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FreeFall - LiveJournal.com

older | 1 | .... | 7 | 8 | (Page 9) | 10 | 11 | .... | 57 | newer

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    1. Reflex #121 7:21
    2. Albert's Ladder 16:35
    3. Attention All Listeners 11:39
    4. The Sea, The Eye, The Afternoon 12:23
    5. Listen Tree 15:25

    Ken Simon - Sax (Tenor)
    Vattel Cherry - Bass
    David Pleasant - Drums, Percussion

    macroarts.com:
    "Saxophonist-Flutist-Composer, born in New York, has appeared both as a leader and side man performing standards and originals in the U.S., the Caribbean, Europe and Asia. After receiving a B.A. from Long Island University, he taught in the New York City School system and currently teaches privately. Ken studied with Michael Solis, Lee Konitz, Jaki Byard, and the world renowned instructor, Joe Allard.
    Ken's performed with noted luminaries, Cecil Taylor, Rashied Ali, Machito, Baba Olatunji, Rev. Ike, Eartha Kitt, Jerry Vale, Jason Alexander and many others."



    The Twilight Of Time

    or

    The Twilight Of Time


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    Bellinzani - Sonata for flute and harpsichord (or cello) in D minor, Op. 3/12
    01. La Follia
    Scarlatti - Sinfonie di concerto grosso No. 7
    02. I. Moderato
    03. II. Moderato-Allegro
    04. III. Grave
    05. IV. Allegro
    Scarlatti - Sinfonie di concerto grosso No. 9
    06. I. Vivace
    07. II. Adagio
    08. III. Moderato
    09. IV. Adagio
    10. V. Allegretto
    Purcell - The Fairy Queen, semi-opera, Z. 629
    11. I. Prélude
    12. X. Chaconne
    Purcell - Abdelazer, or, the Moor's Revenge, incidental music, Z. 570
    13. II.Rondeau
    Purcell - Prophetess, or The History of Dioclesian, semi-opera, Z. 627
    14. IX. Country Dance
    Purcell - The Virtuous Wife, or, Good Luck at Last, incidental music, Z. 611
    15. III. Slow Air
    16. VI. Hornpipe
    17. VII - VII. MinuetI
    18. IX
    Telemann - Wasser Overture ("Hamburger Ebb und Fluth")
    19. Bourrée
    20. Gavotte
    21. Harlequinade
    22. Der Sturmende
    23. Canarie
    Telemann - Tafelmusik II/1, TWV 55/D1
    24. La Trompette
    25. Gigue
    Telemann - Concerto for recorder, flute, strings & continuo in E minor, TWV52/e1
    26. Largo
    27. Presto

    Musica Antiqua Toulon Ensemble
    Christian Mendoze - Conductor, Soloist




    La Follia


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    1. It's Got to Be 3:01
    2. Na-Na 2:07
    3. Help Me 3:11
    4. I Don't Care No More 2:36
    5. Funny 5:09
    6. Late to My Resurrection 3:07
    7. When Papa Started Drinking 2:27
    8. Gonna Take Me a Ride 3:31
    9. Stone Sassy Fox 3:16
    10. The Human Zoo 3:12
    11. The Time Was Over 2:36

    Roy Young - Vocals
    Jim Cunningham - Vocals
    Larry Hanson - Guitar, Horn, Keyboards
    John Luzadder - Guitar
    Bob Dalrymple - Bass
    Kim Vydaremy - Drums

    AMG:
    "The Human Zoo's great claim to fame among garage/psychedelic fans is that they were managed by Jim Foster, guitarist with the Human Expression, the West Coast psych act that scored a modest hit with the song 'Optical Sound.' That's not a lot to base a reputation on, but the lone album the Human Zoo left behind is pretty good stuff, and suggests with better promotion they could have risen to much more impressive heights. Boasting two lead singers (Roy Young and Jim Cunningham), the Human Zoo worked up a full and dynamic sound with impressive harmonies on these sessions, and the rest of the band shows off some solid chops - John Luzadder and Larry Hanson are a capable guitar combo, with Hanson also doubling on keyboards, while bassist Bob Dalrymple and drummer Kim Vydaremy hold down the rhythm with strength and confidence. While the Human Zoo could add a trippy edge to their songs (such as 'I Don't Care No More'), they (at least as captured on this album) were at their best when they rocked out, and it's on numbers like 'Na-Na' and 'Funny' that the Human Zoo really connect, while 'Gonna Take Me a Ride' and 'Help Me' reveal they weren't bad with blue-eyed soul stuff, either. The production is simple, but also captures the performances in a clean and natural fashion and is thankfully short on the studio trickery often inflicted on lesser-known psych acts. The recording seems to favor the band's live sound, and if the Human Zoo sounded this tight on-stage, it's hard to say why they didn't attract greater notice at the time. The songwriting is good but not great on The Human Zoo, but otherwise this is several notches above average for a psych act of the period, and fans of late-'60s/early-'70s West Coast rock should find this worth their time."



