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FreeFall - LiveJournal.com

older | 1 | .... | 6 | 7 | (Page 8) | 9 | 10 | .... | 57 | newer

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    1. Big Fun/Hollywuud 4:03
    2. Agharta Prelude 13:04
    3. Miles Dewy Davis III, Great Ancestor 11:01
    4. Black Satin 7:56
    5. Ife 35:33
    6. Maiysha 8:17

    1. Calypso Frelimo 25:40
    2. Moja-Nne 10:12
    3. Themes from Jack Johnson 34:21
    4. Wili (For Dave) 9:42

    Henry Kaiser - Guitar
    Wadada Leo Smith - Trumpet
    George Brooks - Saxophone
    Larry Ochs - Saxophone
    Jon Raskin - Saxophone
    Bruce Ackley - Saxophone
    Steve Adams - Saxophone
    Oluyemi Thomas - Clarinet (Bass)
    Chris Muir - Electronics, Guitar
    Elliott Sharp - Lap Steel Guitar
    Freddie Roulette - Lap Steel Guitar
    Nels Cline - Guitar
    Greg Goodman - Piano
    John Medeski - Organ
    Paul Plimley - Organ, Piano
    Bob Bralove - Keyboards
    Michael Manring - Bass
    Wally Ingram - Drums, Percussion
    Lukas Ligeti - Drums, Percussion

    AMG:
    "Like the career of Miles Davis himself - and, in particular, the part of his career to which this two-disc set pays homage - this album presents a maddeningly uneven collection of material and performances, ranging from intense and lovely elaborations on Davis' original themes to numbingly tedious and overlong expositions of others. The experiment was the brainchild of experimental guitar hero Henry Kaiser and trumpet player Wadada Leo Smith, who teamed themselves up with bassist Michael Manring, drummer Lukas Ligeti, and a large number of other musicians both famous (John Medeski, Elliott Sharp) and obscure to rework some Miles Davis compositions from his electric jazz-funk period. Kaiser is a guitarist of multi-layered genius who is equally at home producing experimental noise with Fred Frith and accompanying Hawaiian slack-key guitarists and Okinawan folk singers; Smith is a trumpet player with a rich, brilliant tone who has worked with Anthony Davis and Muhal Richard Abrams, among many others. But despite the generally attractive noises they create with their band, too many of the tracks on this album are strung out far too thin; there tends to be far more elaboration than the conceptual content of the tunes can support. 'Ife,' for example, has a smoldering, minimalist groove and lots of great moments, but 35 minutes of one chord is just too much, no matter how deep the groove is or how intrepid the soloists. On the other hand, 'Maiysha,' which follows it, is perfectly crafted (and relatively concise at just over eight minutes) and features a scorching Henry Kaiser solo. On the second disc, 'Moja-Nine' stands out with its refreshing, punky intensity, and the 'Themes from Jack Johnson' medley works, despite its extended length, because the themes vary so widely. So all in all, this album is by no means a failure - it just needed some trimming."



    Yo Miles!

    or

    Yo Miles!


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    Carl Philipp Emanuel Bach
    1. Adagio 2:07
    2. Allegro 1:52
    3. Menuet 2:52
    Jean-Marie Leclair
    4. Andante 3:04
    5. Allegro Assai 2:13
    Charles Dieupart
    6. Ouverture 3:54
    7. Allemande 2:41
    8. Courante 1:33
    9. Sarabande 1:48
    10. Gavotte 0:59
    11. Menuet 1:19
    12. Gigue 1:23
    George Frideric Handel
    13. Chaconne 1:57
    14. Menuet 0:31
    15. Sarabande 1 2:15
    16. Sarabande 2 2:01
    17. Sarabande Slow 3:43
    Christian Petzold
    18. Menuet 1 1:58
    19. Menuet 2 2:03
    20. Carl Philipp Emanuel Bach - Marche 1:34
    Traditional
    21. Musette 0:57
    22. Menuet 1:13
    23. Christoph Graupner - Bourree 0:59
    24. Jean-Philippe Rameau - Menuet 1:00
    Henry Purcell
    25. Air 0:33
    26. Menue. 0:46
    27. Wilhelm Friedemann Bach - Menuet 1:05
    Louis Couperin
    28. Sarabande 1 2:13
    29. Sarabande 2 2:14
    30. Johann Krieger - Menuet 0:54
    31. Johann Pachelbel - Sarabande 1:17
    32. Johann Jakob Froberger - Courante 1:36
    Francois Couperin
    33. Premier Prelude 1:05
    34. Seconde Prelude 1:33
    35. Quatrieme Prelude 1:31
    36. Thomas Tomkins - Pavane and Galliard 4:06

    Paulina Jacob - Harpsichord
    Tobias Jacob - Baroque Flute
    Lars-Luis Linek - Arranger




