- RSS Channel Showcase 4230507
- RSS Channel Showcase 5448456
- RSS Channel Showcase 4904208
- RSS Channel Showcase 4989918
Articles on this Page
- 01/17/14--14:52: _Daevid Allen - Now ...
- 01/18/14--15:04: _Henry Kaiser/Charle...
- 01/18/14--15:05: _Toninho Horta - Moo...
- 01/19/14--15:01: _Ondar - Back Tuva F...
- 01/19/14--15:03: _Citizen Cain - Some...
- 01/20/14--14:56: _Ousama - Ousama No...
- 01/20/14--14:58: _Subramaniam - Fanta...
- 01/21/14--14:46: _Re.: Simone (Brazil...
- 01/21/14--14:47: _Rose Tattoo - Rose ...
- 01/22/14--15:01: _Keith Jarrett - Sol...
- 01/23/14--15:17: _James Primosch - Ic...
- 01/23/14--15:20: _Los Ovnis - Hippies...
- 01/24/14--15:01: _Chico Freeman - Up ...
- 01/25/14--15:09: _Kai Band - My Gener...
- 01/25/14--15:19: _Elio + Ossi Duri - ...
- 01/26/14--15:30: _Conrad Schnitzler -...
- 01/26/14--15:31: _Airto Moreira - Fin...
- 01/27/14--15:01: _Rhinestones - Rhine...
- 01/28/14--15:54: _Kenny Wheeler - Dee...
- 01/29/14--16:03: _Philip Glass - Symp...
- 01/29/14--16:04: _Pearls Before Swine...
- 01/30/14--15:01: _Miles from India, 2...
- 01/31/14--15:03: _Anyone's Daughter -...
- 02/01/14--15:00: _Egberto Gismonti & ...
- 02/01/14--15:01: _The Eleventh House ...
- 01/18/14--15:05: Toninho Horta - Moonstone, 1989 (Brazilian Jazz)
- 01/19/14--15:01: Ondar - Back Tuva Future, 1999 (Throat Singing)
- 01/19/14--15:03: Citizen Cain - Somewhere But Yesterday, 1994 (Sympho Prog)
- 01/20/14--14:56: Ousama - Ousama No Ongaeshi (Gratitude Of The King), 1996 (Hard)
- 01/20/14--14:58: Subramaniam - Fantasy Without Limits, 1979 (Jazz/Fusion)
- 01/21/14--14:46: Re.: Simone (Brazil) - Cafe com Leite, 1996 (MPB/Samba)
- 01/21/14--14:47: Rose Tattoo - Rose Tattoo, 1978 (Hard/Boogie)
- 01/23/14--15:17: James Primosch - Icons (Modern Composition)
- 01/23/14--15:20: Los Ovnis - Hippies, 1968 (Psych)
- 01/24/14--15:01: Chico Freeman - Up & Down, 1992 (Jazz)
- 01/25/14--15:09: Kai Band - My Generation, 1979 (Rock)
- 01/25/14--15:19: Elio + Ossi Duri - Gnam Gnam, 2005 (Avant-Rock)
- 01/26/14--15:30: Conrad Schnitzler - Blau, 1974 (Progressive Electronic)
- 01/26/14--15:31: Airto Moreira - Fingers, 1973 (Latin Jazz/Fusion)
- 01/27/14--15:01: Rhinestones - Rhinestones, 1975 (Soft Rock)
- 01/28/14--15:54: Kenny Wheeler - Deer Wan, 1977 (Jazz/Fusion)
- 01/29/14--16:03: Philip Glass - Symphony No.3 (Modern Composition)
- 01/29/14--16:04: Pearls Before Swine - City of Gold, 1971 (Psych/Folk)
- 01/30/14--15:01: Miles from India, 2008 (Jazz-Rock/Fusion)
- 01/31/14--15:03: Anyone's Daughter - In Blau, 1982 (Sympho Prog)
1. Flamenco Zero 1:45
2. Why Do We Treat Ourselves Like We Do? 6:45
3. Tally & Orlando Meet The Cockpot Pixie 3:13
4. See You On The Moontower 5:46
5. Poet For Sale 3:55
6. Crocodile Nonsens Poem 1:00
7. Only Make Love If You Want To 5:29
8. I Am 11:04
9. Deya Goddess 6:36
Daevid Allen - guitar, vocals
Victor Peraino - synthesizer
Pepsi Milan - tablas
Juan Biblioni - tablas
Sam Gopal - tablas
Vera Blum - violin (2)
Xaver Riba - violin (4)
Marianne Oberascher - harp (8)
"The follow-up to Good Morning is another tranquil, organic outing by Allen that re-introduces his imaginary green hero, Zero, from the Gong trilogy. Allen is his usual playful self, although by this time the flying teapot/pothead pixie fixation was getting a little stale. No matter, since the music wafts along at a casual pace, with unusual sounds such as tablas by Sam Gopal and harp by Marianne Oberascher.
