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FreeFall - LiveJournal.com

older | 1 | .... | 5 | 6 | (Page 7) | 8 | 9 | .... | 57 | newer

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    1. Untitled Tango 12:13
    2. Great Body of the Riddle or Where Were the Dodge Boys When My Clay ... 13:21
    3. Dance of the Beast 11:08
    4. Air Song 12:17

    Henry Threadgill - Flute, Sax (Alto), Sax (Baritone), Sax (Tenor)
    Fred Hopkins - Bass
    Steve McCall - Percussion

    AMG:
    "Air, the improvisational collective of Henry Threadgill on reeds, woodwinds, and lots of other stuff, bassist Fred Hopkins, and drummer/percussionist Steve McCall, was the first major group after the Art Ensemble to come out of Chicago. The feel of Air's sound is one where the collective improvises and creates without an individual soloist or group leader anchoring the proceedings. On the first two recordings, this debut outing in particular, this concept worked well. There are four long pieces here, all of them based on minimal themes with variations entering into the fray simultaneously and opening the door to a free for all that pays attention to both dynamics and texture. The interplay between the three members is almost always inventive, engaging, and full of warmth and humor. There is little excessive indulgence to be found on these improvisations, and the degree of musicianship with these men is off the chart. Communication in the new jazz often amounted to little more than cats trying to make one another louder. Air proved that the signal of development is in the listening and expressing oneself based on what has been played as a soloist and as part of the whole. A lovely and auspicious debut."



    Air Song   Scans

    or

    Air Song   Scans

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    1. Prosa: Gaude Virgo Salutata 1:39
    2. Polyphonic Song: Edi Beo ThuHevene Quene 3:34
    3. Introit: Salve Mater Redemptoris/Salve Lux Langentium/Salve Sine Spina 2:50
    4. Motet: Lux Polis Refulgens/Lux et Gloria 3:19
    5. Kyrie: Kyria Christifera 3:57
    6. Gloria 2:59
    7. Motet: Spiritus et Alme/Gaude Virgo Salutata 1:49
    8. Song: Miro Genere 1:33
    9. Gradual: Benedicta et Venerabilis 3:13
    10. Alleluia: Alme Iam Ad Gaudia/Alme Matris Dei/Alleluya Per Te Dei 3:06
    11. Sequence: Missus Gabriel de Celis 2:10
    12. Prosa: Gaude Virgo Gratiosa (Chant) 1:44
    13. Polyphonic Song: Salve VirgoVirginum 2:35
    14. Offertory: Felix Namque [Chant] 1:44
    15. Sanctus and Benedictus 1:40
    16. Sequence/Song: Jesu Cristes Milde Moder 7:02
    17. Aqnus Dei: Birtute Numinis 2:39
    18. Communion: Beata Viscera (Chant & Song) 1:53
    19. Rondellus: Flos Regalis 3:08
    20. Chant Setting: Ite Missa Est 1:16
    21. Hymn: Ave Maris Stella 3:35

    Ruth Cunningham - Vocals
    Marsha Genensky - Vocals
    Susan Hellauer - Vocals
    Johanna Rose - Vocals

    AMG:
    "The vocal group Anonymous 4 formed in 1986, originally comprising Johanna Maria Rose, Susan Hellauer, Ruth Cunningham and Marsha Genensky. So named in honor of the designation given by musicologists to the unknown 13th-century Parisian student whose writings detailed the vocal polyphony he heard at the Cathedral of Notre Dame, the ensemble's performances also explored medieval chanting and polyphony, combined with elements of poetry and narrative; debuting in 1992 with An English Ladymass, the Anonymous 4 immediately topped Billboard's classical music charts, a feat repeated by their 1993 follow-up On Yoolis Night. Subsequent efforts include 1995's The Lily and the Lamb and Miracles of Sant'iago, 1996's A Star in the East and 1997's 11,000 Virgins. After completing A Lammas Ladymass, Cunningham left the group in 1998 and was replaced by Jaqueline Horner. Legends of St Nicholas followed a year later."



    An English Ladymass   Scans


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    1. La Lluna, La Pruna
    2. Mesquinet
    3. La Marramua
    4. Mel
    5. Mama Nen
    6. L'avioloncel
    7. Donya Mixeires
    8. Jo, La Donya I El Gripau
    9. La Vella Del Fons Del Pou
    10. Ora Catalina
    11. La Dansa De La Terra
    12. Llagrimes I Petons
    13. La Lluna, La Pruna

    Pau Riba - Guitar, Vocal
    Martí Soler - Guitar
    Xavier Riba - Violin
    Jordi Soler - Cello
    Mario Pacheco - Bongos

    spincds:
    "One of the highlights of Catalan 70s music, this psych-folk record was recorded open air in the Formentera island, using a Nagra magnetophone. That was the hippiest of Pau’s times. The music is highly influenced by Catalan popular songbook, and also by the Incredible String Band."



