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FreeFall - LiveJournal.com

older | 1 | .... | 48 | 49 | (Page 50) | 51 | 52 | .... | 57 | newer

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    1. Apparition du Christ glorieux
    2. La constellation du Sagittaire
    3. L'Oiseau-lyre et la Ville-fiancée
    4. Les élus marqués du sceau
    5. Demeurer dans l'Amour...
    6. Les sept Anges aux sept trompettes
    7. Et Dieu essuiera toute larme de leurs yeux...
    8. Les étoiles et la Gloire
    9. Plusiers oiseaux des arbes de Vie
    10. Le chemin de l'invisible
    11. Le Christ, lumière du Paradis



    Polish Radio Orchestra & Chorus Katowice
    Antoni Wit - Conductor


    AMG:
    "This is a transcendental premiere recording with the National Orchestra of the Polish Radio, Katowice, conducted by Antoni Wit. The generally accepted translation of the title of Messiaen's last work from 1992, Illuminations From The Beyond ..., is somewhat tame compared to the equally appropriate and more apt Lightning-Flashes from the Beyond ... . For example, in the section Seven Angels with Seven Trumpets, the full brass unisons accompanied with whipcracks and deep rolls from the bass drum and gong elicit the most chilling and majestic feelings, like an ancient sense of the mysterious eternal. Likewise, The Way to the Invisible opens gates to the subconscious with beautiful yet bizarre harmonic sweeps in the strings, full chordal annunciations in the brass, and 'total chromatic' (massed tone cluster) backdrops which accompany the Song of the Pied Butcherbird. As in several other Messiaen works, birds are seen as intermediaries between the heavenly and the earthly. There is a gorgeous menagerie of twenty-five bird songs played freely and simultaneously in the section entitled Several Birds from the Trees of Life, and birdsong also appears in many other passages throughout the piece. Lovely, unique melodic strains appear in several sections: God Will Wipe Every Tear From Their Eyes ... ; the exquisitely moving (yet not 'sensual') Dwelling in Love, for sixteen muted first violins and, unmuted, six violin, six viola and six cello solos; and in the finale Christ, Light of Paradise, with its resonance chords and colorful modes. This piece is a deeply sincere statement of faith in the natural revelation of the Great Mystery, and expresses this faith in clear, beautiful musical images, neither over-emotional nor distanced through austerity."



    Eclairs Sur L'au-Dela

    or

    Eclairs Sur L'au-Dela


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    1. Chodnikovy blues 4:51
    2. Nesmis dat jenom na zdani 4:25
    3. Snad je ti neceho lito 4:15
    4. Vestonicka Venuse 3:24
    5. Jsou spatny dny 3:35
    6. Good Bye 4:06
    7. Koleda 3:54
    8. Pisen 3:04
    9. Barborka 3:04
    10. Te divne noci 3:59
    11. Svy prani znat 1:56
    12. S pomoci pratel 4:38
    13. Rovnovaha 4:11


    Oldrich Ríha
    Jiri Šindelar
    Anatoli Kohout
    +
    Tomas Baroch


    discogs:
    "Czech rock group. Founded 1974 in Plzeň (former Czechoslovakia) by Oldřich Říha and Jiří Šindelář, initially named “Mahagon”. After being banned by the regional communist authorities they relocated to Prague. Renamed on Mahagon’s request to “Katapult” in August 1975. They became one of the most popular Czechoslovak live acts of the late 1970s, releasing two best-selling albums and several SPs, winning the “best group” category of the popular youth magazine Mladý svět’s annual reader award “Zlatý slavík” (“Golden Nightingale”) in 1979 and 1980. Despite further bans by the authorities during the late 1970s (eventually they were not allowed to perform in Prague at all) and particularly in the first half of the 1980s (no recording permission despite valid Supraphon contract, absolutely no radio or TV presence), the duo Říha/Šidelář remained continuously active as “Katapult” with changing (or returning) drummers until Šindelář’s premature death in January 2009."



    Chodnikovy Blues

    or

    Chodnikovy Blues


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    1. Stolen Moments 5:25
    2. Linden Boulevard 9:17
    3. Requiem for a Rabbit 7:13
    4. Night Train 6:00
    5. I Remember Eric Dolphy 9:40
    6. Stablemates 8:27
    7. Ah, George, We Hardly Knew Ya 12:14
    8. Walkin' 6:35
    9. The Party's Over 6:41


    Arthur Blythe - Sax (Alto), Sax (Soprano)
    Nathan Davis - Sax (Alto), Sax (Soprano), Sax (Tenor)
    Chico Freeman - Sax (Alto), Sax (Soprano), Sax (Tenor)
    Sam Rivers - Sax (Soprano), Sax (Tenor)
    Don Pullen - Organ (Hammond), Piano
    Santi Debriano - Bass
    Idris Muhammad - Drums
    +
    Helmut Kagerer - Guitar
    Helmut Nieberle - Guitar


    jazzloft:
    "The second release by this magnificent, all-star repertory band features tributes to Benny Golson, Jimmy Forrest, Archie Shepp, George Adams, and Johnny Hodges, among others. The tribute to George Adams, penned by his erstwhile partner Don Pullen, is the beautifully poignant “Ah George, We Hardly Knew Ya,” played with great feeling by Arthur Blythe. With four enormously expressive saxophone stylists and a beautifully integrated rhythm section, ROOTS has won widespread acclaim from critics and the public alike."