Despite his seeming frivolity, Allen has always had a vein of counterculture protest running through his music, and this comes to fruition in 'Poet for Sale,' a song that Allen directs with venom toward the business end of music. 'Only Make Love If You Want To' is a hypnotic piece driven by a carousel-sounding synthesizer and Allen's sly vocals. 'I Am' is an 11-minute musical rendering of a Daevid Allen morning meditation from his home in Deya, Majorca. Like 'Wise Man in Your Heart' from Good Morning, this tune harkens to the spacy side of Gong, with Allen's patented glissando guitar creating a serene, meditative state. The record closes with the acoustic 'Deya Goddess,' dedicated to the moon goddess Diana. It's an appropriate coda to Now Is the Happiest Time of Your Life, one of the most pleasant records to spring from the fertile mind of rock's oldest and most overlooked hippie poet."
Now Is the Happiest Time of Your Life
Now Is the Happiest Time of Your Life
1. Hurum 6:31
2. Chohon 6:25
3. Yongarri 5:41
4. Sinpuri 17:51
5. Sirum 5:37
6. Pah 9:05
7. Tah 4:19
8. Sansoo 6:25
9. Oo-AA-IY 12:27
Henry Kaiser - Guitars
Charles K. Noyes - Drums, Percussion, Saw
Sang-Won Park - Zither (Kayagum), Flute (Tanso), Vocals
"Classical Korean kayagum virtuoso Sang Won Park meets electronic guitarist Henry Kaiser and percussionist C.K.Noyes. First-ever recording of Asian-Western free improvisation."
Invite The Spirit
Invite The Spirit
1. Bicycle Ride 4:35
2. Eternal Youth 4:33
3. Gershwin 4:24
4. Moonstone 3:56
5. Liana 5:05
6. Yarabela 4:43
7. Francisca 3:14
8. Sun Song 3:46
9. I'll Never Forget 5:21
10. Spirit Land 5:49
Toninho Horta - Guitar, Vocals
Randy Brecker - Flugelhorn
Pat Metheny - Guitar
Eliane Elias - Piano
Mark Egan - Bass
Danny Gottlieb - Drums
Naná Vasconcelos - Bells, Caxixi, Percussion
"Although there are quite a few musicians on this set by Brazilian guitarist/singer Toninho Horta, the other musicians mostly just add colors and are a bit of a frivolity. Horta, whose playing is melodic and pretty while his singing is haunting, is virtually the whole show. The music is more commercial than on his more intimate releases (with funkier rhythms), but Horta plays and sings in his usual atmospheric fashion. Although not quite essential, this early release from Horta will be enjoyed by his fans."
1. Tuva Groove 3:17
2. Good Horses 2:54
3. Where Has My Country Gone? 5:20
4. Kargyraa Rap 2:27
5. Little Yurt on the Prairie 3:00
6. The Other Side of the Mountain 4:27
7. Two Lands, One Tribe 3:21
8. Big River 2:59
9. My Tuva 5:06
10. Harness Your Horse and Catch the Wind 5:00
11. [Silence] 16:45
12. Instructional Track 17:41
"Though steeped in the roots of Tuvan folk sounds, Back Tuva Future is anything but a traditional collection of throat music - over the course of tracks like 'Tuva Groove,''Kargyraa Rap' and 'The Other Side of the Mountain,' Kongar-ol Ondar touches base with Western music idioms ranging from dance-pop to funk to bluegrass, and although not everything works, the results are never less than fascinating. Most interesting of all is 'Where Has My Country Gone?,' a duet with Willie Nelson which proves once and for all that the human voice need not conform to standard definitions of beauty to achieve grace and power."