    Harpsichord and Baroque Flute


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    1. Thee Midniters - Jump, Jive, And Harmonize 2:20
    2. Jolly Green Giants - Busy Body 2:04
    3. Five Americans - Slippin' And Slidin' 1:55
    4. The Us Four - The Alligator 2:48
    5. The Incrowd - Set Me Free 1:55
    6. Cobras - I Wanna Be Your Love 2:57
    7. Count And The Colony - Can't You See 2:37
    8. Del Shannon - Move It On Over 2:58
    9. Mark & The Escorts - Get Your Baby 2:02
    10. Jimmy Stokely & The Exiles - It's Alligator Time 2:19
    11. Los Shains - El Monstruo</b> 2:21
    12. Baby Huey & The Babysitters - Monkey Man 2:30
    13. The Shandells - Gorilla 2:50
    14. Centurys - 83 2:27
    15. The Twiliters - (Everybody's Goin' To) Rollerland 2:30
    16. The Esquires - Come On, Come On 1:40
    17. The Preachers - Who Do You Love 2:11
    18. Mr. Lucky And The Gamblers - Take A Look At Me 2:52
    19. The Groupies - Hog 2:55
    20. The Human Beings - Ain't That Lovin' You, Baby 2:37

    AMG:
    "Teenage Shutdown: Jump, Jive and Harmonize, subtitled 'Pounding, Pulverizing, All-Out Punk Dance Ravers,' was the very first Teenage Shutdown collection to be compiled by Crypt Records' Tim Warren from mid-'60s garage rock/garage punk singles owned by collector Mike 'Moptop' Markesich. As with the other compilations in this series, this one is lovingly prepared and features good mastering. There aren't too many band photos to be found in the foldout insert booklet; there are colorful scans of the single labels, but only a few black-and-white photos of the groups involved. The liner notes -- penned by Markesich -- go into a little bit of detail about the groups involved, many of which are more well-known, overall, than most of the groups which can be found included on CDs in this series. The first track, Thee Midniters' 'Jump, Jive and Harmonize,' is probably the hardest-rockin' single by the versatile East L.A. band. This 1967 single, recorded on two-track at a theater where the group rehearsed, is built around a crunchy guitar riff, singer Willie Garcia's raucous lead vocal, and a frenetic harmonica-organ duel. The Jolly Green Giants were clearly influenced by fellow Northwest rockers the Kingsmen (even taking their name from that band's Top Ten hit). Their song 'Busy Body' (later covered by the Lyres) was the B-side of the band's Redcoat single from 1966. The Five Americans (from Dallas, TX) found success with their song 'Western Union' before disbanding in 1970. Their single 'Slippin' and Slidin'' was released early in their career, however, on the Jetstar label in 1964. The Shandells were from Eau Claire in northwest Wisconsin, and their track 'Gorilla' (with its 'go, go, go, go gorilla' chant) was released on Bangar in 1965; only 100 copies were reportedly pressed. 'Come on, Come On' by the Esquires (from Irving, TX) was probably the band's best-known song, while Del Shannon's contribution here, 'Move It on Over,' was one of that artist's lesser-known songs, charting at 128 in the U.S. The Cobras, from Smyrna Mills, ME, are featured with 'I Wanna Be Your Lover,' the A-side to their Big Beat single from 1966 (incidentally, their producer, Bobby Herne, later produced and arranged various New England groups, including the Shaggs' infamous Philosophy of the World album). 'I'm a Hog for You' by the Groupies, from New York City, has appeared on several compilations, as have the Human Beings, from Detroit, who are not to be confused with Ohio's Human Beinz."



    Jump, Jive and Harmonize


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    1. Something You Got 6:17
    2. Flute Song 8:12
    3. Saudhade 5:55
    4. Sandu 7:24
    5. Spain 5:50
    6. Hombre del Sol 7:05

    Art Farmer - Flugelhorn, Trumpet
    Yusef Lateef - Sax (Tenor)
    Frank Vicari - Sax (Tenor)
    David Tofani - Flute, Sax (Soprano)
    Kenny Berger - Clarinet (Bass), Sax (Baritone)
    Burt Collins - Flugelhorn, Trumpet
    Joe Shepley - Flugelhorn, Trumpet
    Fred Griffin - French Horn
    Sam Burtis - Trombone
    Tony Price - Tuba
    Hiram Bullock - Guitar
    David Matthews - Piano (Electric)
    Harvie Swartz - Bass
    Jimmy Madison - Drums
    Sue Evans - Percussion
    Creed Taylor - Producer

    AMG:
    "The meeting of trumpeter Art Farmer and reed king Yusef Lateef with pianist/arranger David Matthews fronting a big band is a momentous one. The relaxed pace of the set, with its reliance on easy jazz-funk (the title track) and extended funky workouts with stunning hard bop charts by Matthews on 'Flute Song,' makes for one of the most provocative looks at groove jazz in the CTI label's history. Farmer and Lateef were able to walk the line of sophisticated jazz and bumping funky soul with relative ease. Matthews' charts are breezy, and they rely on rhythm to form not only the backbone for the soloists but to fill up the middle space as well. Guitarist Hiram Bullock walks a wonderful line here between hard swinging airy extrapolations of jazz chord voicings and lean rhythmic R&B. His solo on 'Flute Song' is one of his best on record. Likewise, the reading of Chick Corea's 'Spain,' which references 'Concierto de Aranjuez' and features a gorgeous tenor break by Lateef, is a steamy Latin carnival read of the tune with bass-drenched overdrive. 'Saudade' is the epitome of soul-jazz for a big band; its groove is loose, loping, and in the pocket rhythmically and Farmer and Lateef blow the melody all over the front, checking in with each other on the solos and turning the groove back on itself. This is a certain addition to any Farmer shelf. There is only one problem: the title is not available on CD in the U.S., but only as an expensive Japanese import. But it's worth whatever you pay for it."