    Stablemates

    or

    Stablemates


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    1. Ethiopia4:34
    2. Don't You Let Me Down 3:40
    3. Featherbed 9:40
    4. Justin and Nova 8:29
    5. Kill Me with Your Love 11:16


    Danny Shoshan - Lead Vocals
    Haim Romano - Lead Guitar
    Robb Huxley - Guitar
    Miki Gavrielov - Bass
    Ami Triebich - Drums


    AMG:
    "This eponymous album from 1972 was the end of the road for the U.K.-based band Jericho, but what a long and eventful road it was. Years earlier - 1965 to be precise - the group's story began halfway round the world, in the independent state of Israel, as the Churchills: a beat group that enjoyed considerable local pop success and then recorded perhaps the first Hebrew-sung rock album backing up noted singer/songwriter Arik Einstein. In 1969, British guitarist Robb Huxley (of the Tornados fame) hooked up with the Churchills amid a tour through Israel and seemingly lured them back to England, where they eventually renamed themselves Jericho Jones and released a 1971 LP entitled Junkies Monkeys and Donkeys, to little acclaim. Finally, the band name was shortened to Jericho and this eclectic, five-song collection of heavy progressive rock resulted as their last musical will and testament…and an enduringly fascinating one it is too. The memorable guitar signature of opening number 'Ethiopia' rides a driving beat similar to Krautrock's emergent Motorik style, while ostensive single 'Don't You Let Me Down' anchors itself in safer blues-rock territory, but is still both forceful and catchy, thanks to vocalist Danny Shoshan's snarling intensity. Then we're into the epic compositions - three of them - beginning with 'Featherbed,' which weaves serpentine, Middle Eastern-flavored guitars behind harmony vocals intoning alternately blissful and tormented impressions of a presumed acid trip (or 20), with room in its jam section for a little scat-singing and choppy guitar funk. The cryptically named, string arrangement-laden 'Justin Nova' explores a more anthemic, pedantic prog-rock vibe reminiscent of the era's rising, blue-blooded proggies, particularly Genesis with a little Yes thrown in. And the big daddy of the bunch, 'Kill Me with Your Love,' probably lacks its counterparts' focus (meandering off into several solo instrumental spots along its route) but ultimately nails its spiteful chorus to the wall of proto-metal intensity - with attitude. All told, this material may have lacked some overarching cohesion and obviously yielded no glaringly irresistible chart-beaters, but it still helped Jericho stand well above the countless forgotten bands that were churning out mindless heavy rock drivel during this period. What's more, there's little available evidence to refute Jericho‘s status as the first hard rock album produced by an Israel-born band, and it's just too bad that it had to also signal a final stand for its creators."



    Jericho

    or

    Jericho


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    1. Bhakti Point 7:01
    2. Nightland 4:50
    3. A Book Upon the Crossroad 6:09
    4. The Turn Again 5:26
    5. Reunion 6:48
    6. Little Dreamer 5:40
    7. Willow Song 4:04
    8. Closer Than Love 5:44


    Richard Burmer - Autoharp, Emulator, Mellotron, Synthesizer
    Tony Karasek - Tamboura, Tambourine
    Don Swanson - Cymbals
    Debra Burmer - Vocals, Voices


    AMG:
    "Listeners who approach Richard Burmer's Bhakti Point as electronica or minimalism will be severely disappointed. Those who approach it as a vivid new age anthem, however, will be greatly pleased, as Burmer has crafted a set of very smooth compositions. Indeed, the music is primarily electronic and the atmospheres are huge and expansive. The symphonic timbres give the disc too much activity for minimalism and too much sparkle for electronica. These are delightful pieces with feel-good textures. This CD will appeal to fans of John Flomer, Kevin Braheny, Jon Jenkins, and Kitaro."



    Bhakti Point

    or

    Bhakti Point


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    1. Places I've Never Been 3:21
    2. Staph 5:38
    3. Slow Horn 3:09
    4. A Knot in Your Bop 4:02
    5. SVP 5:19
    6. Coda 3:23
    7. Stream Light 3:41
    8. Monstro City 3:05
    9. Real Is Surreal 3:08
    10. Free Hop 7:13


    Matthew Shipp - Piano
    Daniel Carter - Trumpet
    Khan Jamal - Vibraphone
    William Parker - Bass
    Guillermo E. Brown - Drums
    +
    Antipop Consortium