    Jo, La Donya I El Gripau   Scans


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    1. Sugar 0:37
    2. Love Is Just Around the Corner 4:18
    3. Tin Roof Blues 4:36
    4. Ja-Da 4:34
    5. World Is Waiting for the Sunrise 3:31
    6. Dippermouth Blues 4:31
    7. Basin Street Blues 4:40
    8. Wrap Your Troubles in Dreams(And Dream Your Troubles Away) 3:26
    9. Jazz Me Blues 6:03
    10. I'm Confessin' 4:41
    11. At Sundown 4:12
    12. Original Dixieland One-Step 4:20
    13. Exactly Like You 4:23
    14. It Had to Be You 4:36
    15. Honeysuckle Rose 4:33
    16. Sheik of Araby 2:00

    Max Kaminsky - Trumpet
    Pee Wee Russell - Clarinet
    Brad Gowans - Trombone
    Teddy Roy - Piano
    John Field - String Bass
    Buzzy Drootin - Drums

    AMG:
    "This previously unreleased Dixieland set (put out by Jazzology on a 1996 CD) teams trumpeter Max Kaminsky with clarinetist Pee Wee Russell, valve trombonist Brad Gowans, pianist Teddy Roy, bassist John Field and drummer Buzzy Drootin. Taken from radio broadcasts emanating from Boston's Copley Terrace, these private acetates (made by a collector and sometimes a bit worn) contain some excellent playing. The 16 selections are primarily Dixieland warhorses (including 'Love Is Just Around the Corner,' 'Dippermouth Blues,' 'Basin Street Blues,' and 'Honeysuckle Rose'), and no real surprises occur, but the spirit of the times definitely comes through."



    Max & Pee Wee at the Copley Terrace   Scans

    or

    Max & Pee Wee at the Copley Terrace   Scans

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    1. Through The Moods 13:28
    2. First Communication 8:56
    3. Dialogue & Random 0:57
    4. Laila 10:03
    5. In The Silence Of The Morning Sunrise 4:41
    6. Big Fuzz 8:53

    GustI Lütjens - guitar
    Lutz 'Lüül' Ulbrich - guitar
    Michael Hoenig - keyboards
    Michael 'Fame' Günther - bass
    Burghard Rausch - drums

    AMG:
    "The German avant-garde rock band Agitation Free formed in 1967 and featured founding members bassist/keyboardist Michael Gunther and guitarist/keyboardist Lutz Ulbrich. Originally known as the Agitation - a name picked at random from the dictionary - the group added 'free' to their name a year later, inspired by a free concert they performed. Though they began by playing covers, Agitation Free added extended improvisations into the songs, and jamming became the basis for their own works. The group also collaborated with Berlin's art students on slide-shows, projections, and other multi-media performances, and played gigs at conservatories and galleries in addition to club shows.
    By 1970, Agitation Free were a fixture of Berlin's art rock scene, performing with like-minded bands such as Tangerine Dream, Amon Düül and Guru Guru, all of whom appeared at that year's First German Progressive Popfestival in Berlin's Sportpalast. The group often acted as an incubator for underground rock talent, losing guitarist Axel Genrich to Guru Guru that year, and drummer Christopher Franke to Tangerine Dream in 1971. Ulbrich and Gunther added guitarist Jorg Scwhenke, drummer Burghard Rausch, and keyboardist Michael Hoenig to the lineup, and the quintet procured a record deal with the Music Factory label later that year. Agitation Free's debut album, Malesch, came out in 1972 and was heavily influenced by their tour of Egypt, Greece, and Cyprus, which was sponsored by the Goethe Institute, blending the group's improvisational rock with ambient sounds from the countries they toured. Despite the group's growing popularity - spurred by their performance at the 1972 Olympics in Munich - poor distribution hindered the album's sales.
    In 1973, Agitation Free continued touring in France and Germany and released their sophomore effort 2nd, but disappointing album sales, musical differences, and boredom brought on by constant touring chipped away at the band. They disbanded in 1974, but Gunther and Ulbrich continued on with a new name, Lagoona. However, this project also received little favorable attention and ended in late 1975. Several Agitation Free albums were released after the group's breakup, including 1976's Last, 1995's Fragments, and the following year's At the Cliffs of the River Rhine.
    In 1998, Gunther, Rausch, Hoenig, and Ulbrich reunited at Ulbrich's birthday party and decided to revive Agitation Free. The following year, River of Return appeared, featuring the original quartet as well as new members Johannes Pappert from the underground group Kraan, and Bernard Potschka, formerly the guitarist for Spliff."