    Human Zoo


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    1. Ain't No Sunshine 2:30
    2. It's Too Late 3:05
    3. Sidewinder 6:13
    4. Sad Bag 5:05
    5. Spanish Harlem 3:45
    6. Don't Knock My Funk 4:36
    7. Set Us Free 5:45

    Bobbi Humphrey - Flute
    Billy Harper - Sax (Tenor)
    Lee Morgan - Trumpet
    Gene Bertoncini - Guitar
    Hank Jones - Piano
    Frank Owens - Piano
    Gordon Edwards - Bass
    George Duvivier - Bass
    Idris Muhammad - Drums
    Jimmy Johnson, Jr. - Drums
    George Devens - Marimba, Percussion, Vibraphone
    Ray Armando - Conga

    AMG:
    "A landmark signing, Bobbi Humphrey was the first female ever signed by Blue Note Records. Her debut pays homage to songs popularized by others, no original material made it pass the drawing board. The petite flautist from Texas sticks to tradition on covers of 'Ain't No Sunshine,' and 'It's Too Late,' her flute conveying the songs' sentiment, and sadness as convincingly as any voice in music. Jazz roots spar with funk and soul influences on Lee Morgan's 'Sidewinder,' and Eddie Harris' 'Set Me Free.' The fight continues on Ben E. King's 'Spanish Harlem,' and which has more bounce and rhythm than the original. Bobbi displays dexterity and power throughout her coming out, mainstream LP."



    Flute-In

    or

    Flute-In


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    1. GK Contramundum 2:00
    2. Awaiting the Call. 5:10
    3. Parenting Parents 6:45
    4. Utter Once Her Name 5:30
    5. Remembering When 4:00
    6. Ramblin' Sailor 18:14
    7. Your Healing Hand 8:18
    8. Firmus Finale 4:40
    9. Rear View Mirror Bonus Track 3:34
    10. Alison Waits A Ghost Story Bonus Track 10:40

    Henry Ptak - keyboards, lead vocals, backing vocals, percussion
    Mark Ptak - keyboards, backing vocals, percussion
    Alan Benjamin - guitars, basses, stick, mandolin, recorder
    Drew Siciliano - drums
    +
    Shunji Saegusa - bass (6)
    Ken Serio - drums (10)

    http://seaoftranquility:
    "'Ah hello-I know it's been so long, And now, my soul contrives in song, To express my joy and my surprise, at finding you're still there.'
    The long awaited sophomore release from New Jersey's Advent is finally here. Cantus Firmus starts practically where their 1997 self-titled debut left off, here with some wild Gentle Giant styled vocal interplay (quoted above) on the magical opener 'GK Contramundum'. From there it's one prog rock gem after another, signaling the return of a band that had they been a little more prolific with releasing product would probably be one of the more popular progressive rock bands of today. With Cantus Firmus, that just might now happen.
    Although this band excels at tackling the GG style of quirky, medieval influenced and complex rock, they also can do the symphonic style quite well. Take the instrumental 'Awaiting the Call...', a soaring number complete with loads of keyboards from the Ptak brothers Mark and Henry, ripping guitar work courtesy of Alan Benjamin, and the nimble drum chops of Drew Siciliano. It's back to medieval journeys on 'Parenting Parents', a song with a touching message that all families can understand, complete with poignant vocals that recall the Shulman brothers in their prime. 'Utter Once Her Name' combines lush acoustic guitars and atmospheric keyboards at the intro, then the band kicks in for some majestic and soaring sounds highlighted by some clever vocal interplay and Benjamin's Steve Hackett-inspired fret work. The guitarist lays down some impeccable acoustic & electric work on the instrumental 'Remembering When', again reminiscent of Hackett, especially his solo work.
    The band gets upbeat on the complex epic 'Ramblin' Sailor', a huge 18-minute piece that could easily be the side-long track that Gentle Giant never recorded, but were always capable of had they ever had the notion to do so. Advent really do a great job on this one, adding layers of complex vocal harmonies over dense and intricate instrumental passages. Keyboards, recorders, guitars, bass, and drums all add to the immense sound created here, and the band brought in for this track guest bassist Shunji Saegusa, who many of you will know from Japanese fusion legends Kenso. Hints of Yes and Genesis also appear here and there on this one, but overall this is a fine example of how a modern progressive rock band should put together an epic piece. Benjamin's guitar work again needs to be commended here, as there are many fine moments of searing electric guitar, lush acoustic, and majestic classical. Combined with the array of keyboard textures and vocals from the Ptak brothers, this one's a complete winner.
    'Your Healing Hand' is a somber piece, reminding me a little of 'His Last Voyage' meets 'Think of Me With Kindness' by Gentle Giant, and 'Firmus Finale' is a grand instrumental outro to the main part of the CD, led by the orchestral keyboards of Henry and Mark Ptak, as well as an acrobatic guitar solo from Benkamin. The album also contains two previously unavailable 24 track recordings of 'Rear View Mirror' and 'Alison Waits (A Ghost Story)' from the bands debut album. On that album these songs were recorded on four-track, so you can imagine the sound here is much improved, especialy notable on the latter, which now takes on a much richer tone with all the nuances crystal clear.
    Whether you are a fan of Gentle Giant's music or not, there's no denying the fact that Advent not only have that classic GG style down pat, but also they simply create damn good progressive rock. This is majestic, well thought out, enjoyable music that works on all levels, paying tribute to one of the legends in prog history and at the same time sounding fresh and relevant in 2006."



    Cantus Firmus


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    1. The Healer 8:14
    2. Mixolydian Highlander 5:57
    3. All Blues 12:58
    4. Heartland 8:01
    5. Just Like That 5:54
    6. Pra Dizer Adeus 5:35
    7. La Fiesta 8:06
    8. Joy Spring 3:47

    1. Foot 6:12
    2. A Night in Tunesia 7:48
    3. Sally "O" 7:12
    4. Sideways 5:55
    5. Blues in Latin 5:58
    6. Milestones 7:37
    7. Funky Sea Funky Dew 6:50
    8. Au Privave 7:30
    9. Ground Blues 4:50