    AMG:
    "He grooves, he dances (figuratively) on his keys, he delights with phantasmagorical wonders: He is none other than the wondrous Matthew Shipp, who invites you into his den of magical juxtapositions. Step right up, ladies and gentlemen, right this way, and open the doorway to new sounds, or at least combinations you never expected. This one matches the hip-hop conundrums of Anti Pop Consortium, who will wow you with its revolutionary discombobulations, with the cerebral machinations of free jazz wizard Matthew Shipp, who lays it down low with stretched fingers that scratch the pavement. The pianist brings with him old friends - bassist William Parker, trumpeter Daniel Carter, drummer Guillermo E. Brown, and vibist Khan Jamal - but when they confront the cool sounds of Anti Pop, they defer with respectful submission. The fireworks do not ignite the way they might have, but that is the nature of experimentation. Nevertheless, this is all great fun, a function of Shipp's slippery mind, and the results are not only danceable but disconcertingly so. Shipp is downright melodic for the most part, and even the hip hip-hoppers seem barely radical, and yet the outcome is not liable to be quite anything you've heard before. Sure, it crosses over and you have to suspend critical analysis, at least sometimes, but kudos to Anti Pop and Shipp for expanding their horizons, for dreaming, and for trying something new and keeping it fresh."



    The Fight of the Century

    or

    The Fight of the Century


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    1. Bandits in the Woods 4:20
    2. Luftpost 5:12
    3. Degado 4:54
    4. Prima Klima 4:40
    5. Let it Out 5:47
    6. Die Maschine 4:45
    7. Heimweh nach Übersee 3:07
    8. Picnic International 5:20


    Johannes Alto Pappert - Alto saxophone
    Peter Wolbrandt - guitar, vocal
    Ingo Bischof - keyboards
    Hellmut Hattler - bass
    Jan Fride - drums


    AMG:
    "Let It Out was welcomed by Kraan's fans and savaged by the critics, and in retrospect both reactions are understandable. The fans heard new material like 'Luftpost,' in which a musical phrase is tossed between the sax, guitar, and new member Ingo Bischof's keyboards, and they looked forward to more new pieces with the added depth and interplay. Critics noted the generally lower energy level of the album and the diminished role of sax genius Johanes Pappert, who cedes a lead role to Bischof's keyboards on several tracks. Coming after the brilliant Live album, the mellow, relaxed sound on several of these pieces was a letdown. The experimental cuts were also less successful than usual, with the echoing voice and electronic soundscape of 'Die Maschine' going on well after it had run out of ideas. If Kraan had made this album earlier in their career the critics would no doubt have applauded it, but their expectations were perhaps unreasonably high after the relentless inspiration of the two previous albums."



    Let It Out

    or

    Let It Out


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    1. Elements I & II 2:12
    2. Changing Times 4:44
    3. Bedrock Deadlock 6:52
    4. Spirit Level 9:20
    5. Torso 6:12
    6. Snakehips Dream 15:16


    Ian Carr - trumpet, flugelhorn
    Karl Jenkins - oboe, Baritone Saxophone, E-piano, piano
    Brian Smith - Tenor Saxophone, Soprano saxophone, flute
    Chris Spedding - guitar
    Jeff Clyne - bass, contrabass
    John Marshall - drums, percussion
    +
    Kenny Wheeler - trumpet, flugelhorn
    Harry Beckett - trumpet, flugelhorn
    Tony Roberts - Tenor saxophone, bass clarinet
    Ron Matthewson - bass
    Chris Karan - percussion
    Keith Winter - synthesizer


    1. Belladonna 13:42
    2. Summer Rain 6:13
    3. Remadione 3:48
    4. Mayday 5:41
    5. Suspension 6:15
    6. Hector's House 4:33


    Ian Carr - trumpet, flugelhorn
    Brian Smith - saxophone, flute
    Allan Holdsworth - guitar
    Dave MacRae - E-piano
    Roy Babbington - bass
    Clive Thacker - drums, percussion
    Gordon Beck - E-piano (1,4,5)
    Trevor Tomkins - percussion (1,3,4)


    AMG:
    "Nucleus began its long jazz-rock journey in 1969, when it was originally formed by trumpeter Ian Carr. They attracted a following after a successful performance at the Montreux International Festival in 1970, which led to the critical success of albums Elastic Rock and We'll Talk About It Later. The other members consisted of saxophonist Karl Jenkins, drummer John Marshall, and guitarist Chris Spedding. Spedding split after the first two albums, but the rest of the lineup lasted until 1972, when Jenkins and Marshall both left to join Soft Machine. Belladonna was the first album with only Carr, and although he enlisted the help of guitarist Allan Holdsworth, the band eventually became a solo venture for his music. They finally broke up in the mid-'80s after several Carr-only albums."



    Solar Plexus/Belladonna

    or

    Solar Plexus/Belladonna


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    1. [Part 1] 8:06
    2. [Part 2] 8:36
    3. [Part 3] 7:44
    4. [Part 4] 10:01
    5. [Part 5] 5:20


    Terry Riley - Organ, Sax (Soprano), Time-Lag Accumulator

    AMG:
    "Poppy Nogood and the Phantom Band is scored for organ, saxophone, and the echo-inducing time-lag accumulator (aka the Phantom Band). The piece's first incarnation was as a six-hour all-night concert during 1968, and later as the back of a CD reissue of the previous year's Rainbow in Curved Air. Finally, a 40-minute edit of the concert was released in 1997; it shows Riley's growing Eastern influence and droning minimalism, quieting only for the last five minutes."