    At The Cliffs Of River Rhine   Scans


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    1. Calcador 3:50
    2. Storyboard 4:49
    3. Am Worthsee 4:40
    4. Naura 5:23
    5. Rheingold 4:05
    6. Marie Therese 4:27
    7. Louise Colet & Nora Barnacle 4:05
    8. Schwebebahn 3:50
    9. Notiz Fur Giorgio Morandi 3:19

    1. Palazzo Blue 16:15
    2. Postcard for F.W. Amber 4:12
    3. Ouagadougou 5:48
    4. Castel Fiora 13:38

    Volker Kriegel - electric guitar, acoustic guitar, sitar guitar, synthesizers
    Wolfgang Schluter vibraphone, marimbaphone
    Hans Peter Stroer - synthesizers, Fender piano, bass guitar
    Thomas Bettermann - piano
    Eberhard Weber - bass
    Ralf Hubner - drums
    Evert Fratermann - drums
    Manfred Hofbauer - flute
    Ralf Illenberger - vibraphone, marimbaphone
    Martin Kolbe - acoustic guitar
    Friedemann Witecka - acoustic guitar
    Capo Meyer - bass guitar
    Ernst Stroer - percussion, tablas
    Wendel Jekyll - cymbals
    Igor Hype - cymbals

    Volker Kriegel - guitar
    Christof Lauer - saxophone
    Thomas Bettermann - keyboards
    Michael Schurmann - bass
    Thomas Alkier - drums

    AMG:
    "Guitarist Volker Kriegel was widely considered the father of European jazz-rock thanks to his influential stint with the Dave Pike Set as well as a subsequent series of pioneering solo LPs for the MPS label. Born in Darmstadt, Germany, on December 24, 1943, Kriegel was studying sociology under the famed philosopher Theodor W. Adorno when he began playing in a Frankfurt-based group with German jazz legends Albert and Emil Mangelsdorff, eventually abandoning his education to pursue a full-time career in music. Kriegel signed on with expatriate American vibraphonist Pike in 1968, joining what would quickly emerge as one of the most popular and influential jazz fusion combos in Western Europe via the acclaimed 1969 album Noisy Silence - Gentle Noise. While continuing his association with Pike, Kriegel also founded his own group, the Mild Maniac Orchestra, and in 1970 collaborated with violinist Don 'Sugarcane' Harris on the MPS date Keep on Driving. The guitarist then signed his own deal with the label to issue the 1971 jazz-rock landmark Spectrum, the first of ten MPS releases including such classic dates as 1973's Lift! and 1975's Topical Harvest. In 1976 Kriegel co-founded the United Jazz and Rock Ensemble with a host of international musicians including Albert Mangelsdorff, American altoist Charlie Mariano, British saxophonist Barbara Thompson, and Dutch trumpeter Ack van Rooyen, among others. This sprawling, ever-rotating collective was the guitarist's primary vehicle throughout the remainder of his performing career, which fell by the wayside in the years to follow as he turned his attention to other creative pursuits, most notably writing a series of well-received children's books including Der Rock 'n' Roll Konig (The Rock 'n' Roll King) and Olaf dem Elch (Olaf the Moose). The UJ+RE's 2002 farewell tour also proved Kriegel's final moment in the spotlight. After battling cancer, he died June 15, 2003."



    Journal/Palazzo Blue   Scans

    or

    Journal/Palazzo Blue   Scans

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    1. Too Wet to Plow 4:20
    2. Travelling Back Home 3:53
    3. Hot Tamale 3:07
    4. Moanin' the Blues 4:44
    5. Red Sun 4:41
    6. Winding Mind 2:37
    7. You Better Turn Around 4:27
    8. The Wind Is Blowin' 3:35
    9. Trouble's All I See 5:16
    10. 30 Days in Jail 3:43
    11. Pay Day Woman 5:05
    12. Epilog 2:16

    Johnny Shines - Guitar, Vocals
    Louisiana Red - Guitar, Vocals
    Sugar Blue - Harmonica
    Ron Rault - Bass

    AMG:
    "Johnny Shines was far from predictable. Though he recorded his share of inspired electric dates, he had no problem turning around and delivering a stripped-down, all-acoustic Delta blues session like Too Wet to Plow. Recorded in Edmonton, Canada in 1975 and reissued on CD by Concord Jazz's Blues Alliance label in 1996, Too Wet to Plow finds Shines in excellent form. His solid accompaniment includes harmonica player Sugar Blue and bassist Ron Rault, as well as guitarist/singer Louisiana Red (a superb bluesman who isn't nearly as well known as he should be), and Shines clearly has a strong rapport with them on 'Red Sun,' 'Traveling Back Home,' and other highly personal originals. Although Shines' own songs are dominant, one of the album's high points is an interpretation of Robert Johnson's 'Hot Tamale.' Highly recommended."



    Too Wet To Plow   Scans


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    1. Calypso Non Stop 21:16
    2. T. Et T.C. 7:20
    3. National 4:15
    4. Soulful Calypso 3:25
    5. Panorama 4:50
    6. Indes Jump 4:50
    7. Flamingoes 3:20


    Ellie Nanette
    Leon "Boogsie" Sharpe
    Ray Holman
    Jit Samaroo
    Leon "Smooth" Edwards
    Clive Bradley




    Antigua & Trinidad   Scans


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    1. Liturgie de cristal
    2. Vocalise, pour l'Ange qui annonce la fin du Temps
    3. Abîme des oiseaux
    4. Intermède
    5. Louange à l'Éternité de Jésus
    6. Danse de la fureur, pour les sept trompettes
    7. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps
    8. Louange à l'Immortalité de Jésus

    Peter Serkin - Piano
    Ida Kavafian - Violin
    Fred Sherry - Cello
    Richard Stoltzman - Clarinet
    Tashi Orchestra