    Wiki:
    "Herbolzheimer was born in Bucharest and migrated from communist Romania to West Germany in 1951. In 1953 he moved to the United States of America, where he worked as a guitarist. He returned to Germany in 1957, took up the trombone and for one year studied at the Nuremberg Conservatory. In the 1960s he played with the Nuremberg radio dance orchestra and with Bert Kämpfert's orchestra. In 1968 he became member of the pit orchestra of Hamburg theater (Deutsches Schauspielhaus) directed by Hans Koller. In 1969 Herbolzheimer formed his Rhythm Combination and Brass (RC&B) for which he wrote most of the arrangements. This big band was unique in that it had an international lineup of eight brass, but originally only one saxophone, with Herb Geller in that chair. The list of brass players included Allan Botschinsky (Denmark), Art Farmer (USA), Dusko Goykovich (Bosnia), Palle Mikkelborg (Denmark), Ack van Rooyen (Netherlands) and Jiggs Whigham (USA). The rhythm section consisted of two keyboards, guitar, bass, drums and percussion and included renowned musicians such as Dieter Reith (Germany), Philip Catherine (Belgium), Niels-Henning Ørsted Pedersen (Denmark), Bo Stief (Denmark), Alex Riel (Denmark), Grady Tate (USA), and Nippy Noya (Indonesia). For special events the group was augmented as necessary, but the basic combination remained as such for several years. In the late 1970s the band toured successfully with a "jazz gala" program featuring guest stars such as Esther Phillips, Stan Getz, Nat Adderley, Gerry Mulligan, Toots Thielemans, Clark Terry, and Albert Mangelsdorff. In later years the RC&B played many concert tours, television shows and jazz festivals. It was later replaced by a regular sized big band, which featured many noted international artists such as Dianne Reeves and Chaka Khan, that was still active until Peter's death.
    In 1972 Herbolzheimer wrote music for the Edelhagen Band's opening of the Olympic Games in Munich. In 1974 Herbolzheimer's Rhythm Combination & Brass entered an annual television competition held in the Belgian seaside resort Knokke, winning the coveted Golden Swan Award. He also won the International Jazz Composers Competition 1974 in Monaco. Herbolzheimer's arrangements are a distinctive amalgam of swing, Latin and rhythmic rock music.
    Throughout the 1970s and 1980s, Herbolzheimer, as the arranger and conductor, led his orchestra for virtually every major German television network while featuring and accompanied visiting American musicians such as Ella Fitzgerald, Benny Goodman, Sammy Davis, Jr., Dizzy Gillespie and Al Jarreau.
    Between 1987 and 2006 Herbolzheimer was the musical director of Germany's national youth jazz orchestra, the Bundes Jazz Orchester (BuJazzo). He conducted regular workshops and clinics for big band jazz.
    In 2007, Peter was chosen as the music director, arranger and conductor of the European Jazz Band, which toured throughout Europe until 2009.
    Herbolzheimer died aged 74 in his hometown of Cologne, Germany on 27 March 2010."



    20 Jahre Peter Herbolzheimer RC & B Live in Concert

    or

    20 Jahre Peter Herbolzheimer RC & B Live in Concert


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    Paul Anka
    1. Diana
    2. You Are My Destiny
    3. Crazy Love
    4. My Home Town
    5. Put Your Head On My Shoulder
    6. Kissin' On The Phone
    Connie Francis
    7. Lipstick On Your Collar
    8. Where The Boys Are
    9. Vacation
    10. Pretty Little Baby
    11. Stupid Cupid
    12. Too Many Rules
    Neil Sedaka
    13. The Diary
    14. Oh! Carol
    15. One Way Ticket(To The Blues)
    16. Calendar Girl
    17. Happy Birthday Sweet Sixteen
    18. Little Devil


    Nat King Cole
    1. Mona Lisa
    2. Pretend
    3. Too Young
    4. Quizas, Quizas, Quizas
    5. Stardust
    6. Lave Is A Many Splendored Thing
    7. Cachisto
    8. Fascination
    Harry Belafonte
    9. Danny Boy
    10. Day O
    11. Matilda
    12. Island In The Sun
    13. Hava Nageela
    14. Cu cu ru cu cu paloma
    15. Don't Ever Love Me
    16. Jamaica Farewell








    All American Hit Pops Vol. 1

    All American Hit Pops Vol. 2


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    1. Has Muerto Para Mí
    2. Como Los Nardos En Flor
    3. Buenos Aires
    4. Puerto Nuevo
    5. Mar De Fondo
    6. Como Se Muere De Amor
    7. Monte Criollo
    8. Y Te Fuiste A París
    9. Cobardía
    10. Se Han Sentado Las Carretas
    11. Bibelot
    12. Gólgota
    13. Zorro Gris
    14. Copa De Ajenjo
    15. Lo Que Vieron Tus Ojos
    16. El Cornetín Del Tranvía

    Wiki:

    Francisco Juan Lomuto (November 24, 1893 - December 23, 1950) was an Argentine Tango Pianist, leader and composer who occasionally went by the Pseudonym: Pancho Laguna.
    Lomuto was born in the Parque Patricios neighbourhood of Buenos Aires one of 10 children raised by Victor Lomuto and Rosalia Narducci.
    His mother Rosalia taught him piano, and by 1922 he had his own orchestra with whom he recorded over 950 numbers between 1922 and 1950.
    Some of his best known compositions are; La revoltosa,Fumando Espero, Muchachita del campo and Cachadora.
    Characteristics of his Tango compositions is the ending with the diminished seventh (not in vals or Milonga compositions).
    Lomuto became involved in several Argentine films such as El Alma de bandoneón La rubia del camino and Melgarejo.
    In 1936 Lomuto was appointed as the President of organisation for the Sociedad Argentina de Autores y Compositores de Música (SADAIC) (Argentine Society of Music Authors and Composers).