    Something You Got

    or

    Something You Got

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    1. Minimotion 6:55
    2. Hydrogen 3:30
    3. Narkose 6:31
    4. Doppelschnitt 21:41

    Dieter Moebius & Gerd Beerbohm - all instruments

    AMG:
    "The second of two collaborations involving Moebius and Gerd Beerbohm, Double Cut sounds miles away from the relatively harmless electronic/pop experiments of solo work by Moebius or Cluster. Consisting of only four extended tracks, the album expresses the dark side of electronics courtesy of the repetitive trance-state on 'Hydrogen' and 'Minimotion.' Double Cut is much closer to electronic inheritors in the experimental and techno fields than Moebius' usual new age pursuits."



    Double Cut


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    1. Smile
    2. Hen
    3. Secret Forest
    4. Ice on Fire
    5. Venus In The Dusk
    6. Double Black Feather
    7. Tales of the Temple
    8. Ariel
    9. Fairyland
    10. KAREKA
    11. Funky Mobius
    12. Mistic Island

    Ken'ichiro Shinzawa - percussion, keyboards
    Koichi Yabori - guitar
    Jiro Okada - bass
    Ittoku Shimamura - drums

    pc-pdx.com:
    "WYSIWYG is a collaboration between PRISM's keyboardist Ken'ichiro Shinzawa, bassist Jiro Okada and FRAGILE's reigning king of Japanese fusion, guitarist Koichi Yabori. Unlike a lot of Japanese so-called fusion bands, no "candy-coated instrumental pop-funk" here. This is fusion the way it was meant to be. Stellar musicianship, compositions, taste, finesse, not to mention burning solos form all the players."



    What You See Is What You Get

    or

    What You See Is What You Get

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    1. Right on Be Free 3:48
    2. Simple Song of Freedom 4:04
    3. Proud Mary 2:49
    4. Music in the Air 3:19
    5. Oh Yeah 1:34
    6. For What It's Worth 3:31
    7. Let It Be Me 3:24
    8. No No No 4:03
    9. Gotta Be a Change 2:39
    10. Run Shaker Life 6:51

    Bernice Cole - Vocals
    Cynthia Sessions - Vocals
    Anna Griffin - Vocals
    Gerri Griffin - Vocals
    Kevin Griffin - Vocals
    James Missouri - Vocals
    Johnny Serrano - Guitar
    Cornell Dupree - Guitar
    Richard Tee - Organ
    Leslie Maynard - Organ
    Chuck Rainey - Bass
    Jerry Jemmott - Bass
    Bob Ealey - Drums
    Ralph McDonald - Conga
    Montego Joe - Conga

    AMG:
    "An often stirring 20-member ensemble whose music was better suited for devotional and inspirational material than commercial R&B or soul, the Voices of East Harlem included lead vocalists Gerri Griffin and Monica Burress. Producers Leroy Hutson and Curtis Mayfield worked with the group, whose ages ranged from 12 to 21, and cut some material on the Just Sunshine label that didn't generate any chart action. But their 1973 LP, The Voices of East Harlem, was a superbly performed release nonetheless, and the single 'Cashing In' was a cult favorite. The single 'Wanted Dead or Alive' was later reissued as a 12' remixed cut and got some international dance attention."



    Right on Be Free


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    1. Sunrise over Uluru 7:40
    2. Forest of Gum Trees and Running Water 5:54
    3. Cave Inhabited by Spirits 7:10
    4. Old Woman's Island up on Nth. Old Coast 8:35
    5. Storm over Waratah in New South Waltes 5:00
    6. Gathering of Musicians & Dancers in a Celebration of Tribal Stories 8:14

    Uluru Dreaming
    Wirra Birra

    AMG:
    "Unfortunately lacking in terms of performer and production information, this Murdo McCrae/Harry Wilson-produced set provides six traditional pieces featuring didgeridoos and rhythm sticks, with the occasional use of spirit wind/bullroar and vocal groupings. The musical structure is very low-key, which might well put off enthusiasts used to the more popularized stunt didgeridoo playing that helped to bring the instrument to attention around the world - there are bursts of animal imitation to had, but the accent is more on interweaving drones and pulses, excellent for meditation and ritual, but likely distracting for straightforward listening purposes. For those using CD changers, it should be noted that the mastering level on this disc is a little on the low side, so plan accordingly."