    AMG:
    "The classical music tradition was expanded to include the sounds of nature and world music by French composer Oliver Messiaen. His composition Turangalila Symphonie, premiered by the Boston Symphony Orchestra in 1949, fused rhythms of classical Indian music and western pop influences. From 1930 until his death in 1992, Messiaen served as organist and composer at Eglise De La Trinite in Paris.
    Messiaen inherited his creative skills from his parents. His mother was poet Cecile Sauvage, while his father helped to translate Shakespeare into French. Composing music by the age of eight, Messiaen advanced quickly. After learning to read music, he successfully tackled the operatic scores of Mozart, Gluck, Berlioz, and Wagner. He was only 11 years old when he began studying at the Paris Conservatory.
    Accepting a position as organist at La Trinite in 1930, Messiaen was inducted into Ecole Normale de Musique in Paris six years later. Messiaen's musical career was interrupted when he enlisted as a medical orderly in the French army in 1939. Captured by German forces the following year, he was taken to a prisoner of war camp in Silesia. While imprisoned, he continued to work on his music. Despite the lack of a piano, he composed, The Quartet for the End of Time, premiering the piece for an audience comprised of more than five-thousand prisoners.
    In 1941, after securing his freedom and being discharged from the army, Messiaen taught harmony at the Paris Conservatory. Between 1943 and 1947, he conducted seminars on musical analysis and composition to a small, private group that included Pierre Boulez and Karlheinz Stockhausen.
    Messiaen continued to balance his work at Eglise de la Trinite with commissioned compositions. The French government commissioned him to compose a piece, Et Expecto Resurrectionem Mortuorum, in memory of those who died in the World Wars. The following year, he taught composition at the Paris Conservatory."



    Quatuor pour la Fin du Temps   Scans


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    1. Ofege - Adieu
    2. The Action 13 - More Bread to the People
    3. The Hygrades - In the Jungle (Instrumental)
    4. The Wings - Odenigbo
    5. Ofo The Black Company - Eniaro
    6. The Elcados - Ku Mi Da Hankan
    7. Mono Mono - Kenimania
    8. Tabukah ‘X’ - Finger Toe
    9. The Funkees - Acid Rock
    10. Colomach - Cotocun Gba Gounke
    11. Joe King Kologbo & His Black Sound - Another Man’s Thing
    12. Question Mark - Freaking Out
    13. Original Wings - Igba Alusi
    14. Tunji Oyelana - Omoba D’Eru Ri
    15. BLO - Chant To Mother Earth

    soundwayrecords:

    "Ginger Baker first visited Nigeria in 1970 at a time when local rock music was just finding its feet. By then the sound of Jimi Hendrix & bands like Santana had started to seep in to the mainly soul-based sets of a handful of young bands playing western influenced pop. Recognising the talent of bands like Cluster International and The Afro-Collection, Baker toured Europe & America with some of their musicians with his new band Airforce & Salt. Back in Nigeria in 1972 and exposed to the world of progressive and psychedelic rock at its peak, Joni Haastrup started his Mono-Mono band & Berkley Jones, Laolo Akins & Mike Odumosu set up BLO. The craze that followed hit the youth and student population of Nigeria hard - mixing fuzz guitar & heavy, African rhythms with elements of Led Zeppelin, Traffic & the Chambers Brothers. 15 of the best LP and 45 cuts of the scene are available here for the first time in 30 years."



    Psychedelic Afro-Rock & Fuzz Funk in 1970s Nigeria


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    1. Hip Slick 7:56
    2. Mr. Adam 3:01
    3. Tango Dream 8:00
    4. Mr. John 4:41
    5. Abracadabra 5:10
    6. The Unknown Known 6:33
    7. Mr. Dave 2:46
    8. Girl Swirl 8:38
    9. On Fire 12:41

    Jeff Palmer - Organ (Hammond), Bass Pedals
    David Liebman - Sax (Soprano)
    John Abercrombie - Guitar (Synthesizer)
    Adam Nussbaum - Drums

    AMG:
    "Sound explorations are emphasized throughout this release with Jeff Palmer's atmospheric organ, the varied tones of John Abercrombie's guitar synthesizer, David Liebman's very passionate soprano and Adam Nussbaum's drums interacting over a variety of patterns. All of the compositions are group originals with five by Palmer and one apiece from the other three musicians. Whether it be the funky beat of 'Hip Slick,' the free jamming of 'Mr. Adam,' the spacey title cut or the almost New Age feel of 'Mr. John,' the themes are less important than the setting of moods and the advanced improvising."