    1930-1941


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    1. The Wound-Dresser, for baritone & orchestra 19:06
    2. Fearful Symmetries, for orchestra 28:03

    John Adams - Conductor
    Sanford Sylvan - Baritone (Vocal)
    Chris Gekker - Trumpet
    Naoko Tanaka - Violin
    Orchestra of St. Luke's

    AMG:
    "New England-born, California-based composer John Adams is a pivotal figure in 20th century classical music, as he can be viewed as either the last of the minimalists or the first of the post-minimalists. Though his music shares several traits with that of Steve Reich, Philip Glass, or Terry Riley, Adams' music from his earliest works used a wide variety of melodic, harmonic, and rhythmic ideas, making his music perhaps more accessible to a new listener who might find works like Riley's In C or Glass' Einstein on the Beach too forbidding.
    John Adams was born on February 15, 1947, in Worchester, Massachusetts, and raised in various towns throughout New England. His parents recognized his aptitude for music early; his father, an amateur clarinetist, taught him the basics of the instrument, and both joined a local concert band in their New Hampshire town when Adams was in his early teens. By this point, Adams had already had several years' worth of piano and other music lessons; he claims that he knew he was going to be a composer by the age of eight and was already writing tonal orchestral pieces by the time he was 13. Adams entered Harvard University in 1965, completing his undergraduate and graduate work under Leon Kirchner, Roger Sessions, and David del Tredici while pursuing an abiding interest in jazz and rock in his spare time. (A 1970 composition for two-channel tape was called 'Heavy Metal.') At Harvard, Adams focused primarily on performing and conducting, with composition little more than a hobby. By the time he graduated in 1971 and took a teaching job at the San Francisco Conservatory of Music, Adams had changed his focus to composing, writing chamber and choral works for a variety of ensembles; he later dismissed most of these works, the majority of which remain unpublished, and considers 1977's 'Phrygian Gates,' a pulsing solo piano piece commissioned by the performer Mack McCray, to be his first mature composition. This was quickly followed by 1978's string ensemble piece 'Shaker Loops,' which would prove to be Adams' most popular early work, and the 1980 composition for chorus and orchestra Harmonium, which used poetry by John Donne and Emily Dickinson as its texts.
    1982's Grand Pianola Music was Adams' first controversial work, a brassy and ironic ensemble piece for two pianos, female voices, winds, brass, and percussion that sounds like a Mad magazine parody of Charles Ives and was booed upon its premiere. 1985's Harmonielehre is an even more deliberately parodic piece named after Arnold Schoenberg's 1911 treatise on tonal harmony that was the first step towards the Austrian composer's rejection of tonality. Adams has expressed his dislike for Schoenberg's 12-tone music in several ways, and in this long piece he goes so far as to revise the 12-tone system out of 20th century musical history entirely, by applying the techniques of minimalism to the tonally rich Late Romantic tradition of the early 20th century.
    Adams' next major work, 1987's Nixon in China, temporarily elevated him from the modern classical ghetto into the mainstream public eye. A full-length opera, in English (with a libretto by the poet Alice Goodman), featuring Richard Nixon, his wife Pat, Henry Kissinger, Chairman Mao, and Madame Mao as the main characters and based on the true events of Nixon's historic 1972 visit to China, Nixon in China was that rarity, a serious piece of modern classical music that created a popular media sensation, particularly among misguided pundits who decried it as liberal political propaganda disguised as art. Although Adams, who was of draft age during the Vietnam War, makes no secret of his personal dislike of the man, Goodman's libretto is actually surprisingly sympathetic towards the former president, even at its most cutting. (Two smaller works, 1985's ballet score The Chairman Dances and 1987's voice-and-orchestra suite The Nixon Tapes, were fashioned from leftovers from this large-scale project.)
    1991's The Death of Klinghoffer, another opera with a libretto by Goodman, was an even more controversial release; a tragic, elegiac work based on a horrifying 1984 terrorist attack aboard a cruise ship, the artistic virtues of this opera have grown obscured by political jockeying over what some see as a pro-Palestinian/anti-Israeli bias due to the fact that the terrorists are not portrayed as cardboard villains. A planned performance of the opera's choruses by the Boston Symphony Orchestra was canceled in November 2001 due to heightened sensitivities following the terrorist attacks on New York City and Washington the previous September.
    Other important works by John Adams include 1995's song cycle I Was Looking at the Ceiling and Then I Saw the Sky, with libretto by the poet June Jordan; 2000s El Niño, a Nativity oratorio; 1988's Fearful Symmetries, perhaps his most rock-oriented work; and 1993's Hoodoo Zephyr, a song cycle for tape machine and samplers that reflects his longstanding interest in jazz and blues. In addition to a prolific output in a variety of musical styles and settings throughout the '90s, Adams also resumed conducting other composers' works with symphony orchestras around the world, and writing new arrangements for the works of the Argentinean tango master Astor Piazzolla. In 1999, Nonesuch Records released Earbox, a ten-CD retrospective that includes the complete scores to Nixon in China, The Death of Klinghoffer, I Was Looking at the Ceiling and Then I Saw the Sky, and other works stretching back as far as 1973's chamber piece 'Christian Zeal and Activity'."