    Sounds Of The Aborigine


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    1. Gémeaux, for oboe, trombone & 2 orchestras 30:21
    2. Dream/Window, for orchestra 14:20
    3. Spirit Garden, for orchetra 15:07

    Christian Lindberg - Trombone
    Tokyo Metropolitan Symphony Orchestra
    Hiroshi Wakasugi - Conductor

    AMG:
    "Toru Takemitsu (1931-1996) was a self-taught Japanese composer who combined elements of Eastern and Western music and philosophy to create a unique sound world. Some of his early influences were the sonorities of Debussy, and Messiaen's use of nature imagery and modal scales. There is a certain influence of Webern in Takemitsu's use of silence, and Cage in his compositional philosophy, but his overall style is uniquely his own. Takemitsu believed in music as a means of ordering or contextualizing everyday sound in order to make it meaningful or comprehensible. His philosophy of 'sound as life' lay behind his incorporation of natural sounds, as well as his desire to juxtapose and reconcile opposing elements such as Orient and Occident, sound and silence, and tradition and innovation. From the beginning, Takemitsu wrote highly experimental music involving improvisation, graphic notation, unusual combinations of instruments and recorded sounds. The result is music of great beauty and originality. It is usually slowly paced and quiet, but also capable of great intensity. The variety, quantity and consistency of Takemitsu's output are remarkable considering that he never worked within any kind of conventional framework or genre. In addition to the several hundred independent works of music, he scored over ninety films and published twenty books.
    Takemitsu had no important teachers, and his musical career really began with the formation of the Jikken Kobo (Experimental Workshop) to promote and perform mixed-media art works. It was Stravinsky's acclaim of the Requiem for strings in 1959 that launched Takemitsu's international career. The next few years produced a wide variety of works including Takemitsu's prolific film work, and numerous new music concerts and festivals that culminated in 1967 with a commission for the 125th anniversary of the New York Philharmonic. By this time, Takemitsu had begun using traditional Japanese instruments in his music. November Steps is one of his most successful combinations of Eastern and Western music; Takemitsu's style was created from, and rooted in both. Takemitsu's international fame skyrocketed after this premiere, flooding him with commissions and honors that established him as one of the most influential Japanese composers of the century."



    Spirit Garden


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    1. Please wings
    2. For whom
    3. Small history
    4. Morning I had forgotten
    5. River
    6. Beautiful and sad life
    7. White flower red flower
    8. Red roof house
    9. Two people
    10. White tomb
    11. Paper balloon
    12. Beautiful star
    13. Festival
    14. Michikusa
    15. When the light is lit in the window
    16. Rain
    17. Let's sing a rainbow
    18. Prayer
    19. The wind traveler
    20. My songs
    21. Love Letters
    22. Casually
    23. Nightfall the rain
    24. I Would Give You Anything

    Yamamoto Junko - Vocals, Guitar
    Hirayama Yasuyo - Vocals, Piano
    Omura Kenji - Guitar
    Goto Etsujirou - Guitar
    Yamamoto Toshihiko - Guitar
    Okawa Shigeru - Bass
    Watanabe Toshiyuki - Drums, Keyboard
    Matsuda Kouichi - Harmonica, Percussion
    Murakami "Ponta" Shuuichi - Drums

    generasia.com:
    "Akai Tori formed in April 1969 and got their name from the Suzuki Miekichi fairy tale Red Birds. Before the year was up, the group won the grand prix for the 3rd Annual Yamaha Light Music Contest, beating another upcoming Japanese folk band OFF COURSE. A couple months later, the group left for London, England after their victory for a while to record their first album FLY WITH THE RED BIRDS that was released on June 1970 on the record label Toshiba Records. They also won the Rookie of the Year award before the year was up at the Nemu no Sato Popular Song Festival.
    Their big hit came on Februrary 1971 with the single, Takeda no Komoriuta, selling over a million copies. A year after, they headed over to America to record new material with several musicians including the British musician Tony Macaulay.
    Sadly, the group broke up on Septemeber 1974 to let each member pursue their own musical careers. Yamamoto Junko, Yamamoto Toshihiko, and Okawa Shigeru would later go on to formed the group Hi Fi Set and become very successful till they broke up in 1994. Hirayama Yasuyo and Goto Etsujirou would formed the group Kamifuusen and release two singles. They also formed the unit TSU BA SA years later as a husband and wife unit."


    Golden Best



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    1. Emergency Theme 15:22
    2. People in Sorrow 7:56
    3. Kako Tune 11:31
    4. Infidels 9:34

    Glenn Spearman - Sax (Soprano), Sax (Tenor)
    Boulou Ferré - Guitar (Electric)
    Takashi Kako - Piano
    Bob Reid - Double Bass
    Sabu Toyozumi - Drums

    AMG:
    "Emergency was a short-lived jazz group centered in Paris in the early 1970s fronted by vanguard sax great Glenn Spearman. The band's one recording, a live set, was issued on the Parisian America Records label, and is one of those rare gems that not only marks its time and place in the history of the music perfectly, but also transcends it. Certainly this quintet, comprised of two Americans, two Japanese, and a Frenchman, was truly an international ensemble. Spearman and bassist Bob Reid were accompanied by pianist Takashi Kako, electric guitarist Boulou Ferre and drummer Sabu Toyozumi. The four pieces that make up this recording come out of the post-Coltrane modal aesthetic - indeed Spearman and Kako are perfect foils for one another in the same way Trane and McCoy Tyner were - but with the addition of an electric guitarist, moved out into other directions both texturally and harmonically. This set is not jazz-rock, and reflects none of Miles Davis' innovations, but is instead free jazz that points into the abyss where instrumentation is merely the tool for travel. The 'Emergency Theme' is the band's manifesto in that it brings all the dynamic and textural elements into a harmonic caterwaul that is amazingly accessible and taut. Kako's Tyner-influenced playing offers large spacious chords for Ferre to feed from and Spearman takes their root as his cue to explore the outer reaches of his tonal range. The rhythm section never attempts to keep the music centered or grounded but instead pushes the three soloists harder. 'People in Sorrow' is a shortened version of the composition by Roscoe Mitchell of the Art Ensemble of Chicago and uses the electric guitar as its true mouthpiece as well as a bowed bass by Reid. 'Kako Tune,' is a testament to Kako's true knowledge of the music and its history, as well as his inclination to deconstruct the piano's harmonic tropes from Bill Evans and Art Tatum through contemporaries like Bobby Few and Dave Burrell. The gig closes with Reid's beautifully cacophonous 'Infidels.' A true, fiery blowout of honk and skronk, Spearman observes the dictums of his teacher Frank Wright, and attempts to turn his horn inside out. This is a must for anyone who is interested in the development of free jazz in the 1970s."