Back Tuva Future
Back Tuva Future
1. Jonny Had Another Face (10:30)
Parallel Lines (1:07)
2. Junk And Donuts (9:19)
An Afterthought (0:21)
3. To Dance The Enamel-faced Queen (10:24)
Beyond The Boundaries (1:03)
4. Somewhere But Yesterday (25:40)
i) Owls (1:47)
ii) Obsessions (5:41)
iii) The Ballad Of Creepy John (3:52)
iv) Echoes-The Labyrinth Penumbra (4:47)
i) All The Sin's Men (4:44)
vi) Farewell (2:31)
vii)A Word In Your Ear (2:18)
5. Strange Barbarians (11:48)
The Mother's Shroud (2:24)
Cyrus - lead vocals, flutes
Alistair MacGregor - guitars
Stuart Bell - keyboards
Andy Gilmour - bass
Nick Arless - drums
"Citizen Cain has its origins in London. The year was 1982 and Gordon Feenie and Cyrus, having played together in Not Quite Red Fox, decided to put together a new group. They recruited Tim Taylor and Citizen Cain was born. The group worked together as a three-piece until they broke up in 1988. 1990 saw a reborn Citizen Cain with the lineup being Cyrus, Frank Kennedy, Stewart Bell, Dave Elam, and Chris Colvin. The group recorded a demo and their first album the following year. Cracks were appearing in the unit even during the recording of that CD (Serpents in Camouflage), though. Within the next year, the group changed drummer, guitarist, and bassist, becoming almost an all-new outfit. Their next album, Somewhere but Yesterday, was released in 1994. By the time they were ready to do the next disc, the lineup had dwindled to two members. The resulting album, which would not be released until 1997, was entitled Raising the Stones. A compilation of older material called Ghost Dance came out before that release in 1996."
Somewhere But Yesterday
Somewhere But Yesterday
1. Highway Star 6:10
2. Immigrant Song 2:50
3. Foxy Lady 3:26
4. Brown Sugar 3:38
5. Summertime Blues 3:25
6. Black Dog 5:24
7. Smoke On The Water 5:43
8. Fire 2:42
9. Dazed And Confused 5:31
10. Medley 7:04
11. Gratitude Of The King 5:26
12. Rock And Roll 3:59
"Ōsama , born Ōsama Jirō , is a Japanese musician and guitarist born on July 7, 1960. He is from Nishinomiya in Hyōgo Prefecture."
Gratitude Of The King
Gratitude Of The King
1. Fantasay Without Limits 7:43
2. Feeling Lonely 6:54
3. Mani Talks 5:08
4. 5 3/4 7:57
5. Frenzy 5:15
Frank Morgan - Sax (Soprano), Sax (Tenor)
L. Subramaniam - Violin
Emil Richards - Vibraphone
Milcho Leviev - Keyboards
Dave Edelstein - Bass
Bob Forte - Drums
Ralph Humphrey - Drums
Zakir Hussain - Duggis, Naal, Tabla
S. Vijayashree - Tambourine
"Nice East vs. West concept featuring the great Indian violinist L. Subramaniam with the great bop alto saxophonist Frank Morgan. They make an effective team, and the two sensibilities converge for an interesting but sometimes uneven dialogue."
Fantasy Without Limits
Fantasy Without Limits
1. Café com leite 0:31
2. Beija, Me Beija, Me Beija 3:57
3. Meu Laiá-Raiá 4:47
4. Madalena do Jucú 4:17
5. Disritmia 4:29
6. Se eu soubesse que tu vinhas 3:46
7. Samba da cabrocha bamba 4:39
8. Canta, Canta Minha Gente 4:43
9. Quem É Do Mar Não Enjoa 3:56
10. Iaiá do Cais Dourado 4:23
11. Maré mansa (Mar calmado) 3:37
12. Ex-Amor 4:45
"According to Revista Veja (Brazil's largest weekly news magazine): Simone Bittencourt de Oliveira was born twice. The first, in 1949, in a low-class Salvador area, in Bahia. The second, in the last February 7, at the 'Morumbi Stadium', in São Paulo, when she raised a vibrant chorus of 90,000 at the 'Canta Brasil' spectacle, singing 'Caminhando'. When presentation ended, she was another shining star in the sky. Success assured career's first golden disc and an eponymous program for Rede Globo, recorded alive at the 'Globo Theater' (march, 1980). The program, Simone Bittencourt de Oliveira, was the first of a series called Grandes Nomes. Still, in this glorious year of 1979, she was present at the Festival de Música Popular Brasileira, interpreting Para Lennon & McCartney (by Márcio and Lô Borges and Fernando Brant). In 1982, the same magazine would stamp Simone, the largest album seller of the decade , on the cover, with an extensive seven pages coverage.