    Fearful Symmetries/The Wound-Dresser


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    1. Uncle Haisai
    2. Section cheating
    3. Uncle Red
    4. Banchou small
    5. Higashizaki
    6. Learner small
    7. Unexpected small insect Yuntaku Ichi
    8. N'Shoin tea wagon
    9. Small Island Song
    10. Hymn Tokyo
    11. Small Island Song

    AMG:

    "'Lay Down Your Weapons, Take Up Musical Instruments,' the song that Okinawan guitarist, vocalist, and composer Shoukichi Kina chose to perform at the Cultural Olympiad at the Olympics in Atlanta in July 1996, summed up his philosophy. Since 1968, when he formed his band Champloose, Kina has provided a musical voice for Okinawan and environmental concerns. One of the first to combine traditional Asian music with rock and reggae influences, Kina continues to use his music to bring the Asian and Western worlds closer together.
    The son of a traditional shamisen player, Kina has been embraced by musicians from around the globe. His 1980 album Bloodlines was recorded in Hawaii with Ry Cooder on mandolin, slide, and electro-acoustic guitar. The Celebrations, released two years later, represented a collaboration with Japanese ambient keyboardist Makoto Yano. Kina's album Earth Spirit featured guitarist Yves N'Djock of Salif Keita's band.
    Kina's hook-laden songwriting has also enabled his music to be heard far beyond the Okianawan borders. His song 'Haisai Ojisan (Hello Uncle)' was covered by the international supergroup of John French, Fred Frith, Henry Kaiser, and Richard Thompson. 'Hana (Blooming Flowers in the Hearts of All)' was covered by Henry Kaiser and David Lindley. 'Subete No Hito No Konoro Ni Hana O (Flowers for Your Heart)' was recorded by Detty Kurnia of Indonesia and Caravan of Thailand.
    Kina's best-known work has come as leader of Champloose, the only garage rock band in Okinawa. The group's album The Music Power From Okinawa, recorded during a performance at Kina's nightclub in 1977, was released in 1991 and became an international hit. Kina has continued to alternate solo projects with albums recorded with the group. According to David Byrne, whose label Luaka Bop released a 15-tune compilation of Kina's work with Champloose, a concert by the band is 'an experience that is almost more a rally or a celebration than a formal concert'."



    Shoukichi Kina & Champroos

    or

    Shoukichi Kina & Champroos


    0 0


    1. Four Winds 6:35
    2. Q & A 8:37
    3. Conference of the Birds 4:42
    4. Interception 8:23
    5. Now Here (Nowhere) 4:36
    6. See-Saw 6:40

    Dave Holland - Bass
    Sam Rivers - Flute, Reeds
    Anthony Braxton - Flute, Reeds
    Barry Altschul - Marimba, Percussion

    AMG:
    "Dave Holland's debut as a leader, Conference of the Birds, doesn't seem to get its proper due outside of avant-garde circles; perhaps, when discussing the greats, Holland's name simply doesn't spring to mind as immediately. Whatever the case, Conference of the Birds is one of the all-time avant-garde jazz classics, incorporating a wide spectrum of '60s innovations. Part of the reason it works so well is the one-time-only team-up of two avant-garde legends: the fiery, passionate Sam Rivers and the cerebral Anthony Braxton; they complement and contrast one another in energizing fashion throughout. But much credit is due to Holland; make no mistake, even though he throws the spotlight to Rivers and Braxton, this is his date. The repertoire consists entirely of Holland originals, and his work here established him as easily the most advanced bassist/composer since Charles Mingus. His compositions show an impressive range: twisting, unpredictable themes accompanied by storming solos (the classic 'Four Winds,' 'Interception'); free improvisation in group-dialogue form ('Q&A'); inside/outside avant-bop ('See Saw'); and surprisingly lovely, meditative flute showcases (the classic title track, 'Now Here (Nowhere)'). No matter how free things get, Holland's pieces always set up logical frameworks with a clear-minded focus, which makes it easier to get a handle on the advanced musicianship of Holland's quartet (which also includes drummer Barry Altschul, who played in Chick Corea's Circle with Braxton and Holland). The absence of a piano frees up Rivers and Braxton to play off of one another, but the task of driving the ensemble then falls to Holland, and his prominent, muscular lines manage to really push his front line all by themselves. This album is a basic requirement for any avant-garde jazz collection, and it's also one of the most varied and accessible introductions to the style one could hope for."



    Conference of the Birds

    or

    Conference of the Birds


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    Giovanni Pierluigi da Palestrina: Hodie Christus natus est, motet for 8 voices
    1. Hodie Christus Natus Est
    Tomás Luis de Victoria: O Magnum Mysterium, motet for 4 voices
    2. O Magnum Mysterium
    Tomás Luis de Victoria: Missa O magnum mysterium, for 4 voices
    3. Kyrie
    4. Gloria
    5. Credo
    6. Sanctus
    7. Benedictus
    8. Agnus Dei
    Giovanni Pierluigi da Palestrina: O magnum mysterium, motet for 6 voices
    9. O Magnum Mysterium
    William Byrd: O magnum misterium, motet for 4 voices
    10. O Magnum Mysterium
    Alessandro Scarlatti: O magnum mysterium, motet for double chorus
    11. O Magnum Mysterium
    Francis Poulenc: Quatre motets pour le temps de Noël, for chorus
    12. O Magnum Mysterium
    13. Quem Vidistis Pastores Dicite
    14. Videntes Stellam
    15. Hodie Christus Natus Est
    Nicholas White: Alleluia! Puer Natus Est Nobis, for chorus
    16. Introit
    17. Alleluia I
    18. O Magnum Mysterium
    19. Alleluia II
    20. Quem Vidistis Pastores Dicite
    21. Alleluia III
    22. Videntes Stellam
    23. Alleluia IV
    24. Hodie Christus Natus Est
    Morten Lauridsen: O Magnum Mysterium, for chorus
    25. O Magnum Mysterium