    Homage To Peace

    or

    Homage To Peace


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    Byzantine Chant : Kontakion 4:03
    Byzantine Chant : Imperial Acclamations for Constantine XI Palaiologos 2:15
    Romanos the Melodist : Kontakion for Theophany 1:39
    Xenos Koronis : Festal Trisagion 6:40
    St. John Koukouzeles : Anagrammatismos for Theophany 8:40
    Byzas : Sticheron Apostichon Idiomelon for St. Basil 2:58
    Various Composers : Kalophonic Coda for St. Basil-A New Addition... 10:09
    Byzantine Chant : Kyrie. Cunctipotens genitor 3:44
    John Plousiadenos : Kanon in Honor of St. Thomas Aquinas: Ode 1 4:07
    John Plousiadenos : Communion Hymn for Mid-Pentecost 1:53
    Manuel Chrysaphes : Lament for the Fall of Constantinople 11:55
    Guillaume Dufay : O tres piteulx, cantilena motet for 4 voices 4:34
    Hieronymos Tragodistes of Cyprus : O great and most sacred Pascha 1:38

    Cappella Romana
    Ioannis Arvanitis - Director
    Alexander Lingas - Artistic Director

    Info



    Byzantium



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    1. Long Days Care 2:02
    2. Can't Explain 2:12
    3. Fortune Teller 2:07
    4. My Flash On You 2:00
    5. In The Building 2:56
    6. Hey Joe 2:33
    7. Heartfull Of Rain 2:14
    8. First Plane Home 1:50
    9. Incense And Peppermints 2:37
    10. Birdman Of Alkatrash 2:10
    11. The World's On Fire 8:25

    Lee Freeman - Lead Vocals (1,2,4,6,8), Rhythm Guitar (7,9-11), Harmonica (8)
    Steve Rabe - Lead Guitar (1-6, 8)
    Ed King - Rhythm Guitar (1-6,8), Lead Guitar (7,9-11)
    Mike Luciano - Lead Vocals (3, 5), Tambourine (1,6)
    Gary Loverto - Bass
    Gene Gunnels - Drums (1-9)
    Greg Munford - Organ (7,9-11), Lead Vocals (9)
    Mark Weitz - Lead Vocals (7, 10), Tambourine (10)
    Randy Seol - Drums (10-11), Lead Vocals (11)
    George Bunnell – Flute (11)
    Randy Seol - Vibraphone (11)
    George Bunnell – Bass [2nd] (11)

    AMG:
    "Thee Sixpence are most noted by collectors as the group that, with some lineup changes, evolved into Strawberry Alarm Clock. Before that, they issued four singles in 1966-1967 on the tiny All-American label. These were above-average, though not outstanding songs in the typical raw, foreboding Los Angeles garage-verging-on-psychedelia mode, sounding close in respects to better-produced efforts during the same era by the Chocolate Watch Band, the Seeds, and the Standells. They had the good taste to cover a couple of Love songs, 'My Flash on You' and 'Can't Explain,' and were one of several L.A. bands to take a shot at a hard rock version of 'Hey Joe' (which, as it happened, Love had also put on their debut album). Their best song that was not a cover of a well-known tune was 'Heartful of Rain,' with its characteristic pained snarled vocal, snaky guitar lines, piercing organ, and minor-keyed background harmonies. Just before they released 'Incense and Peppermints,' their name was changed to Strawberry Alarm Clock; when that single was picked up by Uni, it went to number one and started a whole new career for the band. All of the material from their rare All-American singles (including the 'Incense and Peppermints'/'The Birdman of Alkatrash' 45 released under the Strawberry Alarm Clock name and picked up by Uni) was assembled for the CD reissue Step By Step."



    Step By Step


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    1. Blood Count 4:53
    2. Medley: Eddie Jefferson 8:20
    3. Ask Me Now 3:37
    4. San Francisco 2:10
    5. Lazy Afternoon 4:54
    6. If You Could See Me Now 6:45
    7. November in the Snow 5:00
    8. Lord Buckley 3:12
    9. Medley: The Night We Called It a Day/There's No You 7:41

    Mark Murphy - Vocals
    Bill Mays - Piano, Synthesizer
    Steve LaSpina - Bass
    John Goldsby - Bass (1,4,8)
    Adam Mussbaum - Drums

    AMG:
    "On this CD, Mark Murphy sings music that he thinks writer Jack Kerouac would have liked in addition to reading excerpts from two of the novelist's works and recreating a classic comedy routine by Lord Buckley. Among the songs Murphy performs (with the assistance of pianist Bill Mays, Steve LaSpina or John Goldsby on bass and drummer Adam Nussbaum) are a painfully slow and highly expressive version of Billy Strayhorn's 'Blood Count,' Richie Cole's tribute to Eddie Jefferson, a vocalese rendition of 'Take The 'A' Train,' the classic Thelonious Monk ballad 'Ask Me Now,' a descriptive 'Lazy Afternoon' and a ballad medley. However it is Mark Murphy's narratives that make this set most unique and memorable."