    Abracadabra

    or

    Abracadabra

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    Gregorian Chant : Procedens Jesus vidit Jacobum, antiphon (Ad vesperae in festo Sanci Jacobi) 1:56
    Urbani Loth : O beate Dei athleta Jacobe, for voice & ensemble 2:49
    Guillaume Chastillon De La Tour : Justes, chacun se présente, song 1:25
    Guillaume Chastillon De La Tour : Chantez au Seigneur, song 1:37
    Guillaume Chastillon De La Tour : Ce qui me plait d'avantage, song 2:54
    Anonymous : Bienheureuse est une âme, song 2:08
    Eustache du Caurroy : Fantasy No.3 on "Une jeune fillette" 1:47
    Matteo Cofrati : Di Jacopo si canti, for voice & ensemble (Lauda di Jacopo, apostolo Maggiore) 3:53
    Etienne Moulinié : N'espérez plus, mes yeux, song 3:34
    Anonymous : Cancion real francesca in écho, song 1:38
    Anonymous : De cor, de boux celebrats, cantats toutis, song 5:19
    Anonymous : Gaïta spañola (sobre La Girometa), for ensemble 5:16
    Bartolome de Selma y Salaverde : Canzon a due, canto e basso 3:25
    Fr. Bartolomeu de Olagué : Xácara for organ de 1 Tom 2:14
    Andrea Falconiero : Folias para mi Señora Dona Tarolilla, for ensemble 4:15
    Jacob van Eyck : Repicavan las campanillas (E. Moulinié) / Repicavan, gefigureet door (J. van Eyck) 4:10
    Francisco Escalada : Canten dos jilguerillos, villancico 2:21
    Anonymous : El baxel esta en la playa 1:53
    Anonymous : La Gaita Francesa, for harp (Manuscrito 816) 3:11
    Anonymous : Vuelve, vuelve barquilla, song 2:38
    Andrea Falconiero : Canzon La Benedetta, song 2:12
    Antonio Soler : Vilancico de nacions, de Gascuña, Aragon y Cataluña 2:58

    Arianna Savall - Harp, Soprano
    Ensemble la Fenice
    Jean Tubéry - Conductor

    AMG:
    "Modern travelers who make their pilgrimages to the cathedral at Santiago de Compostela in Galicia, Spain, think of the origins of the practice as medieval. But in fact the pilgrimage has been an unbroken tradition ever since the legend grew (even the Catholic Encyclopedia admits that there are factual problems with it) that the remains of St. James were buried there. This release from soprano and harpist Arianna Savall with the Belgian historical-instrument group La Fenice is illustrated handsomely with a map of the roads leading from various parts of France to Compostela. It's quite detailed, almost a Rand McNally road map of its time, and this in the year 1648, the year the Thirty Years' War ended. Director Jean Tubéry, who also plays the flutes in the wind-heavy arrangements, points out that he's not trying to create a historical reconstruction of music that French pilgrims of 1648 would have heard; some of it is chronologically or geographically wrong. The association is looser, with a program of music somehow connected with St. James or with stops along the way (the Rhône region, Languedoc and Gascony, Aragon and Castile, and finally the gates of Santiago). Many of the sections are introduced by church bells, but both sacred and secular pieces are included, with a few instrumental dances and plenty of the percussion that's still missing from a great many albums of music of this period. The program's place on the continuum running from historical to speculative is a bit slippery, and there's no real indication of why some of the music was included. But Savall is in fine voice; much of the music, especially the pieces in the French and Spanish regional languages, is both unfamiliar and attractive; and the sense of a musical journey comes through. Recommended, especially for listeners making any version of the France-to-Spain pilgrimage."



    Un Camino De Santiago


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    1. Knick Knack Man
    2. Withering Wood
    3. Sadness Of Toby Jugg
    4. A Penny For The Sun
    5. I'll Stay
    6. Girl Of Yesterday
    7. I Can't Walk Back
    8. Let Me Reassure You
    9. Mr Poor Man
    10. Ice Cream Dreams
    11. Doing What Mamma Said
    12. See Me
    13. Reflections Of A Common Theme [45 version]
    14. Sunday Morning
    15. Deep In My Heart
    16. Going My Way (The Wind Blows)
    17. Give Me Something New (Save Me Save Me)
    18. Reflections Of A Common Theme [album version]
    19. Don't Look Down Your Nose
    20. Only I Can Do It
    21. Come And Sit By Me

    Mike Allison - Guitar
    Mo Trowers - Guitar
    Derek Creigan - Bass, Vocals
    Chuck E. Coffils - Drums
    +
    Jimmy Page - Guitar

    AMG:
    "Cartoone's sole, self-titled album is more known as a footnote in the late-'60s career of Jimmy Page than it is for its own merits. Page contributed guitar to the record as a session man - though his work is neither too prominent nor too similar to what he was getting ready to do in Led Zeppelin - and Cartoone opened for Led Zeppelin at some shows in the U.S. in early 1969, probably because of the Page association and a shared label (Atlantic Records). Not to stretch the Page/Led Zeppelin connection past its breaking point, but those whose interest in this album is piqued by that connection should know that this Scottish band's music is highly dissimilar. Far from being hard rock, it's slightly fey pop/rock with strong debts to the lighter side of the late-'60s Beatles and, more apparently, the late-'60s Bee Gees. Singer/bassist/guitarist Derek Creigan has a far less delicate delivery than the Gibb brothers, but certainly the melancholy melodies, ornate arrangements, and trembling vocal timbres of songs like 'Withering Wood,' 'Girl of Yesterday,' 'I Can't Walk Back,' and especially 'Mr. Poor Man' can't help but bring early Bee Gees to mind. Yet Cartoone seemed to be suffering from some indecision as to how to define themselves, with some other tracks indicating some harder-rocking ambitions (especially the opening and most Beatlesque track, 'Knick Knock Man'). Other cuts load on so much orchestration that they seem to aim to the right of the Bee Gees, as stabs at the more bombastic and ballad-oriented slice of the late-'60s British pop market. The common shortcoming, as is so often the case in records reflecting numerous trends of the period, is in the material, which just isn't as distinguished as that of the Bee Gees, let alone the Beatles."