    Poppy Nogood And The Phantom Band All Night Flight

    or

    Poppy Nogood And The Phantom Band All Night Flight


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    1. Backlash Blues 5:55
    2. Paper Tulips 3:34
    3. Black Crow 3:17
    4. For My Darling 3:58
    5. Pieces of Me 4:08
    6. Lonely Women 4:06
    7. Hymn to Valerie Solanas 4:03
    8. The Ballad of Morty Mole 4:33
    9. Journey's End 3:15
    10. Morning for One 4:23
    11. Barrel House Music 2:43


    Linda Hoyle - Vocals
    Chris Spedding - Guitar
    Karl Jenkins - Keyboards
    Colin Purbrook - Piano
    Jeff Clyne - Bass
    John Marshall - Drums, Percussion


    AMG:
    "It probably isn't surprising to learn that Hoyle's solo debut, cut following the final dissolution of Affinity in 1971, does not deviate too far from that band's jazz-rock modus operandi. However, in seeking to trim the instrumental fat from Affinity's sometimes gruelling work-outs, and concentrate the attention on the songs (and lyrics) themselves, it rises far above its role model, to showcase Hoyle as a far more exciting figure than her footnotes in history would have you believe.
    Reminiscent in places of the best of Julie Driscoll's late 1960s work - a role model that Hoyle was singularly well-placed to succeed - Pieces Of Me likewise borrows from several of Driscoll's own influences. The Nina Simone and Laura Nyro songbooks both contribute to the proceedings, with the latter's 'Lonely Woman' standing among the best tracks on the entire album. But Hoyle's own work, largely written in tandem with keyboard player Karl Jenkins, is equally powerful, with the eerie 'Hymn To Valerie Solanis' (titled for, but never mentioning the woman who shot Andy Warhol), and the regretful 'Journey's End' ranking among the other highlights. The intriguing 'Ballad Of Marty Mole', meanwhile, reads like a cross between Bob Dylan and Beatrix Potter, and could well give children nightmares for days."



    Pieces Of Me

    or

    Pieces Of Me


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    1. Ecouter et Jouer II 3:34
    2. Egyptionary 4:58
    3. Passing Thought 3:10
    4. One Song 8:45
    5. Rush Brush 1:36
    6. Hymne 5:27
    7. Eouter et Jouer I 15:33
    8. Disembodied 5:14
    9. After Crawl 2:49
    10. Moon Water 6:36
    11. Joy 6:39
    12. The Day 3:19


    Carsten Dahl - Piano
    Arild Andersen - Double Bass
    Patrice Héral - Drums, Electronics, Voices


    jazztimes:
    "Meditative moods dominate Moon Water (Stunt), by the cooperative Danish/Norwegian/French trio of Carsten Dahl, Arild Andersen and Patrice Heral. But Moon Water is lit with quiet fires of energy that come from its attitude of in-the-moment openness. Four of the 12 pieces appear to be spontaneous group improvisations, but the eight originals by band members also feel freely discovered in real time.
    As a pianist, Dahl sustains the album's rapt spell even as his tones and intensities and velocities vary, from the delicately traced melodicism of his own 'Hymne' to the sweeps and flurries of 'Rush Brush.' Throughout, bassist Andersen again demonstrates that he is one of the most poignant storytellers in jazz on his instrument. An unusual feature of Moon Water is the selective application of electronics and wordless vocals, mostly the work of drummer Heral. These sounds are never intrusive, always belong and subtly shift the traditional tonal palette of the piano trio."



    Moon Water

    or

    Moon Water


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    1. Indian Dream 7:55
    2. Train De Vie 4:03
    3. Memory Of Eagle 8:48
    4. Tap On Top 4:35
    5. War 8:10
    6. Obsession 2:04
    7. Crossing The Desert 10:07
    8. Ocean Song 3:39


    Sylvain Gouvernaire - guitars, keyboards
    Pete Trewavas - bass
    Ian Mosley - drums
    +
    Tarek Abaï-Chanab - percussion
    Pete Parsons - percussion (4)
    Susie Luff - voice (1)


    Wiki:
    "Iris was a French/British instrumental rock band. The members of the band were Sylvain Gouvernaire (guitar, piano and keyboards), Ian Mosley (drums) and Pete Trewavas (bass). The band released one album, Crossing The Desert.
    Iris' music is instrumental rock - mostly guitar driven, with some keyboards in between.
    Sylvain Gouvernaire is from France. Ian Mosley and Pete Trewavas are from England, and members of the rock band Marillion."



