LP in 1976. Roland Bocquet continued as a soloist, library music and soundtrack composer."



    Masq

    or

    Masq


    0 0


    1. Under The Wheels 6:45
    2. Inferno 4:00
    3. Dreaming 3:40
    4. The Tempest 9:30
    5. As It Is In Heaven 4:30
    6. Jubilee 4:00
    7. Too Much To Ask For 6:35
    8. Until Eternity 13:40

    Bill Berends - guitars, midi-guitar, vocal, bass
    Phil Antolino - bass, midi-pedals
    Rich Berends - drums, percussion

    AMG:
    "Mastermind started in 1986 when Bill Berends and his brother, Rich, decided to form the group. They added Phil Antolino and quickly began playing gigs. They hooked up with ZNR Records in 1990, releasing their debut, Volume One. They followed that one with Brainstorm in 1992. By this point, the group was continuing with extensive touring, but still managed to release a third disc, Tragic Symphony, in 1994. Actually, Japan was the only place where it was released that year; its worldwide release didn't happen until the following year. The group was gaining a following and began pushing the envelope by more heavy touring. They began work on their follow-up disc while touring in 1995, but it was not released until 1996, titled Until Eternity. They continued their heavy touring schedule in promotion of that album all the way through 1997. There was a live album recorded during those gigs that was released as a limited-edition CD in 1997. That disc was entitled Live in Tokyo. Later that year, Jen Johansson joined the group and they released an instrumental album entitled Excelsior. Before releasing their next album, Angels of the Apocalypse, in 2000, the group added another member, Lisa Bouchelle."



    Until Eternity

    or

    Until Eternity


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    1. Foetal Fandango 5:43
    2. Hannello 4:12
    3. Midnight Judo 7:42
    4. Jocelyn 4:12
    5. Porc-Epic 7:00
    6. Janna 6:46
    7. Excerpt From 'Reve De Singe' 6:12

    Elton Dean - sax (Alto), saxello
    Sophia Domancich - piano, synthesither
    Hugh Hopper - bass
    Pip Pyle- drums
    +
    Didier Malherbe - sax (tenor), flute (1,5)

    AMG:
    "Recorded in 1985 and originally released on a tiny French label in 1987 before finally becoming widely available through the progressive reissue label Voiceprint in 2000, Pip Pyle's first solo album is a Canterbury Scene supergroup outing, starring Pyle on drums, the Soft Machine's Hugh Hopper on bass and Elton Dean on saxophones, Pyle's former Gong bandmate Didier Malherbe on flute, and French keyboardist Sophia Domancich. Unlike most '70s progressive artists who ran out of ideas sometime around the turn of the decade, Pyle and his cohorts create an impressive set of seven tunes that are as vital and interesting as much of their earlier work. (Equipe Out is a true collaboration, with all five participants contributing to the songwriting.) The saving grace of the Canterbury Scene, even in its most ponderous moments, was a sly sense of humor that comes through even on instrumentals like the witty, Ashley Hutchings-like dance tune 'Foetal Fandango,' which features a wonderful lead melody played in unison by Dean and Malherbe. Equipe Out is clever without being precious, challenging while remaining accessible (for all the tricky time signatures and abrupt tempo shifts, this is not 'difficult' music), and hugely entertaining."



    Equipe Out

    or

    Equipe Out


    0 0


    1. Ooo Baby Baby 3:11
    2. Just for a Little While 2:42
    3. La Vida 3:08
    4. Loneliness Loneliness 4:34
    5. I Could Never Hurt You Girl 3:24
    6. Darling You And I (Together) 4:34
    7. Stay Out of My Life 3:59
    8. Rat Race 2:45

    Ralfi Pagan - Vocals
    Joe Beck - Guitar
    Paul Griffin - Piano
    Louie Ramirez - Vibraphone
    Jerry Jemmott - Bass
    Bernard Purdie - Drums
    Nicky Marrero - Bongos
    Frank Malabé - Congas
    J.R. Bailey - Voices
    Kenny Williams - Voices