    Tiffany Consort
    Nicholas White - Director

    AMG:
    "The specific combination of virtuoso a cappella choral music performed by an octet is the Olympic pole vault of vocal ensemble performance: pitches, like vaults, will be missed, but the whole thing is so thrilling to take in that you don't care. New York's Tiffany Consort is a small group of elite singers that has concertized in the fearsome Bach motets and the like; for this, its debut recording, they group chose a Christmas program containing works from various eras but centered on the Christmas Matins text 'O magnum mysterium' - 'O great mystery, and wonderful sacrament, that animals should see the newborn Lord lying in a manger.' The program is organized like an old-fashioned college glee club concert, beginning with Renaissance music and then proceeding to contemporary works. The opening pieces by Palestrina and Victoria sound unusual sung by an octet since they're so familiar in perfectly blended choral versions, but the hyperconsonance of the Counter-Reformation polyphony exposes the blends of the voice pairs in fascinating ways. It is with the Quatre motets pour le temps de Noel of Francis Poulenc that things really get cooking; director Nicholas White has the singers adjust their vocal timbres so as to make a seamless blend between the almost music-hall-like lyrical melodies of these pieces and their more Stravinskian passages, and the result is an intense, luscious slice of French neo-Classicism. The album features a work by Nicholas White - an attractive combination of tonal flavors that pairs well with the Poulenc but somehow lies too easily with the singers as compared to the rest of the music - and concludes with a radiant O magnum mysterium by contemporary choral composer Morten Lauridsen. All in all it's quite a ride. This disc was nominated for a Grammy award in 2005."



    O Magnum Mysterium

    or

    O Magnum Mysterium

    0 0


    1. Omega Day 3:14
    2. Don't Let My Marigolds Die 2:26
    3. I Hear You Calling 2:57
    4. Dust Filled Room 2:03
    5. 'Til The Christ Come Back 3:08
    6. Release is in the Eye 2:41
    7. Laughing Man 3:15
    8. Inside the Keepers Pantry 2:29
    9. Tell it Like it Is 2:32
    10. Plan D 3:12
    11. Pictures of Adolf Again 2:27
    12. Time of the Last Persecution 3:54
    13. Come a Day 2:27
    14. Let All the Other Teddies Know 2:31

    Bill Fay - Piano, Vocals
    Tony Roberts - Flute
    Bud Parkes - Trumpet
    Nick Evans - Trombone
    Ray Russell - Guitar
    Darryl Runswick - Bass
    Alan Rushton - Drums

    AMG:
    "'Enigmatic' was the tag oft-times tossed 'round Bill Fay, whose loyal cult following grew significantly over the years. Signed to Decca, the singer/songwriter and pianist released two albums in the late '60s and early '70s; their haunting, darkly shadowed songs were never meant to appeal to the masses, even at the height of the psychedelia-streaked introspection sparked by the soul-searching of the day. While the Beatles flew off to meet the Maharishi, Fay fell under the spell of a 19th century compendium of commentaries on the Biblical books of Daniel and Revelations, which would inspire his second album, Time of the Last Persecution. But before the born-agains jump on to the Fay bandwagon, they should be warned that the artist was equally influenced by the ravaging events of the day. The title track, 'Time of the Last Persecution,' was written in an immediate and visceral response to the killings of four students at Kent State. Even in 1971, the intensity of Fay's lyrics - reflecting his commentaries in their poetical language, their highly introspective nature, the brooding quality of the music, all exquisitely enhanced by Ray Russell's evocative blues guitar work - left most reviewers cold and confused. In truth, the album would have slotted much more neatly into the coming firestorm that descended on Britain later in the decade, and would have provided a surprisingly supple bridge between the apocalyptic visions of roots reggae and the political polemics of punk. The set certainly contains all the fire and fury of the latter movement, as well as the deeply dread atmospheres of the former. By 2005, with the rise of evangelicalism and Christian rock, Persecution no longer sounds so obscure or out of place; it is, however, a personal journey of spirituality, not a platform from which to proselytize. For all its dark vision, it's the possibility of peace and hope that shines through the gloom, and as for all the seeming quietude of the music, it thunders, too, with a power and emotion that speak in volumes as loudly as Fay's striking lyrics."



    Time Of The Last Persecution

    or

    Time Of The Last Persecution


    0 0


    1. Born To Be Blue 3:33
    2. Saturday Night Is The Loneliest Night 1:53
    3. Easy Street 3:21
    4. For Heaven's Sake 2:46
    5. It Could Happen To You 2:32
    6. You Don't Know What Love Is 2:39
    7. Lonelyville 2:47
    8. I've Got To Pass Your House 2:35
    9. A Stranger In Town 3:12
    10. I Don't Want To Walk Without You 3:51
    11. There Will Never Be Another You 1:51
    12. When Sunny Gets Blue 3:02

    Anne Phillips - vocals
    Doc Severinsen - trumpet
    Walt Levinsky - woodwinds
    Barry Galbraith - guitar
    Mundell Lowe - guitar
    Bernie Leighton - piano
    Milt Hinton - bass
    George DuVivier - bass
    Ossie Johnson - drums
    Kermit Leslie - conductor

    LA JAZZ SCENE:
    "A classic ballad album, comparing favorably with such gems as Sinatra's 'Only the Lonely...' recommended to al fans of candlelight ballads."