    Crossing The Desert

    or

    Crossing The Desert


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    1. Theme For Astral Pirates
    2. Pursuit
    3. Mandarin Warriors
    4. Great Pyramid, The
    5. Universal Love
    6. Remembering
    7. Revelation
    8. Stew Cabbage And Galactic Beans
    9. Heavy Metal Monster
    10. Assault
    11. Climax: Theme For Astral Pirates


    Don Blackman - vocals, piano, electric piano, organ, synthesizer
    Nick Moroch - guitar
    Jeff Sigman - guitar
    Alex Blake - bass
    Lenny White - synthesizer, drums, syndrums, percussion


    AMG:
    "One of Lenny White's finest, most essential albums, The Adventures of Astral Pirates is a jazz-fusion masterpiece with a futuristic science-fiction theme. Star Wars was number one at the box office when, in 1977, White produced this disc with Al Kooper, and perhaps Elektra was hoping to cash in on the film's popularity. If you open the record's foldout cover, you can read White's tale of sci-fi battles that take place in the fifth millennium A.D. But you don't have to be a sci-fi fan to appreciate the mostly instrumental songs on this imaginative, risk-taking album, which finds White blending a jazz/rock/funk foundation with elements of everything from Middle Eastern music to Asian music. This set isn't the least bit predictable, and it could easily be described as 'the sound of surprise' - critic Whitney Balliett's term for jazz - even though no one will mistake it for straight-ahead bop any time soon."



    Adventures Of Astral Pirates

    or

    Adventures Of Astral Pirates


    0 0


    1. King Kong 4:54
    2. Idiot Bastard Son 4:00
    3. Twenty Small Cigars 5:35
    4. How Would You Like to Have a Head Like That 7:14
    5. Music for Electric Violin and Low Budget Orchestra 19:20
    6. America Drinks and Goes Home 2:39


    Jean-Luc Ponty - Violin, Baritone Violin, Electric Violin
    Ian Underwood - Sax (Tenor)
    Ernie Watts - Sax (Alto), Sax (Tenor)
    Gene Cipriano - Horn (English), Oboe
    Vincent DeRosa - French Horn, Descant
    Donald Christlieb - Bassoon
    Milton Thomas - Viola
    Harold Bemko - Cello
    George Duke - Piano, Piano (Electric)
    Buell Neidlinger - Bass
    Gene Estes - Percussion, Vibraphone
    Art Tripp - Drums
    John Guerin - Drums
    Gerald Wilson - Conductor


    AMG:
    "Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity - not just the feel - of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and 'Twenty Small Cigars' soon would be. Ponty writes a Zappa-esque theme on his lone original 'How Would You Like to Have a Head Like That,' where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously 'Music for Electric Violin and Low Budget Orchestra,' a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin."



    King Kong

    or

    King Kong


    0 0


    1. Zilver, for chamber ensemble 15:16
    2. Disco, for chamber ensemble 13:01
    3. Overture to Orpheus, for harpsichord 12:58
    4. Worker's Union, for chamber ensemble 19:05


    Dorothy Stone - Flute
    Lorna Eder - Harpsichord
    Vicki Ray - Piano
    Rob Lorentz - Violin
    Erika Duke-Kirkpatrick - Cello
    Arthur Jarvinen - Bass (Electric), Percussion
    Amy Knoles - Percussion
    California EAR Unit


    Louis Andriessen:
    "Zilver is one of a planned series of chamber pieces named after a type of physical matter. Hout (‘wood’) is the first, and Zilver (‘silver’) is the second. The title also refers to the two silver instruments – flute and vibraphone – which start and end the piece.

    Disco is a poorly rotating disc. The musical subject of the piece is the invention of the quadruple metre, of the key of G major, of a violin-piano duet. Like Ravel's Tzigane, Disco refers to a musical dance genre. But times have changed. Nothing goes smoothly any more.

    Workers Union was originally written for the orchestra De Volharding (Perseverance), in which I myself figured as a pianist at that time.
    This piece is a combination of individual freedom and severe discipline: its rhythm is exactly fixed; the pitch, on the other hand, is indicated only approximately, on a single-lined stave.
    It is difficult to play in an ensemble and to remain in step, sort of thing like organising and carrying on political action."



    Zilver

    or

    Zilver


    0 0


    1. Go Dancing - Rise 0:25
    2. Go Dancing - Go Dancing 5:16
    3. The Island (Part One) - Introduction 1:58
    4. The Island (Part Two) - Preamble 0:37
    5. The Island (Part Three) - Main Theme 6:29
    6. Vancouver (Part One) - Reflections 2:55
    7. Vancouver (Part Two) - The City 2:36
    8. Night Of The Gulls (Part One) - On The Water 0:51
    9. Night Of The Gulls (Part Two) - On The Wind 3:10
    10. A Hymn To The Ocean And A Great Northern Lake (Part One) - Ocean Song 6:15
    11. A Hymn To The Ocean And A Great Northern Lake (Part Two) - Afternoon Rain 0:50
    12. Coquihalla 9:49