    AMG:
    "One of Latin music's favorite falsetto balladeers, Ralfi Pagan croons a few mid-'70s favorites on this brief collection of smooth Latin pop. Though Pagan is quite bewitching on covers like 'Ooo Baby Baby,''I Could Never Hurt You Girl,' and 'Just for a Little While,' the arrangements (by Louie Ramirez and Marty Sheller) are very tepid. In fact, the music barely deserves the Fania name considering there's practically no hint of Latin percussion other than Bernard Purdie's standard drum kit. Pagan sounds about as emasculated as Michael Jackson on the harder funk of 'La Vida,' and the CD reissue has a muddy sound and undisguised vinyl transfers."



    I Can See

    or

    I Can See


    0 0


    1. Midnight Madness 6:56
    2. All Alone 1:51
    3. (Introducing) Three Piece Suite 12:59
    4. Paraffinalea 4:13
    5. Yellow 5:25
    6. Poisoned Youth 16:17

    Franc Holland - guitar, vocals
    Robert Webb - keyboards, vocals
    Martin Henderson - bass, vocals
    Jode Leich - percussion, bass, vocals

    progarchives:
    "This British quartet featured Martin Henderson (bass, vocals), Franc Holland (guitar, vocals), Robert Webb (keyboards, vocals) and Jode Leigh (percussion, vocals, bass). Their debut LP 'Garden Shed' is one of the finest, 24-carat progrock albums I've ever heard and it was also a sought after item. The LP was released on CD in Japan but you could hear the scratches because they put it directly from the record on CD without the usual mastering. Fortunately keyboard player Robert Webb re-released the original album tapes on a limited edition CD with the help of Gordon Haskell and The Forward Organisation. This in order to celebrate the 20th anniversary of 'Garden Shed' in 1997. Two years before there was a CD-release entitled 'The Last Of The Jubblies', including material from '76 and '77.
    The album 'Garden Shed' has strong echoes from early Genesis and Yes. The often Mellotron drenched compositions sound melodic, warm and inventive with many captivating changes of climate and thrilling breaks. The guitarwork is sensitive, the keyboardplay is varied and the vocals are strong, no doubt that these are good musicians. The way ENGLAND combines the influence of Yes with lots of original ideas reminds me of FRUUPP, another good British progrock band. Not to be missed in any serious progrock collection! 'The Last Of The Jubblies' is a grouping of the recording made between 1976 and 1977. Their sophisticated music with elaborated instrumental developments could be situated in the same category as Yes and Genesis."



    Garden Shed

    or

    Garden Shed


    0 0


    1. Cantus in Memory of Benjamin Britten, for string orchestra & bell 6:19
    2. Summa, for string orchestra 5:30
    3. The Beatitudes, for chorus & organ 6:06
    4. Fratres, for strings & percussion 10:14
    5. Festina lente, for strings & harp ad lib 6:13
    6. Magnificat, for chorus 6:29
    7. De Profundis, for male chorus, percussion & organ 5:38
    8. Silentium (from Tabula rasa), concerto for 2 violins (or violin & viola), prepared piano & string orchestra 16:22

    Tasmin Little - Violin
    Estonian Philharmonic Chamber Choir
    King's College Choir of Cambridge
    Bournemouth Sinfonietta
    London Philharmonic Orchestra
    Richard Studt - Conductor, Violin
    Stephen Cleobury - Conductor
    Tõnu Kaljuste - Conductor
    Franz Welser-Möst - - Conductor