    Kerouac, Then And Now

    or

    Kerouac, Then And Now


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    1. Heaps of Sheeps 4:56
    2. The Duchess 4:18
    3. Maryan 6:11
    4. Was a Friend 6:09
    5. Free Will and Testament 4:13
    6. September the Ninth 6:41
    7. Alien 6:47
    8. Out of Season 2:32
    9. A Sunday in Madrid 4:41
    10. Blues in Bob Minor 5:46
    11. The Whole Point of No Return 1:25

    Robert Wyatt - vocals, keyboards, trumpet, bass, percussion, violin
    Evan Parker - Soprano and Tenor saxophone
    Chikako Sato - violin
    Philip Catherine - guitar
    Jamie Johnson - guitar
    Phil Manzanera - guitar
    Paul Weller - guitar, backing vocals
    Brian Eno - syntheziser, back vocals
    Annie Whitehead - tabla
    Chucho Merchan - percussion
    Gary Adzukx - percussion
    Alfreda Benge - vocals

    AMG:
    "Robert Wyatt continues to follow his singular musical path with the lovely Shleep, delivering another album of considerable quirky charm and understated beauty; a less melancholy affair than much of his recent work, the record is informed by a hazy, dreamlike quality perfectly in keeping with the elements of subconsciousness implicit in the title."



    Shleep


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    1. Lady Amber 10:10
    2. Sunshine 3:45
    3. Two Whips 4:41
    4. Spring Fever 3:50
    5. Morning 6:45
    6. Mushoroom 2:36
    7. Equal Evil 5:17
    8. California Woman 6:32

    Joachim Kühn - Keyboards
    Philip Catherine - Guitar
    John Lee - Bass
    Gerald Brown - Drums
    +
    Zbigniew Seifert - Violin (1)
    Curt Cress - Drums (1)

    AMG:
    "Although not a free jazz musician, per se, Kuhn has been an avant-gardist; he began attempting a fusion of contemporary classical elements with jazz very early in his career. Kuhn's intense virtuosity is a reflection of his training. He studied classical composition and piano for 12 years, beginning when he was a small child. He performed as a classical pianist up until 1961, at which point he began playing in a Prague-based jazz quintet. He led a trio from 1962-1966, and in 1964 began playing with his much-older brother Rolf Kuhn, an accomplished clarinetist. In the '70s, Joachim Kuhn led his own groups, and played with the violinist Jean-Luc Ponty. Kuhn had a measure of commercial success in the '70s. His star faded a bit in the '80s, but Kuhn kept active, playing challenging forms of jazz and recording occasionally. A 1997 release, Colors: Live From Leipzig, a duo with Ornette Coleman, helped fuel new interest in Kuhn; both men were in top form and the album received excellent reviews."



    Springfever

    or

    Springfever


    0 0


    1. Mi Tiempo
    2. Mucha Experencia
    3. Recistencia Es Debil
    4. Nos Llaman Imigrantes
    5. Ella Me Bacila
    6. Ellos Benia
    7. El Desorden
    8. Aci Las Cosas Debendi Ser
    9. Ser Amable
    10. El Dandi

    AMG:
    "The traditional music of Panama is combined with reggae and soca rhythms to create the tropical sounds of Nando Boom. Formed by Fernando Brown, a vocalist who had sung at dances since the age of ten, the group was successful from their inception in 1985. Their first single, 'My Woman Thus Speaks' b/w 'The Drum to Me' shattered previous sales records in Panama. Since emigrating to the United States with the onslaught of political difficulties in Panama, Brown and Nando Boom have continued to make their presence felt. In 1992, the band received the Caracol of the Caribbean award from Colombia. Two years later, they received a Stefano award in Miami."



    Reggae Espanol


    0 0


    1. Samba de uma Nota Só 2:44
    2. Fala Amor 2:46
    3. Maria Ninguém 2:33
    4. Rosinha 2:16
    5. Sempre 3:05
    6. Rapaz de Bem 3:07
    7. Não Me Diga Adeus 2:34
    8. Ho-Ba La-La 2:20
    9. Recado 2:47
    10. Deixa O Breque Pra Mim 2:59
    11. Desafinado 2:46
    12. Rancho Fundo 2:06
    13. Flor de Abacate 2:23
    14. E Luxo So 2:13
    15. Tico-Tico (No Fubá) 2:04
    16. Bahia 2:57
    17. Feitico Da Vila 2:55
    18. Fita Amarela 2:25
    19. Apanheite Cavaquinho 2:01
    20. Copacabana 2:20
    21. Homenagem a Vehla Guarda 2:54