    Glen Dias – Lead Vocals, Recorder (Alto, Tenor, Bass), Percussion
    Monte Nordstrom – Twelve-String Guitar, Vocals
    Dave Field – Acoustic Bass (2)
    Richard Mayer – Electric Bass (3-5)
    Kat Hendrikse – Drums


    AMG:
    "Ptarmigan (with a small p) was formed in Vancouver, British Columbia, in 1970 by Michael Bieling, James Lithgow, and Glen Dias. Soon after the band's formation, Monte Nordstrom and Shawn Mullins were added to the lineup. The band performed in coffee houses and small venues around the Vancouver Island and Victoria areas and attracted the attention of world renowned American flautist Paul Horn who had just moved to British Columbia In 1971 the original lineup fragmented, reducing Ptarmigan to the duo of Nordstrum and Dias. In 1972 the duo went to Ontario where they played some local clubs in Ottawa and Toronto, making some impressive connections in the music industry, then headed back to Vancouver where they again met up with Paul Horn. Horn was so impressed by the duo's music, he signed them to a publishing and recording contract. Ptarmigan went into Canbase (Mushroom) Studios in Vancouver during the fall of 1972 and recorded some basic tracks that would eventually become their self-titled album. After the tracks were recorded, it took Paul Horn nearly a year to sell the project to a label, and in 1974, Columbia Records of Canada released the album. The music combined elements of jazz, folk, and progressive rock. Based around a flute, percussion, and guitar interplay, the songs experience Eastern influences, various moods, time changes, and are rather simply structured yet complex in nature. Based around themes of nature and musical landscapes, today the music could be classified as new age or environmental. When the album was originally released in 1974, it did not sell well because of its non-commercial sound, but over the years it has become a collectors item, especially for progressive rock fans. This is the first legitimate reissue of the Columbia album entirely done by band member Monte Nordstrum on his own GrooveMaster label. This limited edition, remastered version of the album features the original artwork, along with four bonus tracks and a detailed booklet that contains band photos, as well as an in-depth essay on the band and the recording of the album."



    Ptarmigan

    or

    Ptarmigan


    0 0


    1. No Exercise 12:19
    2. Three Problems 12:32
    3. Heidi 10:42
    4. Bea's Flat 24:38

    1. Love In the Middle of the Air 20:40
    2. U.C.S. 14:47
    3. All Tones 22:46
    4. The Fugue No. 2 13:52


    Dee Dee Bridgewater - vocals
    Joe Farrell - tenor saxophone
    Gerd Dudek - tenor saxophone
    Tyrone Washington - tenor saxophone, flute
    Manfred Schoof - cornet
    Jimmy Owens - trumpet
    Albert Mangelsdorff - trombone
    Garnett Brown - trombone
    Heiner Stadler - piano
    Wolfgang Dauner - piano
    Don Friedman - piano
    Reggie Workman - bass
    Barre Phillips - bass
    Lucas Lindholm - bass
    Tony Inzalaco - drums
    Brian Blake - drums
    Lenny White - drums
    Joe Chambers - drums T
    The Big Band of the North German Radio Station
    Dieter Glawischnig - Conductor


    allaboutjazz:
    "One of the most exciting reissues of the first quarter of 2012 is composer and pianist Heiner Stadler's pioneering Brains on Fire, originally released in 1973. The two-CD reissue adds three lengthy, previously unreleased tracks and informative and well-researched liner notes by critic Howard Mandel.
    Interestingly, Stadler occupies the piano chair only on five of the eight pieces, recorded over a seven-year span in a variety of settings varying from vocals and bass duet to big band. His bold style and versatility as a composer, arranger and instrumentalist is showcased throughout the album regardless of whether he is actually hitting the keys or not.
    The sparse 'Love in the Middle of the Air' is over 20 minutes of Dee Dee Bridgewater vocalizing on the theme of taking a leap of love and asking to be caught, backed by Reggie Workman's haunting bass, which alternates between bowing and picking the strings. Workman creates not only an ambience but also an entire accompaniment to the vocalist, exhibiting not only his own virtuosity but also the breadth of an instrument often unjustly relegated to a supporting role. Bridgewater's highly emotive and theatrical singing is much different from her more recent, highly polished interpretation of standards, and has a certain youthful and raw, yet engaging, quality. Even though Bridgewater and Workman are the stars of the song, Stadler's unique imprint, like a director's, is all over its construction and presentation.
    The other extreme, in personnel at least, is the big band version of 'Bea's Flat,' originally written for trumpeter Chet Baker by Russ Freeman and arranged by Stadler into a kaleidoscope of tonal colors. It is the only tune not penned by him. It features a sound reminiscent of bassist Charles Mingus Jazz Workshop, especially on the group interplay and the ensemble's interaction with trombonist Albert Mangelsdorff's loops of improvisations that push the boundaries of the original music in an atonal, growling, call and response fashion. By contrast, Mangelsdorff's intrepid trombone stands alongside the contemplative and restrained cornet of Manfred Schoof.
    One of the great revelations of this rerelease is the rediscovery of Tyrone Washington. The tenor saxophonist burst on to the jazz scene on pianist Horace Silver's The Jody Grind (Blue Note, 1966) and his own Blue Note date, Natural Essence (1967). By the time of this collaboration with Stadler, he was migrating more towards soul-jazz- fusion. Here, however, he affirms his avant-garde credentials with urgent honks and screeches on the intensely melodic and delightfully cacophonous 'No Exercise,' and his John Coltrane-esque, simultaneously bluesy and free, solo on 'Three Problems.' Washington's skills as a flautist are also on display as he plays a soaring storm of notes on 'USC.' Stadler's angular piano, with its carefully placed notes, guides Washington and other bandmates effectively through the intricacies of his compositions.
    Bridgewater and Washington are not the only mainstream jazz artists coaxed into more adventurous terrains by Stadler. Garnett Jnr Brown also plays a freer version of his soulful staccato trombone heard on discs by Jack Wilson and Booker Ervin and inside/outside trumpeter Jimmy Owens features a warm, boppish but edgy, extemporization on 'The Fugue No. 2.'
    Polish born, German raised and US based, Stadler is one of the unappreciated giants of improvised music. This reissue will go a long way in helping shed light on his talents. No amount of written description can replace the experience of actually listening to his work with an open mind and an adventurous ear."