    AMG:
    "Though the two never met, Arvo Pärt was profoundly saddened by the death of English composer Benjamin Britten in 1976. 'I had just discovered Britten for myself,' recalled Pärt. 'Just before his death I began to appreciate the unusual purity of his music - I had had the impression of the same kind of purity in the ballads of Guillaume de Machaut.' In his musical memorial to Britten, Cantus in memoriam Benjamin Britten (1977), Pärt demonstrates the kind of purity of concept to which he aspires in his own music.
    The surface features of the work paint an almost macabre scene. A chime for dead tolls grimly, while the string lines consist of perpetually descending minor scales over elongated pedal tones. The overall shape seems to follow the procession to the cemetery and the lifeless body into the grave. However, a closer look at the processes at work in the Cantus, and a bit of insight into the philosophies behind those processes, reveal much deeper layers of spiritual meaning.
    The work is constructed according to the principles of 'tintinnabula,' a style feature Pärt developed in the late 1970s after becoming disenchanted with his own experiments in functional tonality, serialism, collage, and polystylism. Taking its name from the word describing the sound of a pealing bell, this technique explores the possibilities of fleshing out a tonal center as a kind of omnipresent resonance rather than as a point of departure and return; in essence, Pärt removed the goal-directedness of functional harmony in order to explore the sheer sonority of the triad. To do so, he employed two kinds of musical line, which Paul Hillier, in his important 1997 study of the composer's music, identifies as M-lines and T-lines. M-lines are melodic lines that proceed in scalar or stepwise motion, usually within a diatonic scale and usually according to some kind of patterning system. T-lines, or tintinnabular lines, emphasize the sonority of the tonal center by confining themselves to chord tones. In the Cantus, the first and second violins, cellos, and basses are all employed divisi, with each section accommodating both a T- and an M-line. To these four pairs is added a single melodic line in the viola, the only one without a corresponding tintinnabular voice. This texture is maintained until the last section of the work, at which point the melodic voices gradually conform to the predominating chord tones.
    Another process is also at work in the Cantus. The most prominent melodic contour is a simple descending A minor scale; this descending line, however, appears concurrently in various octaves and in various rhythmic values. The aural result is that each of the melodic voices in the five instrumental groups plays the line at a different but proportional rate of speed, so that the first violins are 16 times as fast as the basses. This kind of telescopic unity is cosmologically poignant, in the composer's aesthetic, and hints at a kind of multidimensional chronology that exists only in the hereafter.
    Even deeper meanings can be found in the use of tintinnabular technique. Pärt proposes that the practice evokes all kinds of spiritual dualities. The melodic voice can be read to correspond with the mortal, the tintinnabular voice with the eternal - a dichotomy of body and spirit. Thus, before the final bell tolls, and as the M-voices melt into the triadic ether, the body doesn't just descend into the earth: the immortal spirit ascends into heaven."



    Sanctuary

    or

    Sanctuary


    0 0


    1. Sweet D 6:35
    2. For Lester 4:20
    3. Belly Up 6:44
    4. Cool Red 5:12
    5. Hattie Wall 4:04
    6. Adjacent 4:49
    7. West African Snap 3:41
    8. Full, Deep and Mellow 3:16
    9. Dance Until Dawn (For Little Anthony) 7:08
    10. Fast Life 3:01

    Hamiet Bluiett - Clarinet (Alto), Sax (Baritone)
    Julius Hemphill - Flute, Sax (Alto), Sax (Soprano)
    Oliver Lake - Sax (Alto), Sax (Soprano)
    David Murray - Clarinet (Bass), Sax (Tenor)

    AMG:
    "For this 1987 release, the World Saxophone Quartet performs ten group originals: three apiece by tenor saxophonist David Murray and altoist Oliver Lake and two by baritonist Hamiet Bluiett and altoist Julius Hemphill. Celebrating its tenth year as a part-time group at the time, the WSQ was not as radical as ROVA, but their mixture of melodies and abstraction, rhythms and adventure were still quite appealing and filled their own niche. This is an underrated release, recorded between their better-known Plays Duke Ellington and Rhythm and Blues CDs."