    Cartoone


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    1. September Song 2:59
    2. Pick Yourself Up 3:11
    3. I Got It Bad (And That Ain'tGood) 3:42
    4. Let There Be Love 2:45
    5. Azure-Te 3:55
    6. Lost April 3:20
    7. A Beautiful Friendship 2:41
    8. Fly Me to the Moon 3:31
    9. Serenata 3:02
    10. I'm Lost 3:29
    11. There's a Lull in My Life 2:25
    12. Don't Go 2:32
    13. Everything Happens to Me 3:20
    14. The Game of Love 2:58
    15. Guess I'll Go Back Home (This Summer) 2:51

    Nat King Cole - Piano, Vocals
    George Shearing - Piano
    Justin Gordon - Flute, Piccolo
    Paul Horn - Flute, Piccolo
    Wilbur Schwartz - Flute, Piccolo
    Lloyd Ulyate - Trombone
    Emil Richards - Vibraphone
    Al Hendrickson - Guitar
    Al McKibbon - Bass
    Shelly Manne - Drums
    Luis Miranda - Latin Percussion
    Carlos Vidal - Conga

    AMG:
    "Although it would have been interesting to hear Nat Cole play some piano and perhaps accompany a vocal by George Shearing instead of exclusively the other way around, this session was a big success. Cole is in prime form on such songs as 'September Song,' 'Pick Yourself Up,' and 'Serenata.' Shearing's accompaniment is tasteful and lightly swinging, and the string arrangements help to accentuate the romantic moods. This CD adds three 'new' selections from the same sessions to the original program."



    Nat King Cole Sings, George Shearing Plays

    or

    Nat King Cole Sings, George Shearing Plays


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    1. Sparrow Song 1:31
    2. Voice of America, Part III 4:26
    3. Selluloid Restaurant 3:12
    4. After Dinner 1:49
    5. Houston Street 2:56
    6. Drum Factory 2:04
    7. Regardless of Rain 3:07
    8. Candy Machine 3:02
    9. Romanisches Café 6:22
    10. The Border 3:31
    11. Nirvana Again 1:55
    12. Scottish Roppongi 1:50
    13. Norrgården Nyvla 2:59
    14. Birds 2:21
    15. The As Usual Dance towards the Other Flight to What Is Not, Part 3 1:50
    16. Williamsburg Bridge 1:56
    17. Same Old Me 4:13
    18. The As Usual Dance towards the Other Flight to What Is Not, Part 7 2:28
    19. Lost and Found 3:20
    20. Nine by Nine 5:54
    21. Evolution 3:23
    22. Union Square 1:44
    23. Morning Song 2:03
    24. Voice of America, Part IV 2:05
    25. Too Much Too Little 2:09
    26. Too Late 2:25

    Fred Frith - guitar, violin, bass, percussion, trumpet
    Tom Cora - cello, drum, voice
    Zeena Parkins - keyboards, drum, voice
    Bob Ostertag - Serge synthesizer, tapes, samples
    Bill Laswell - bass
    Fred Maher - drums
    John Zorn - alto saxophone
    Daihachi Oguchi - factory sound
    Jean Derome - alto saxophone
    René Lussier - bass
    Kevin Norton - drums
    Eino Haapala - guitar
    Marc Hollander - alto saxophone
    Lars Hollmer - keyboards
    Hans Bruniusson - drums
    Tim Hodgkinson - bass clarinet
    Iva Bittová - violin
    Pavel Fajt - beer cans, guitar, voice
    Eitetsu Hayashi - taiko
    Tina Curran - bass
    Haco - piano, voice

    AMG:
    "Although this is technically the soundtrack to a film of the same name by Nicolas Humbert and Werner Penzel, Step Across the Border actually serves as an excellent overview of Fred Frith's groundbreaking work as a soloist, bandleader, and collaborator. There's an example of his 'guitars on the table' approach ('Romanisches Cafe'), and a couple of excellent duos with tape manipulation whiz Bob Ostertag ('Voice of America, Pt. 3,' from the lost and lamented Voice of America album they made for the defunct Metalanguage label). There are also scraps of material from his work with Skeleton Crew as well as numerous other well-chosen miniatures that vary from tuneful and charming to stark and forbidding. Perhaps the best thing this album accomplishes is that it puts some of the material from the astounding (but, sadly, long out of print) album of avant-garde power trio compositions and improvisations Frith recorded with Bill Laswell and Fred Maher under the name Massacre back into circulation: the very fine 'Legs' is included here, as is a previously unreleased live track from 1983. Very highly recommended."