    Born To Be Blue

    or

    Born To Be Blue


    0 0


    1. Scarred for Life 3:20
    2. Moon Lovers 3:00
    3. Child Then 4:18
    4. Is It You? 5:07
    5. King of Straw 3:14
    6. Powerful Stuff 4:13
    7. Different Lie 4:06
    8. Coralie 3:54
    9. Silent the Voice 4:03
    10. Working at the Ministry 4:55
    11. Unborn Byron 3:17
    12. Let's Travel Light 3:43

    Dagmar Krause
    - vocals, piano (4)
    Anthony Moore - keyboards, programming, guitars, saophone, toy theremin, percussion, melodica, lead vocals (8)
    Peter Blegvad - guitars, bass, percussion, lead vocals (6)

    AMG:
    "Released in 1998, Slapp Happy's Ça Va was the first album issued by the trio of Dagmar Krause, Peter Blegvad, and Anthony Moore since the mid-'70s collaboration with Henry Cow, Desperate Straights. The arty instrumentation and arrangements of the early days - which ranged from a rather twisted version of British folk-pop to avant cabaret to (in collaboration with Henry Cow) confrontational art rock and even pure sonic experimentation - are gone, replaced by a more commercial blend of pop music sounds, including looped samples. Nearly everything is played by Blegvad and Moore, whose vocals sound as engaging as they ever have, with Blegvad the literate and somewhat eccentric transatlantic singer/songwriter and Moore mining moodier John Cale-styled pop/rock territory. Dagmar, however, has nearly abandoned the more boldly uncompromising and theatrical features of her earlier singing with both Slapp Happy and the Art Bears; she retains aspects of her highly original and idiosyncratic vocal style while sounding much more straightforward and at times even romantic. So has Slapp Happy sold out? If you equate broadly appealing music with selling out, perhaps, but because Ça Va is probably Slapp Happy's most accessible effort does not detract from the album's artistry. In fact, the threesome has rarely sounded better. From the first words of 'Scarred for Life,' as Dagmar sings 'Leave me something to remember you by, more than a lock of your hair/Leave me scarred for life, show you really care,' it is clear that this is not pop lite. The track features the layered sounds of tremolo guitar, harpsichord, other ethereal keyboards, and deep bass and percussion, with Dagmar intimately forward in the mix. The sound of backward guitar at the song's fade brings in elements of psychedelic pop that also surface elsewhere on the album - always employed as a bit of sonic flavor and never overindulgent. (The work of producer Laurie Latham - contemporary yet seemingly geared to listeners attuned to the most creative pop/rock work of Brian Eno, Roxy Music, Talking Heads, and even late-'60s Beatles - immediately impresses.) In an era when post-rock experimentalism is most likely to garner a band critical favor and cult status, Ça Va seems almost defiantly catchy in its infectious dance-flavored material, including 'Moon Lovers' and 'Working at the Ministry.' In fact, nearly everything on Ça Va is a fine example of pop songcraft - intelligent, literate, and wry as one would expect from Slapp Happy and with a sense of maturity that casts earlier days in a reflective light. 'I was a child then/But I would do the same again,' Dagmar sings on 'Child Then,' adding, 'My counsel is my own to keep, and yes my conscience lets me sleep.' Krause, Blegvad, and Moore performed some lasting, quirky, yet serious pop music back in the days when they were comparative children, but Ça Va might be the best place to begin investigating them, seasoned by the years yet still retaining a sense of adventure."



    Ça Va

    or

    Ça Va


    0 0


    1. Seine Dragging Song
    2. The King Behind The Mask
    3. Sutemaru
    4. Well Digger's Song
    5. Tanokuro-Bushi
    6. Ussan-Utpopo
    7. Seeding Down

    Satoh Masahiko - Keyboards
    Ray Anderson - Trombone
    Wayne Shorter - Sax
    Umezu Kazutoki - Sax
    Mine Kohsuke - Sax
    Hijikata Takayuki - Guitar
    Okazawa Akira - Bass
    Alex Acuna - Drums
    Takada Midori - Percussion
    Nana Vasconcellos - Percussion

    AMG:
    "Masahiko is a Chick Corea-influenced pianist who also plays electric keyboards. His compositional depth is not considered as strong as his playing."



    Randooga

    or

    Randooga


    0 0


    1. Sugar Candy Lady 3:33
    2. I Know the Feeling Well 3:48
    3. Play My Music 3:38
    4. The Saga of Sadie Lee 6:55
    5. Feel the Magic 3:44
    6. I'm Gonna Make Her Mine 3:37
    7. Alone at Last, Pts. 1-2 7:15
    8. My Love for You Grows 3:28
    9. She's Got Me Singing 3:00

    Billy Butler - Vocals, Rhythm Guitar
    Phillip Upchurch – Lead Guitar
    Tom Ferrone – Lead Guitar
    Gary Thompson - Rhythm Guitar
    Rich Tufo – Keyboards
    Rufus Hill – Keyboards
    Joseph Scott – Bass
    Thomas Palmer – Bass
    Donnelle Hagan – Drums
    Quinton Joseph – Drums
    "Master" Henry Gibson – Congas, Bongos
    Alice Sanderson - Backing Vocals
    Denise Heard - Backing Vocals
    Keith Echols - Backing Vocals
    Keithen Carter - Backing Vocals
    Mattie Butler - Backing Vocals
    Valerie Sams - Backing Vocals

    AMG:
    "Billy Butler, brother of Jerry and author of one of the greatest songs in soul music history - 'I Stand Accused' - is one of the unluckiest men in the history of recorded music. Despite his phenomenal abilities and in-the-cut songs, the earmarks of his career were false starts, record company politics and double-dealing, and being in the right place at the wrong time. This 1977 album, his first for Curtis Mayfield's Curtom label, is a mixed bag. Ballads such as 'I Know the Feeling Well,' the two-part 'Alone at Last,' and 'I'm Gonna Make Her Mine' offer portraits of Butler as a solid singer, writer, and arranger. His guitar playing, like Terry Callier's and Curtis Mayfield's, is also highly individualistic and expressive. The mid-tempo tracks, such as 'Feel the Magic,' 'She's Got Me Singing,' and 'The Saga of Sadie Lee,' are among the finest in Chicago soul, with their Philly-influenced grooves and solid Northern soul bridges. But on the title track, 'Play My Music,' and 'My Love for You Grows,' Butler's flirtation with disco feels far too formulaic, like pandering to the genre to make an impact. Alas, these three tracks - one that opens and another that closes the album - mar what could have been a mid-'70s classic."