    Brains On Fire

    or

    Brains On Fire


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    1. Silver Tavern 4:04
    2. Circus 3:12
    3. Would You Mind/The Writer 11:19
    4. Man from Galillee 3:27
    5. Something on Your Mind 3:13
    6. Meet Me at the Station 3:16
    7. Suddenly I'm Sure 5:17
    8. Si Te Dois Parties 3:56
    9. Time Is Fast Approaching/Goodnight 4:49

    Nigel Wright - Guitars, Vocals
    Bill Bonham - Keyboards, Vocals
    Matt Bridger - Bass, Vocals
    Dave Hynds - Drums, Vocals

    facebook.com/FairfieldSki:
    "Fairfield Ski were formed in the early 1970's, the Band members Nigel Wright, Guitar and lead vocals, Matt Bridger, Bass guitar and vocals, Bill Bonham, Keyboards and vocals and Dave Hynds, Percussion and vocals, they formed a competent song writing team producing their own distinctive original melodies coupled with inventive musical arrangements. It was the latter part of 1971 when the band were approached by a man called Nigel Law Husselby who after watching the Band perform at a gig, made them a contractual offer and Fairfield Ski were born ! The Band were then put to work in a Birmingham Studio solely to rehearse and write original songs for recording and publishing . Things progressed and Fairfield Ski found themselves elevated to the premier league recording their original songs in the top studios of London ! Namely, Abbey Road , Air London , Apple and Trident it was a very inspirational time for the Band and It was in these London Studios that Fairfield Ski recorded the Album, resulting in a commercial product to be proud of. Due to the high costs involved in the production of the Album financial difficulties occurred leaving Fairfield Ski with a completed Album remaining Unpublished. It was at this difficult financial time that the Band had an offer of Management from a leading Worldwide Record Company, however nothing transpired due to complications. Soon after Fairfield Ski were made an offer to move to the United States Nigel Wright and Bill Bonham did go, however Matt Bridger and David Hynds opted to stay in the UK . Nigel Wright after a time returned to the UK whereas Bill Bonham remained in the US and made his home in California. The Four members stayed in touch and remained good friends . It was early 2013 and forty years on that completely out of the blue an email arrived addressed to drummer Dave Hynds, it was from Alex Carretero who said he was from a Spanish Record Company called Guerrsen Records who specialised in reissues of 60's 70's music , he said that he had acquired an Acetate of the Fairfield Ski Album and wanted to re-issue the Album on the Guerrsen label in Vinyl and CD . Alex informed Dave Hynds that he had been trying to track down the Band for many years without success. He went on to explain that the Album had been 'bootlegged ' in 1996 and had apparently sold well ! OR Records had released the album under the name of 'Fairfield Sky ', which had probably been done for copyright reasons . By all accounts there had originally been three Acetates which had all disappeared following the bankruptcy of the Management Company , One copy of the Acetate is rumoured to be somewhere in Japan a second in Finland and of course the third Acetate the United States which was used to ' Bootleg ' the OR Records release ! However without the release of the 'bootleg album ' Fairfield Ski would have remained Unknown and Unpublished . Fairfield Ski are now signed to Guerrsen Records and are currently reunited working on a 2nd Album busy selecting previous recorded tracks, I wish Fairfield Ski the very best and thank them for their music and look forward with great anticipation to hearing the next Album . Congratulations on your published Album and as they say ' better late than never '!"