    Step Across The Border


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    1. Glacial Reconstruction 6:58
    2. Levels and Degrees 7:19
    3. Surface Movements 4:27
    4. The View I 5:18
    5. Between Memory and Presentiment 4:02
    6. Ten Thousand Years Later 7:09
    7. Waterfall 2:14
    8. Flotation and Surroundings 5:20
    9. Riverscape 2:14
    10. Approaching the Sea 4:50
    11. The View II 4:30
    12. History 3:47

    Ketil Bjørnstad - Piano
    Terje Rypdal - Guitar
    Bjørn Kjellemyr - Bass
    Jon Christensen - Drums
    Per Hillestad - Drums

    AMG:
    "A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the 'European jazz' aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Olso during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as 'European jazz.' Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio 'Himmel Rand,' featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM."



    Water Stories

    or

    Water Stories

    0 0


    1. Fools Rush In 2:40
    2. That Old Feeling 2:48
    3. These Foolish Things 2:38
    4. You're Breaking My Heart 2:25
    5. Day by Day 2:43
    6. As Time Goes By 2:51
    7. Just Say I Love Her 2:27
    8. The More I See You 2:54
    9. How Deep Is the Ocean? 3:14
    10. After a While 2:42
    11. My Foolish Heart 2:47
    12. Once in a While 3:08

    Remo Capra - Vocals
    Frank DeVol - Conductor

    AMG:
    "Author, construction supervisor, and singer Remo Capra made this his debut album, originally titled Romantic Standards, in 1960. He is backed by a large studio orchestra dominated by strings led by Frank DeVol playing lush arrangements of classic love songs, all of which are delivered with a deep sense of intimacy by Capra. Although working in construction on a full-time basis, Capra was doing some singing on the side. Tommy Dorsey heard him and encouraged him to consider singing as a career. While never becoming committed to being a full-time vocalist, perhaps feeling there was more stability in the building trade, he made some demonstration tapes for Columbia and this album was the result. It was produced by one of the label's top A&R men, Teo Macero. Released in 1994, it has been reissued as part of the Sony Music Special Products label. That Capra was born in Italy is evident by his light accent which, when coupled with his distinct vibrato, makes his soft-voiced delivery even more seductive. The play list fits Capra's come-hither voice perfectly. Riding on a cushion of rich strings, Capra dispenses about 35 minutes of fanciful vocals. He sings in Italian on such cuts as 'You're Breaking My Heart' à la Dean Martin. One can only speculate how much success Capra would have had as an entertainer if he fully committed himself to the task. In any event, this more than 40-year-old album is a welcome addition to the romantic ballad section of recorded literature."



    Just Say I Love Her


    0 0


    1. Verbunkos and fast
    2. Old gipsy
    3. Wedding dance
    4. Concerto in A major
    5. Medley
    6. Lament, verbunkos and fast
    7. Verbunkos and fast
    8. Medley
    9. Memory of island
    10. Medley
    11. Fantasia in B minor

    kennedy-center.org:
    "Sandor DTki Lakatos was born in 1945 in Budapest. He is the sixth gypsy band leader from the famous Lakatos dynasty. He learned his profession from his father, Sandor Lakatos, an internationally-known Liszt Prize-winner gypsy bandleader. At the age of fourteen, Lakatos was already an active player in his fatherÆs band. Sandor Deki Lakatos formed his own band in 1964, and they have since traveled the world, making music in elegant night spots and eateries, concert halls and radio and television studios."



    Gipsy music from Hungary

    0 0


    1. Trio for horn, violin & piano ("Hommage à Brahms") 22:45
    2. Pieces for wind quintet 12:50
    3. Bagatelles for wind quintet 11:46
    4. Sonata for viola 23:27

    Pierre-Laurent Aimard - Piano
    Saschko Gawriloff - Violin
    Tabea Zimmermann - Viola
    Michael Collins - Clarinet
    Philippa Davies - Flute
    Gareth Hulse - Oboe
    Marie-Luise Neunecker - Horn
    Richard Watkins - Horn
    Robin O'Neill - Bassoon
    Winds of the London Symphony Orchestra