    Sugar Candy Lady

    or

    Sugar Candy Lady


    0 0


    1. Yu Lin Ling (Long Shower of Rain on the Bell) 6:05
    2. Zhao Jun Yuan (Lamentation of Zhao Jun) 6:05
    3. Deu Airs Populaires (Two Folk Tunes) 1:48
    4. Urtyn Duu (Long Song) 4:12
    5. Morinxuur [Solo for Horse-Head Fiddle] 2:09
    6. Bogyno Duu (Short Song) 2:16
    7. Altayn Magtaal (Song in Praise of the Altai) 3:15
    8. Kai (Chortze Epic Song) 2:25
    9. Chant Long Bouriate (Buryat Long Song) 2:56
    10. Akhr Dun (Kalmyk Short Song) 1:49
    11. Duo Vocal Bouriate/Buryat Vocal Duet 1:41
    12. Chant Choral Bouriate/BuryatChoral Song 2:40
    13. Muqâm Chebbiyat (Prelude) 7:39
    14. Khalqi (Instrumental Prelude) 3:21
    15. Tamannâ (Song With a Free Rythm) 3:20
    16. Ey Sabâ [For Two Lutes] 4:39
    17. Yalla [Folksong] 5:37
    18. Plasavay (Dance Tune) 2:41
    19. Mélodie de Chant Long/"Long Song" Melody 2:13
    20. Temir Komuz (Jew's Harp Solo) 0:52
    21. Eloge de I'oural/In Praise of the Urals 0:59

    Ensemble Chang'an Gutue (1,2)
    Ensemble Tumen-Ech (3-7)
    Ensemble Xinjiang Muqâm Art (13)
    Shashmaqom (14-17)
    Tulebaiev (18-21)




    Music on the Silkroads

    or

    Music on the Silkroads


    0 0


    1. In a Landscape, for piano or harp 9:47
    2. Music for Marcel Duchamp, for prepared piano 6:08
    3. Souvenir, for organ 11:58
    4. A Valentine out of Season, for prepared piano 3:52
    5. Suite for Toy Piano, for toy piano or piano 8:14
    6. Bacchanale, for prepared piano 9:31
    7. Prelude for Meditation, for prepared piano 1:06
    8. Dream, for piano 8:42

    Stephen Drury - Keyboards

    AMG:
    "This is a collection of many of Cage's ambient keyboard works. The collection actually has a new age quality about it; many of the works are quiet and dreamy. The only exception is 'Bacchanale' (1938), which features Cage's prepared piano in a bouncy rhythm found in many of his dance pieces. Notable here is the debut recording of 'Souvenir' (1983), written for organ. It does have a church-like quality amid its dreaminess. Also notable is his famed 'Suite for Toy Piano' (1946); placed amid these other ambient works, it gives a new appreciation for this work. A nice collection by an excellent performer."



    In A Landscape

    or

    In A Landscape


    0 0


    1. I've Got to Be Going 2:04
    2. Baby You Come Rollin' 'CrossMy Mind 2:26
    3. I Remember Long Ago 2:33
    4. Put Your Burden Down 2:34
    5. Reflections (On a Universal Theme) 3:07
    6. Beautiful Sun 5:10
    7. Trust 2:41
    8. Sunrise 2:45
    9. Free 3:14
    10. Pat's Song 2:23
    11. Fatal Fallacy 7:50
    12. I'm Through with You 2:28
    13. I'll Keep on Trying 2:13
    14. Just a Little Feeling 1:58
    15. Don't Go 2:15
    16. Please Try and Understand 3:04
    17. Unabridged, Unadulterated, Unextraordinary, Ordinary, Mediocre, Unorigi 2:09
    18. She's the Kind of Girl 2:18
    19. Little Miss Sunshine 2:15
    20. 9 O'Clock Business Man 2:24
    21. Baby You Come Rollin' 'CrossMy Mind [Mono 45] 2:26
    22. Trust [Mono 45] 2:37
    23. I Remember Long Ago [Mono 45] 2:31
    24. Beautiful Sun [Mono 45] 3:11
    25. I've Got to Be Going [Mono 45] 2:08
    26. It's a Lazy Summer Day 2:03
    27. Blue Eyes 6:30

    Bob Cheevers - vocals, guitar
    Casey Cunningham - guitar, flute
    Danny Faragher - keyboards
    Jimmie Faragher - bass, guitar, sax
    Greg Tornouist - drums

    AMG:
    "Formed in Redlands, CA, in 1967, Peppermint Trolley Company managed to release one album and five singles. They were one of the initial bands signed to the Acta label, whose biggest success was the American Breed 'Bend Me Shape Me.' Only one of Peppermint's singles managed to make the charts, 'Baby You Come Rollin' Across My Mind.' It peaked at number 59 in the summer of 1968. They managed to keep a relatively high profile by performing the weekly TV theme songs for Love American Style and the first season of The Brady Bunch (the cast members sang the theme from the second season on). The band consisted of Bob Cheevers (vocals and guitar), Jimmie Faragher (bass, guitar, and sax), Danny Faragher (keyboards), Casey Cunningham (guitar and flute), and Greg Tornouist (drums). Their success was short lived and by the early '70s the band changed their name to Bones and finally the Faragher Brothers before disbanding. Bob Cheevers gained success as a solo artist, releasing several discs in the contemporary folk genre."



    Beautiful Sun

    or

    Beautiful Sun


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