    Dances and Ballads

    or

    Dances and Ballads


    0 0


    1. Choral 1:45
    2. Giv Mig Ej Glans - Hymn 433 6:03
    3. I Denna Ljuva Sommartid - Hymn 200 4:51
    4. Gracias a La Vida 2:57
    5. Idas Sommarvisa 6:04
    6. Xieyi 0:52
    7. Decimas 5:34
    8. Och Kanske Är Det Natt 4:10
    9. Sul Tasto 1:14
    10. Tenk 8:43
    11. Sonett till Cornelis 5:28
    12. Romance-Distance 1:08
    13. Scents 3:02
    14. Fragancia 4:10
    15. Q 2:12
    16. War Orphans 7:51
    17. Choral 1:47

    Anders Jormin - Double Bass
    +
    Robin Rydqvist - Flugelhorn, Trumpet
    Krister Petersson - French Horn
    Lars-Göran Carlsson - Trombone
    Niclas Rydh - Trombone (Bass)

    AMG:
    "b. 1957, Jönköping, Sweden. Taking up music in early childhood, Jormin studied extensively, eventually graduating from Göteborg’s Musikhögskolan in 1979. Trained as a bass player and in composition, he turned to jazz, working in the 70s and 80s bands Mwendo Dawa and Rena Rama. Through the 80s and beyond Jormin played and sometimes recorded with musicians such as Jon Balke, Joey Baron, Kristian Blak (a musical association that extended fruitfully through many years), Don Cherry, Marilyn Crispell, Jack DeJohnette, Gilberto Gil, Joe Henderson, Mark Feldman, Elvin Jones and Albert Mangelsdorff. In the 90s, Jormin recorded with Lee Konitz, Charles Lloyd, Joe Lovano, Mike Mainieri, Paul Motian, Tomasz Stanko, Bobo Stenson, John Surman, John Taylor, Kenny Wheeler and Norma Winstone. Jormin has also often appeared as leader of Entra, notably on the albums Entra Love! (1983), Kingolog (1984), Live Lights (Timeless 1989) and Ballet (1991), and has played with Dr Dingo and Magnetic North. He has sometimes appeared in bands in which his brother, Christian Jormin, plays drums.
    Jormin has also played in and composed for jazz-chamber music groups, while his In Winds, In Light is sacred music, originally commissioned for performance in Västerås Cathedral although not recorded until 2003. In 1991, his Alone, a solo bass recording, was highly acclaimed in Sweden, where it picked up several awards. In addition to a busy performing schedule, Jormin has also taught bass and improvisation at the Musikhögskolan, from which he had earlier graduated. He was invited to become a member of the Swedish Royal Academy of Music and in 2003 became Doctor Honoris Causa at Finland’s Sibelius Academy."



    Xieyi

    or

    Xieyi


    0 0


    1. Cirkusz 04:28
    2. A szerelem börtöneben 03:06
    3. Szerenad - szerelmemnek, ha lenne 02:25
    4. A semmi kertje 04:28
    5. Lincoln fesztival blues 04:58,
    6. Ne szedit 03:20
    7. Kakukkos karora 02:01
    8. Kotta nelkül 06:32
    9. Azt hittem 05:26
    10. Megvarlak ma delben 03:56
    11. Ringasd el magad 01:09

    1.Ringasd el magad (4:50)
    2. Kék asszony (3:30)
    3. Gyere, gyere ki a hegyoldalba (2:45)
    4. Visszamegyek a falumba (4:00)
    5. Bárzene (4:15)
    6. Ő még csak most tizennégy (3:45)
    7. Szabadíts meg (3:40)
    8. Vallomás (3:55)
    9. Mondd mire van (2:35)
    10. Miénk itt a tér (3:00)

    Barta Thomas - vocals , guitars , banjo
    Presser Gábor - vocals, keyboards
    Frenreisz Carl - vocals, bass , saxophones (1-11)
    Somló Thomas - vocals, bass, saxophone (12-21)
    Laux Joseph - drums
    Adamis Ann - lyrics