    Sivuca - Accordion, Guitar, Piano, Vocals
    Claude Civelli - Flute
    Bill Tamper - Trombone
    Marcel Hrasko - Clarinet (Bass)
    Nestor Campos - Guitar
    Alphonse Masselier - Double Bass
    Guy Pedersen - Double Bass
    Ney de Castro - Drums
    Dimas Sedicas - Percussion
    Silvio Silveira - Percussion

    AMG:
    "Noted composer, arranger, and accordionist, Sivuca developed a very successful international solo career after having performed with Baden Powell, Toots Thielemans, Chiquinho do Acordeon, Radamés Gnattali, Rosinha de Valença, Waldir Azevedo, Harry Belafonte, and Miriam Makeba, among many others. As a composer, Sivuca wrote the classics 'Adeus, Maria Fulô' (with Humberto Teixeira), 'João e Maria' (with Chico Buarque), and had hits with 'Feira de Mangaio' (with his wife Glorinha Gadelha) recorded by Clara Nunes and 'No Tempo dos Quintais' (with Paulo Tapajós). His partners were artists such as Paulinho Tapajós, Paulo César Pinheiro, Luís Bandeira, Armandinho, Hermeto Pascoal, and Chiquinho do Acordeon.
    Having taken the accordion very early, at nine Sivuca was already playing for a living in fairs and parties. Six years later, he moved to Recife (Pernambuco), where he debuted at the Rádio Guararapes. Hired by the Rádio Clube de Pernambuco, Sivuca performed in that outing for three years, both in solo acts and as a member of its regional, switching to Rádio Jornal do Comércio in 1948. There he learned music theory with the other musicians of the orchestra and then with its newly appointed conductor, Guerra-Peixe. Carmélia Alves, touring Recife in 1949, discovered him and brought him to São Paulo, where he backed her up in a recording that same year. In São Paulo, Sivuca was hired by the Rádio Record and in 1951, he recorded his first album with the choros 'Tico-Tico no Fubá' (Zequinha de Abreu) and 'Carioquinha no Flamengo' (Waldir Azevedo/Bonfiglio de Oliveira). With the international success enjoyed by the baião in the '50s and the consequent need of good Northeastern music and instrument players, Sivuca's career gathered momentum as he was the right man in the right moment and place. Still in 1951, he accompanied Carmélia Alves on the medley 'No Mundo do Baião' and recorded his second solo album with the frevo 'Frevo dos Vassourinhas Número 1' (Matias da Rocha) and the baião 'Sivuca no Baião' (Luíz Gonzaga/Humberto Teixeira). In the next year, he started to record originals with the choros 'Entardecendo' and 'Choro Baixo' (with Luís Bandeira), recording in the next year his baião 'Feijoada.' At the same time, Sivuca realized solo performances in São Paulo backed by his regional and also by the orchestras led by Hervê Cordovil and Gabriel Migliori, while he continued to perform on the Rádio Jornal do Comércio do Recife. In 1955, he was hired by the powerful nationwide network Diários Associados to work at the Rádio and TV Tupi (Rio de Janeiro), where he stayed until four years later. In 1958, as a member of Os Brasileiros, he toured Europe in one of the Brazilian Music Caravans sponsored by the Brazilian government. The group, led by conductor Guio de Morais, performed a three-month season with the Trio Iraquitã, Abel Ferreira, Pernambuco, and Dimas. In 1959, fired by Tupi for having participated in a strike for better salaries, Sivuca moved to Europe where he performed for three months with the group Brasília Ritmos (which had Waldir Azevedo as a member). After that, he was hired by a Portuguese club and then settled in Paris, France, where he lived until 1964, recording in 1962 through Barclay the LP Rendez-Vous a Rio. Having returned to Recife in 1964, in the same year he went to the U.S. with Carmen Costa, where he was invited by Miriam Makeba's husband/manager to join her group as a guitarist. Holding that position for four years, Sivuca became the director of Makeba's group and toured Africa, Europe, Asia, and America. Returning to New York in 1969, Sivuca directed the music and performed in the musical Joy, which opened in 1970. Having performed in San Francisco and Chicago, in live shows and on TV, in 1971 Sivuca was invited by Belafonte to join his group. Staying with Belafonte until 1975 as his guitarist, keyboardist, and arranger, Sivuca at the same time recorded solo albums in the U.S., including the praised Live at the Village Gate, where he interpreted 'Adeus Maria Fulô.' Returning to Brazil in 1977, he performed a live recorded show with Rosinha de Valença at the Teatro João Caetano (Rio de Janeiro), released as the LP Sivuca e Rosinha de Valença. In 1978, he had another hit with 'João e Maria' in the recording realized by Chico Buarque and his sister Miúcha. Six years later, Sivuca recorded another memorable LP, this time shared with Chiquinho do Acordeon and with the participation of Radamés Gnattali, Sivuca e Chiquinho. In the next year, he recorded three albums in Sweden, with Chiko's Bar/Sivuca e Toots Thielemans deserving especial mention. During the '80s and '90s, his schedule slowed somewhat, although he recorded an important LP with Rildo Hora in 1987 (Sanfona e Realejo) and performed with Baden Powell in Paris in 1997."