    Fairfield Ski

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    Fairfield Ski


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    1. Did You Give The World Some Love Today Baby 3:22
    2. I Wish I Knew 2:27
    3. Grey Rain Of Sweden 2:59
    4. Waiting At The Station 3:11
    5. Don't 3:07
    6. Daisies 2:14
    7. You Never Come Closer 4:19
    8. Whispering Pine 3:52
    9. I'm Pushing You Out 3:00
    10. Won't You Take Me To The Theatre 2:27
    11. Beatmaker 3:35
    12. Bath 2:02
    13. Mama Didn't Lie 2:49
    14. Benny Law 2:39
    15. You Made A Fool Of Me 3:07
    16. Wouldn't That Be Groovy 2:56
    17. Don't Let It Rain 2:43
    18. One Fine Day 3:03
    19. Flowers In The Morning 3:03
    20. What A Lovely Day 4:00
    21. Why Did You Go 2:21
    22. Go Back To Daddy 2:30

    Doris Svensson - Vocals
    Bengt Karlsson – Guitar
    Berndt Egerbladh – Organ
    Lukas Lindholm – Bass
    Jan Karlsson – Drums
    Berndt Egerbladh – Conductor

    Wiki:
    "Doris Svensson (born July 1, 1947 in Gothenburg), billed as Doris is a former Swedish pop singer. Doris is best known for her lone solo album, eclectic pop, rock and funk Did You Give the World Some Love Today Baby recorded in 1970. The record was re-issued in 1996 to critical acclaim and caused interest among the Anglo-American and European alternative audiences as an odd Swedish funk rarity.
    Doris Svensson was born on July 1, 1947 in Gothenburg. Her singing career began in 1960 by recording an album with the Swedish band The Strangers. She went on recording with Plums, including the tracks 'You Made a Fool of Me Last Night' and 'Wouldn't That Be Groovy', and The Dandys, including 'Go Back to Daddy'.
    In April 1970, Doris went to record in the EMI studios of Stockholm. Most of the lyrics of the songs were by Scottish writer Francis Cowan. The material was composed by TV producer, jazz-pianist, and composer Berndt Egerbladh. He also provided the big band brass arrangements for the tracks. The heavy drumming on the tracks was performed by Janne Carlsson from the duo Hansson & Karlsson, and the bass was played by Doris's husband Lukas Lindholm. The album Did You Give the World Some Love Today Baby was issued by Odeon in Sweden, 1970.
    The promotional singles distributed in U.K. and France in 1970 attracted little attention among the audiences. After Mr Bongo label re-issued the album Did You Give the World Some Love Today Baby in Sweden and U.K. in 1996, and U.S. and Canada in 1998 with bonus tracks from Doris's earlier period, the LP caused interest among the alternative listeners as an odd funk rarity from the archives of Swedish pop. The Montreal Mirror newsweekly reviewed it as:'A relic of epic Swedish pop from '70. Perfectly hilarious and hilariously perfect.' Subsequently, the tracks 'Did You Give the World Some Love Today?', 'Don't', 'Beatmaker', and 'You never come closer' were included in eleven retrospective compilation albums issued all over Europe. Mr Bongo label issued Did You Give the World Some Love Today Baby in U.K. again in 2006. Her psychedelic jazz song 'You never come closer' is featured on the compilation LPs The Best Smooth Jazz... Ever! and Pregnant Rainbows for Colourblind Dreamers: The Essence of Swedish Progressive Music 1967-1979. The Sunday Times reviewed the song's instrumental and vocal style as:'...Hendrix backing Björk.' The Blaxploitation.com database listed Did You Give the World Some Love Today Baby among the Forty Essential Funk Albums of the music history. Doris's tracks have received airplay in the retro music radio programs, including on BBC Radio 1, East Village Radio,[8] FBi Radio of Australia,[9] Q Radio,[10] Raadio 2 of Estonia,[11] and Radio Fritz of Germany.[12]
    'You Never Come Closer' was sampled on 'Closer' by influential hip-hop producer Madlib for Quasimoto. This has led to Doris ' work becoming increasingly popular amongst underground hip-hop fans and record collectors."



    Did You Give The World Some Love Today Baby

    or

    Did You Give The World Some Love Today Baby


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    1. Windows 8:24
    2. Blue In Green 5:28
    3. Naima 8:50
    4. Elm 6:04
    5. Suite For Piazzola Part1 2:16
    6. Suite For Piazzolla Part2 2:38
    7. Suite For Piazzolla Part3 4:14
    8. Suite For Piazzolla Part4 2:27
    9. Quiet Now 5:25
    10. Cavatina 3:07
    11. Interlude 0:58
    12. Cosmic Lake 2:52

    Shimaken – Piano, Keyboards
    Kazuki Chiba - Contrabass
    Jun Saitoh - Contrabass
    Koichi Osamu - Bass (3,7)
    Chieko Kinbara Strings

    shimaken.jp:
    "Ken Shima is a pianist, producer, composer and arranger, and he has been an active front-liner in the Japanese music industry. He has performed with numerous top artists from home and abroad, and his production career in music writing and arranging covers a wide variety of music genres. His diverse range of talents also includes the composition of soundtracks for film and television, and the production of original scores for live staged musicals."



    Blue in Green

    or

    Blue in Green


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