    Wiki:
    "...LGT’s first concert was held on the Park Stage in Buda in July 1971. In August, this was followed by their first single, with Frenreisz’s hit Boldog vagyok (‘I’m Happy’) on side A, and the Led Zeppelin –influenced Presser song Ha volna szíved (‘If You Had A Heart’) on side B. In October they performed together with the Tolcsvay Trió at the Gardening College, in the opening of a club on the college premises.
    The song Ezüst nyár (‘Silver Summer’) gave them such popularity that they were invited to Japan, to perform at the World Popular Song Festival in Tokyo, where they performed one of Frenreisz’s songs, Érints meg, in its English language version (Touch Me, Love Me, Rock Me), which was a huge success at the festival. They later re-recorded the original English version in Budapest for the A side of their second single under the title Érints meg.
    In December 1971 they released their self-titled debut album Locomotiv GT but in the Hungarian music scene its style still counted as experimental, with influences from the British progressive rock scene, and with the abstract creations they didn’t have as much success at home as they did have abroad. In Western countries they were more popular, especially after an article that mentioned them in New Musical Express (“The new rock sensation could come from the East!”). What also contributed to their popularity abroad was the fact that Jack Bruce made an appearance on Locomotiv GT, their first LP released in the UK and the US, playing harmonica. This LP was not the same as their eponymous LP in Hungary, but consisted of songs from all three Hungarian albums released up to that point.
    In May 1972 they were invited, as the only continental European band, to the Great Western Express Festival in Lincoln, England, where they performed alongside bands and artists like Genesis, the Beach Boys, Joe Cocker and the Faces.
    In the autumn of 1972 they released their second album, Ringasd el magad (‘Rock Yourself’), arranged in Hungary and recorded in London. They also released a single, with Barta’s songs on both sides, Szeress nagyon (‘Love Me Much’) (with the B-side Csak egy szóra – ‘Just For A Word’). They also produced an album titled Álmodj velem (‘Dream with Me’) and three singles for the singer Sarolta Zalatnay, and two albums for Kati Kovács.
    In the meanwhile the idea came up that LGT, with their various experiences, could write the music for a musical based on Tibor Déry’s An Imaginary Report on an American Pop Festival. The band agreed to do this work, but Frenreisz, who didn’t want to work on the musical, left the group and founded his own band, Skorpió. He was replaced in LGT by Tamás Somló, who had graduated from a circus school, yet another former member of Omega as well as the band Non-Stop. The musical was a great success, and it was performed in five countries.
    The third album Bummm!, was finished in 1973, its style being easier for the listeners to digest. With this album the band finally became a success in Hungary, too. The best known songs from the album are: Ringasd el magad, Kék asszony, Gyere, gyere ki a hegyoldalba, Ő még csak most tizennégy, Vallomás, Miénk itt a tér. A year later Barta defected from Hungary, or rather, opted to remain in the US after their tour there, and as a result, the album was banned in Hungary. But in spite of this, LGT now became the most popular band in the country, leaving Omega to the second place, when earlier Omega had been the absolute crème de la crème of rock in Hungary..."



    Ringasd El Magad/Bummm!

    or

    Ringasd El Magad/Bummm!


    0 0


    1. Memorial 12:07
    2. Miserere Paraphrase 5:44
    3. Book Depository 5:41
    4. Coupling 5:17
    5. Miserere 11:33

    Andy Findon - Flute, Sax (Baritone), Sax (Tenor)
    John Harle - Sax (Alto), Sax (Soprano)
    David Roach - Sax (Alto)
    David Fuest - Clarinet, Clarinet (Bass)
    Graham Ashton - Trumpet
    David Stewart - Trombone
    Alexander Balanescu - Violin
    Elisabeth Perry - Violin
    Jonathan Carney - Viola, Violin
    Tony Hinnigan - Cello
    Michael Nyman - Piano
    Chris Laurence - Double Bass
    London Voices