Since the 1960s, when Festival de Música Popular Brasileira series were launched (Rede Record), until the 1980s, Brazilian television was marked by the great audience of those broadcasted programs from live music festivals. Mulher 80 (Rede Globo) was one of these remarkable ones; the program exhibited a series of interviews and musicals aimed to discussing women's role in society with an approach to the national music evolvement and the indisputable predominance of female voices: presenting Elis Regina, Maria Bethania, Fafá de Belém, Marina Lima, Simone, Rita Lee, Joanna, Zezé Motta, Gal Costa and the extra participation of Regina Duarte and Narjara Turetta, from Malu Mulher TV series. On an interview to O Pasquim journal (nº 572, from 13th to 19/06/1980), Elis Regina talks about her: Elis, from all of these new talents, is there anyone to look at with attention?: "I Like Simone very much. Potentially, there is a talent to bloom out. She is a beautiful woman, her repertory is very good and she is very well orientated by Flávio Rangel and Nelson Ayres".
At the age of 32 she became the first female singer to fill the Maracanãzinho Stadium. In February 1982 15 to 20 thousand people crowded Canta Brasil to see her perform music by Milton Nascimento, Ary Barroso, Chico Buarque, Tom Jobim, Fernando Brant, Vítor Martins, Paulo César Pinheiro, Hermínio Bello de Carvalho, Isolda, Sueli Costa and Abel Silva. In December 1983 she drew a crowd of 150 thousand people to Quinta da Boa Vista to see a live transmission of Rede Globo for a New Year's TV show .
As her success grew, Simone continued to be involved in political activities. She helped raise funds with Nordeste já, a Brazilian version of the American charity efforts We are the world or USA for Africa. The 155 chorus voices recorded a compact disc with two songs, Chega de mágoa and Seca d´água.
In May 2006, in a pocket show at Bourbon Street Nightclub in São Paulo, Simone along with the band presented a romantic repertoire and delighted the audience with unusual arrangements, within a jazzy tone, for the Credicard Project. Among the most recent presentations, stands out the ones in Peru, where she was praised by the audience who stood by the stage clapping for more than five minutes straight; in Miami, along with Ivan Lins, was acclaimed by critics who considered the show one of the best ones in recent years. By June 2007, the Coliseum of Santos enthusiastically received an icon of MPB who was one day an unknown dweller. Amigo é Casa, sharing the stage with Zélia Duncan, was a show for the recording of an eponymous DVD and aimed to mark the partnership she evolved along with Zélia Duncan for the past two years."
Cafe com Leite </b>
Cafe com Leite </b>
1. Rock 'N' Roll Outlaw 3:22
2. Nice Boys 2:53
3. The Butcher and Fast Eddy 6:32
4. One of the Boys 3:10
5. Remedy 3:01
6. Bad Boy for Love 3:07
7. T.V. 2:02
8. Stuck on You 3:58
9. Tramp 2:39
10. Astra Wally 5:59
11. Never Too Loud 3:45
12. I Had You First 2:35
13. Fightin' Sons 3:09
14. Snow Queen 4:20
15. Rock 'N' Roll Outlaw 3:33
16. Bad Boy for Love 5:39
17. Rock 'N' Roll Is King 4:25
18. Suicide City 5:19
Angry Anderson - Throat, Vocals
Peter Wells - Slide Guitar, Vocals
Mick Cocks - Guitar
Geordie Leach - Bass
Ian Rilen – Bass (6,10,14)
Digger Royal - Drums
"If AC/DC are the greatest blue-collar hard rock band of all time, then Rose Tattoo (also Australian, also managed by the Vanda and Young team) just may qualify as the world's greatest blue-collar punk rock band. Led by impetuous, diminutive frontman Angry Anderson (the Ronnie James Dio of punk?) and the brilliant slide-guitar work of Peter Wells, Rose Tattoo were a mean and not-so-lean gang of tattooed misfits, all of them veterans of the hard as nails Aussie pub rock scene - in short, the kind of guys you'd cross the street to avoid. Released in 1978, their eponymous debut (issued in Europe as Rock 'N' Roll Outlaw almost two years later) is a dangerous, unpredictable, monster of a record whose power has hardly diminished an ounce in the decades since. First song, 'Rock 'N' Roll Outlaw,' draws the line in the sand, challenging all comers to cross at the peril of a split lip; then 'Nice Boys (Don't Play Rock 'N' Roll)' (if you thought