    AMG:
    "György Ligeti was one of the most important avant-garde composers in the latter half of the twentieth century. He stood with Boulez, Berio, Stockhausen, and Cage as one of the most innovative and influential among progressive figures of his time. His early works show the influence of Bartók and Kodály, and like them, he studied folk music and made transcriptions from folk material. In Apparitions (1958-1959) and Atmosphères (1961), he developed a style forged from chromatic cluster chords that are devoid of conventional melody, pitch and rhythm, but instead grow into timbres and textures that yield new sonic possibilities. The composer referred to this method as 'micropolyphony.' In Aventures (1962), Ligeti devised a vocal technique in which the singers are required to make a full range of vocalizations, cries and nonsense noises to fashion a kind of imaginary, non-specific drama, but with rather specifically expressed emotions. Ligeti was almost alone among progressive composers from the latter twentieth century who have written popular and widely performed music.
    Ligeti was born on May 28, 1923, in the Transylvanian town of Dicsöszentmárton, Romania and grew up in Kolozsvar, Klausenburg. At the age of 14, he began taking piano lessons and soon wrote his first composition, a waltz.
    Because he was a Jew living under the Nazi-puppet regime in Hungary, Ligeti was forbidden university study and thus enrolled in the Kolozsvar Conservatory in 1941, and began studies with Ferenc Farkas, a Respighi pupil. Later, in Budapest, he also studied with pianist-composer Pál Kadosa.
    In January 1944, Ligeti was arrested and sent to a labor camp where he remained imprisoned until 1945. Other family members were sent to Auschwitz, where only his mother survived. Ligeti graduated from the Budapest Academy of Music in 1949 and began an extended period of study of folk music.
    In the years of 1950-1956, he served as a professor at the Budapest Academy. His music was largely unadventurous during this period, owing to restrictions by the Hungarian Communist regime. Ligeti and his wife fled their homeland during the Revolution in 1956, settling in Vienna. Ligeti began studying and composing at the Cologne-based Electronic Music Studio from 1957 to 1959, producing the influential Artikulation (1958), one of his first electronic works.
    Other important progressive works followed, such as the orchestral composition, Apparitions (1958-1959) and Atmosphères (1961). In 1959, Ligeti began serving as visiting professor at the Academy of Music in Stockholm and also started teaching courses at Darmstadt.
    His choral work Requiem (1963-1965) was another success, as were Ramifications (1968-1969), for string orchestra or 12 solo strings, and Clocks and Clouds (1972-1973). In 1972, Ligeti became Composer in Residence at Stanford University and the following year took on a professorship at the Hamburg Academy of Music. Ligeti composed his opera Le Grand Macabre in the period 1975-1977, but revised it in the 1990s, with the final version completed in 1997. It has become one of his most popular large works.
    In 1982, the composer's mother died. That same year saw a return of Ligeti's health after a period of five years' sickness. In the 1980s the composer forswore further composition in the realm of electronic music. Ligeti retired from his post as professor of composition at the Hamburg Music Academy in 1989. In the 1990s, he spent much time on the aforementioned second version of Le Grand Macabre.
    Ligeti received his share of awards and prizes, including the 1986 Grawemeyer Prize and the 1996 Music Prize of the International Music Council."



    Chamber Music


    0 0


    1. Money Man
    2. Jeremy Carabine
    3. When She Comes to Stay
    4. Guru
    5. Come Around
    6. Time Track
    7. Gas Board Underdog
    8. Inside the Secret
    9. Orange Lace
    10. Planting Bad Seeds
    11. Yours For at Least 24
    12. Follow the Path of the Stars
    13. Prince Germany the First
    14. Clearway 51
    15. On Love
    16. Man in Black
    17. Cover Girl
    18. Money Man (Single Version)
    19. Happy Land
    20. Reason to Live

    Graham Bell - Vocals
    Jon Turnball - Guitar
    Micky Gallagher - Keyboards
    Colin Gibson - Bass
    Tom Jackman - Drums

    AMG:
    "Skip Bifferty are something of a lesson in musical survival, and doubly so, since most of its members had viable and even highly successful careers in music stretching more than a decade after the group's breakup. The group was an offshoot of the latter-day Chosen Few, a Newcastle band that had been working together since 1962. They'd lost their bassist and lead guitarist in 1965, and organist Mick Gallagher kept the group going, recruiting John Turnbull on guitar and Colin Gibson on bass. With the departure of Chosen Few lead singer Rod Hood, Graham Bell joined as lead vocalist, but the time had come to close down the Chosen Few. Gallagher, Turnbull, Gibson, Bell, and drummer Tommy Jackman reorganized the band as Skip Bifferty.
    Skip Bifferty was a psychedelic pop band that immediately found an enthusiastic audience at the Marquee Club, got Don Arden as manager (which led to a contract with RCA-UK), and were regular guests on John Peel's Top Gear. A series of singles followed, among them the hard-rocking 'On Love' (their debut), but they redefined themselves more in the direction of flower power with their next few records, starting with 'Happy Land.' Although none of their singles charted, RCA allowed them to cut a full LP, which contained some notable psychedelic and experimental tracks. Their final single, 'Man in Black,' was taken off the album and was produced by Ronnie Lane and arranged by Steve Marriott.
    A dispute with Arden caused the band to walk out en masse, and they next appeared together under the pseudonym Heavy Jelly, cutting an eight-minute single ('I Keep Singing That Same Old Song') that charted in a few European countries and ended up on the multi-artist sampler LP Nice Enough to Eat. They abandoned the name, however, when they learned of a Jackie Lomax-fronted outfit organized by John Moorhead that was already using it. Bell, Gallagher, and Turnbull worked together in Bell & Arc, and Gibson passed through Snafu, while Gallagher was a member of Frampton's Camel and subsequently played with Turnbull in Loving Awareness, which evolved into Ian Dury's Blockheads in the late '70s. Skip Bifferty's lone album was reissued on compact disc in the mid-'90s."



    Skip Bifferty


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