    AMG:
    "For this, his seventh soundtrack for director Peter Greenaway, Nyman deftly orchestrates a mix of strings, horns, and voices to produce another of his fetching and romantic minimalist backdrops. The opening 'Memorial' is the highlight of the lot and drives along with stuttering saxophones, an insistent string arrangement, elegiac brass solos, and the soaring vocals of soprano Sarah Leonard (Leonard would be featured on a large part of the Prospero's Books soundtrack). The piece was originally inspired by a 1985 Belgian soccer match tragedy, in which 39 Italian fans were killed. Nyman utilized a death march in his earlier Greenaway collaboration, Drowning by Numbers, and revives the scheme to great effect here for what would become the main theme of The Cook, the Thief, His Wife, and Her Lover. Nyman contrasts the piece's climatic quality with two relatively sedate yet brooding numbers. There's also a rousing performance of his 'Miserere' (performed by the London Voices choir) and a violin and piano paraphrase of the same piece to add to an already solid soundtrack. Nyman is again aided by his crack band, which includes such standouts as violinist Alexander Balanescu and tenor saxophonist John Harle. Along with the soundtracks to The Piano and Prospero's Books, this is an essential title in the Nyman catalog."



    The Cook The Thief His Wife Her Lover

    or

    The Cook The Thief His Wife Her Lover


    0 0


    1. Gotcha 3:35
    2. Smoothin' on Down 4:28
    3. Dream Lady 4:39
    4. I Wanna Be 4:50
    5. Shadows 7:41
    6. You've Got the Feel'n 5:04
    7. Down to Your Soul 5:29
    8. It's So Beautiful to Be 5:32

    Tom Scott - Horn, Lyricon, Sax (Alto), Synthesizer
    Chuck Findley - Trumpet
    Dick Hyde - Trumpet, Trumpet (Bass)
    Richard Hyde - Horn
    Eric Gale - Guitar
    John Tropea - Guitar
    Dennis Budimir - Guitar
    Hugh McCracken - Guitar, Harmonica
    Richard Tee - Clavinet, Keyboards, Organ, Piano, Synthesizer
    Kenny Ascher - Clavinet, Keyboards
    Ray Parker Jr. - Guitar
    Gary King - Bass
    Bill Lee - Bass
    Chuck Rainey - Bass
    Steve Gadd - Drums, Percussion
    Rick Marotta - Drums
    Chris Parker - Drums
    Ralph MacDonald - Bells, Percussion

    AMG:
    "Blow It Out was among Tom Scott's best selling albums of the 1970s, but it was also among his weakest of the decade. The spontaneity and grit that defined his work with the L.A. Express is sorely missing on the album, a session plagued by excessive producing and arranging, bland material and appalling lack of improvisation. Scott's sax is consistently smothered by cliched, Bob James-ish arrangements. Fans of '70s cop shows may want to hear 'Gotcha (Theme from 'Starsky & Hutch'),' but on the whole, Scott's pop and R&B melodies are as schlocky as they are forgettable. Making a rare and unsuccessful attempt to sing on the R&B/pop number 'Down to Your Soul' - which sounds like fifth-rate Steely Dan - Scott unveils a voice that's thin at best. Unquestionably, an L.A. Express date like Tom Cat would be a much better investment."



    Blow It Out

    or

    Blow It Out


    0 0


    1. Tenshi No Gijnka 1 4:33
    2. Tenshi No Gijnka 2 11:35
    3. Tenshi No Gijnka 3 2:25
    4. Tenshi No Gijnka 4 5:33
    5. Tenshi No Gijnka 5 9:27
    6. Tenshi No Gijnka 6 3:48
    7. Tenshi No Gijnka 7 4:23
    8. Tenshi No Gijnka 8 9:28
    9. Tenshi No Gijnka 9 4:23

    Keiji Haino

    AMG:
    "Tenshi No Gijinka finds Keiji Haino solo and without guitar. Focusing entirely on percussion and vocals, Haino builds a unique, meditative space out of drones, cymbal smacks, rings, and reverberations. Bizarre yet also beautiful, Haino creates a personalized and esoteric ritual that alternately serves as repeated tension release and representation of the inner sounds of existence. The result is a captivating immersion in sustains and overtones."



    Tenshi No Gijnka

    or

    Tenshi No Gijnka


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