    Samba Nouvelle Vague

    or

    Samba Nouvelle Vague


    0 0


    1. Zyklus, for solo percussion 13:01
    2. Spiral 1, for soloist with shortwave receiver 15:15
    3. Pole/Expo, for singers, players & shortwave recievers 22:04
    4. Spiral 2, for soloist with shortwave receiver 16:08

    Für kommende Zeiten, 17 texts of "intuitive" music for ensemble :
    1. Japan 11:48
    2. Wach 20:04
    Tierkreis, for 12 music boxes or ensemble :
    3. 1. Wassermann - Aquarius - Uranus 1:52
    4. 2. Fische - Pisces - Jupiter/Neptune 1:54
    5. 3. Widder - Aries - Mars 1:49
    6. 4. Stier - Taurus - Venus 2:13
    7. 5. Zwillinge - Gemini - Mercury 1:51
    8. 6. Krebs - Cancer - Moon 2:23
    9. 7. Löwe - Leo - Sun 1:55
    10. 8. Jungfrau - Virgo - Mercury 1:56
    11. 9. Waage - Libra - Venus 2:29
    12. 10. Skorpion - Scorpio - Mars/Pluto 2:31
    13. 11. Schütze - Sagittarius - Jupiter 2:12
    14. 12. Steinbock - Capricorn - Saturn 3:21
    In Freundschaft, for melody instrument :
    15. Introduction 4:13
    16. 1. Zyklus 0:57
    17. 2. Zyklus 0:55
    18. 3. Zyklus 0:55
    19. Erste Explosion 1:35
    20. 4. Zyklus 0:57
    21. 5. Zyklus 1:10
    22. 6. Zyklus 2:05
    23. Zweite Explosion 0:26
    24. 7. Zyklus 1:20
    25. Synthese - Schluß 2:05

    Tristan Fry - Percussion
    Harald Boje - Shortwave Radio, Wood Block
    Christoph Caskel - Percussion
    Peter Eötvös - Bamboo Flute, Reed Pipes, Shortwave Radio, Synthesizer, Woodblock, Zither
    Margareta Hurholz - Organ
    Markus Stockhausen - Trumpet

    AMG:
    "Karlheinz Stockhausen emerged early on as one of the most influential and unique voices in the post-WWII European musical avant-garde and his prominence continued throughout the rest of the twentieth century and into the twenty first. Combining a keen sensitivity to the acoustical realities and possibilities of sound, rigorous and sophisticated compositional methods expanded from integral serialism, innovative theatricality, and a penchant for the mystical, Stockhausen remains one of the most innovative musical personalities to span the turn of this century.
    Stockhausen was born in 1928 near Cologne. Orphaned as a teen, he immersed himself in artistic pursuits and showed promise both as a writer and a musician. He took classes at the new music school in Darmstadt with Adorno before moving to Paris, where he studied with Messiaen and met Boulez and Pierre Schaeffer. These encounters, as well as studies in phonetics and communication, proved a crucial influence on his subsequent work at the electronic music studio in Cologne; by the mid-'50s he had secured a spot in the vanguard of both electronic music and integral serialism. During the next decade he forged relationships with some of the most prominent contemporaries, including Kagel, Ligeti, and Cage, and, taking over the reins at the Darmstadt school, mentored such innovative up-and-comers as Cornelius Cardew and La Monte Young. His influence extended into popular culture, as well: he appears on the cover of the Beatles' Sgt. Pepper album. Stockhausen held various appointments during the rest of the twentieth century, and continued teaching summer seminars attended by important emerging composers.
    Stockhausen's most influential compositions vary widely in their style and media, and attest to the composer's far-ranging interests in science, technology, religion, cosmology, and mysticism. His various instrumental and vocal works from the 1950s, 1960s, and 1970s explore various ways of extrapolating serial methods and mathematical structures, such as the Fibonacci series, to dictate pitches, rhythms, articulations, and larger formal structures. The influential tape piece Gesang der Jünglinge (1955) combines the jumbled phonemes from a Biblical source text with an elaborately methodic splicing scheme. Hymnen (1966) mixes various national anthems with complex electronic sound structures. In Stimmung (1968), a group of singers intones various mystical names to the harmony of the overtone series. From the late '70s onward, Stockhausen's efforts focused on LICHT, a sprawling opera cycle drawn from various religious mythologies, particularly the Urantia Book, a collection of writings supposedly delivered to Earth by extraterrestrials."



    Spiral 1 & 2/Pole/Wach/Japan/Zyklus/Tierkreis/In Freudschaft


    0 0


    1. Ojos Que Miran Lejos
    2. Barrio de Casas Bajas
    3. Pasteles Verdes
    4. Veo Luz en La Ventana
    5. DeJenme Dormir
    6. Lejos Estas
    7. Siempre Caminar
    8. Pies Descalzos
    9. Cambiar La Rosa
    10. No Puedo Comprender
    11. Nonica
    12. Viejo Tambor
    13. Pies Descalzos

    Walter Cambón - guitarra, voz
    Ricardo Landa - bajo eléctrico, voz
    Dardo Martinez - Guitarra, piano, teclado electrónico
    Luis Sosa - batería

    Dreams Fantasies & Nightmares:
    "Hailed from Uruguay and were formed by Walter Cambón, who'd previously been in El Kinto. Their sole album merged rock and candombe. It made little impact at the time."



    LimoNada


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