Guns n' Roses version was bad-ass, think again) delivers an uppercut to the jaw that'll set you reeling. The boogie-intensive 'One of the Boys' recalls George Thorogood at his baddest, while 'The Butcher and Fast Eddy' - a gritty shuffle about dueling gangs of outlaws - offers a Down Under adaptation of the classic Stagger Lee urban fable. First single 'Bad Boy for Love' borrows its main riff rather blatantly from AC/DC's 'She's Got Balls,' and the lone, slow number 'Stuck on You' is the Rose Tattoo equivalent of the Stooges''Gimme Danger.''Remedy' and 'T.V.' are blasts of pure raw energy, and if you're not reduced to a sweating, drained pile of pulp by the time you arrive at the tee-total lunacy of closer 'Astra Wally,' you better check your pulse. As seemed inevitable, given their combustible nature, Rose Tattoo's career was quickly derailed by internal strife, but this only adds to the timeless mystique and unique triumph of this debut. It's as 'street' as white boy rock gets - essential hard boogie. (The 1990 Repertoire records CD reissue adds eight bonus tracks, between B-sides and live recordings to the original release.)"
1. Bremen, Pt. 1 18:05
2. Bremen, Pt. 2 45:10
1. Lausanne 01:04:53
Keith Jarrett - Piano
"These are the recordings that made Keith Jarrett famous. Originally released as a three-LP set, the two solo piano recitals feature Jarrett freely improvising and never seeming to run out of ideas. A simple figure often develops through repetition and subtle variations into a rather complex sequence and eventually evolves into a new figure. One of the improvisations lasts for three LP sides (64 minutes), while the second concert has two long solos for 30 and 35 minutes, respectively. Despite the length, the music never loses one's interest, making this an essential recording for all jazz collections."
1. Piano Quintet: I. Allegro Con Intensitá 6:25
2. Piano Quintet: II. Molto Vivace 4:42
3. Piano Quintet: III. Meditation On "Motherless Child" (Adagio Molto) 8:59
4. Piano Quintet: IV. Allegro Shuffle 5:12
5. String Quartet No.2 16:38
6. Fantasy-Variations, for piano trio 16:41
7. Icons 13:44
Jean Kopperud - Clarinet
James Primosch - Piano
Aleck Karis - Piano
Cavani String Quartet
"Born in Cleveland, Ohio in 1956, James Primosch studied at Cleveland State University, the University of Pennsylvania, and Columbia University. He counts Mario Davidovsky, George Crumb and Richard Wernick among his principal teachers.
Primosch’s instrumental, vocal, and electronic works have been performed throughout the United States and in Europe by such ensembles as the Los Angeles Philharmonic, the St. Paul Chamber Orchestra, Collage, the New York New Music Ensemble, and the Twentieth Century Consort. His Icons was played at the ISCM/League of Composers World Music Days in Hong Kong, and Dawn Upshaw included a song by Primosch in her Carnegie Hall recital debut. Commissioned works by Primosch have been premiered by the Chicago Symphony, Speculum Musicae, the Cantata Singers, and pianist Lambert Orkis. A second Chicago Symphony commission, Songs for Adam, premiered in October, 2009 (with baritone Brian Mulligan, in performances conducted by Sir Andrew Davis); and Luminism: Three Hudson River Images was commissioned and premiered by the Albany Symphony in May, 2010.
Among the honors he has received are a grant from the National Endowment for the Arts, a Guggenheim Fellowship, three prizes from the American Academy of Arts and Letters (most recently, an Academy Award in 2010), a Regional Artists Fellowship to the American Academy in Rome, a Pew Fellowship in the Arts, the Stoeger Prize of the Chamber Music Society of Lincoln Center, and a fellowship to the Tanglewood Music Center where he studied with John Harbison. Organizations commissioning Primosch include the Koussevitzky and Fromm Foundations, the Mendelssohn Club of Philadelphia, the Folger Consort, the Philadelphia Chamber Music Society, the Barlow Endowment, and the Network for New Music. In 1994 he served as composer-in-residence at the Marlboro Music Festival. Recordings of eleven compositions by Primosch have appeared on the Albany, Azica, Bard, Bridge, CRI, Centaur, and New World labels, with new discs of vocal and choral works planned.
James Primosch is also active as a pianist, particularly in the realm of contemporary music. He was a prizewinner at the Gaudeamus Interpreters Competition in Rotterdam, and appears on recordings for New World, CRI, the Smithsonian Collection, and Crystal Records. He has worked as a jazz pianist and a liturgical musician.
Since 1988, he has served on the faculty of the University of Pennsylvania, where he directs the Presser Electronic Music Studio."
02. Cuando Era Niño
03. Mi Protesta
06. Enciende Mi Fuego
07. Grito Al Vacio
09. Ya Se
10. Te Doy Tu Lugar
11. Voy Para Loco
12. Plase, Plase
13. El Ovni
14. Juntos Esta Noche
15. Pequeña Ayuda De Mama
16. La Mediacion Del Mar
17. Fanatico De La Moda
18. Contra La Ley
Armando Vázquez - Voz
Ernesto León - Requinto
Luis Alanís - Teclados
Jaime Pérez - Bajo
Guillermo Soto Cantú - Batería
Dreams, Fantasies & Nightmares:
"A legendary Mexican band whose second album of originals is full of trebly fuzz guitar-work, farfisa organs and, in places, has a punky edge. The opening cut Murge sets the tone for much of what follows with catchy organ and drums. Cuando Era Nio features an effervescent vocal performance. Hear that church organ sounding intro on Mi Protesto. The final track on side one Fe is distinctive for religious-type chanting. There are also three great organ-led garage-punkers on the album, Infinito and the two closing tracks - Ya Se and Te Dey Tu Lugar. There's also a very credible cover version of The Doors' Light My Fire (Enciende Mi Fuego)."
1. Battleground 15:35
2. Hiromi 6:16
3. Tyrolean Waltz 7:03
4. Aftermath 7:11
5. My One and Only Love 8:28
6. Up and Down 11:31
Tiziana Ghiglioni - Vocals
Chico Freeman - Sax (Soprano), Sax (Tenor)
Mal Waldron - Piano
"...Waldron controls pace and phrase through placement and volume of dissonant chords and contrary motion...he gently supports [vocalist] Ghiglioni's whispery scat effort and ballad reading, and applies a heavy-rocking waltz to Freeman's soprano..."
Up & Down
Up & Down
1. My Generation 3:44
2. Touch 4:22
3. Port Town Lady Blues 4:23
4. The Street 0:54
5. Million Dollars Night 6:20
6. San-Franciscan Night 4:34
7. Drugs Love You 3:43
8. The Television 3:08
9. Groupie 3:22
10. The Stage 5:29
Legendary japanese rock band led by Yoshihiro Kai
1. Back To The Future
2. Broken Hearts Are For Assholes
4. City Of Tiny Lites
5. Dancin' Fool
6. Tell Me You Love Me
7. Cosmik Debris
8. Stick It Out
9. Florentine Pogen
11. Regole Da Rispettare
Elio - vocals, flute
Martin Bellavia - guitar, background vocals
Gianni Denitto - sax, guitar, kaos pad, vocals and madness
Alex Armuschio - keyboards, background vocals
Simone Bellavia - bass
Ruben Ballavia - drums, background vocals, flute
Alberto Fauro - real pigman, gorilla and madness
"Stefano Belisari (born July 30, 1961 in Milan), best known as Elio, is an Italian singer and musician, the founder of the Italian rock band Elio e le Storie Tese. He performs as the lead vocalist and plays the transverse flute (which he degreed in at the music conservatory), and sometimes the electric guitar and the electric bass. The band has been active in Italy since 1980, and perform regularly in concert.
Elio also graduated on December 20, 2002 from the Politecnico di Milano with a M.Sc. degree in Electronic Engineering, after having dropped out several years previous to his successful return.
The texts of his songs are eclectic, hilarious, and sometimes political. Belisari lists Frank Zappa as a primary influence and this reflects itself in the variety of both lyrical and musical stylings."
1. Die Rebellen haben sich in den Bergen versteckt 18:47
2. Jupiter 19:32
3. Blau 1 4:27
4. Blau 2 4:31
5. Blau 3 3:27
6. Blau 4 2:56
7. Blau 5 2:44
8. Blau 6 4:12
Conrad Schnitzler - electronics & effects
"One of the prime figures in the growth of Krautrock, Conrad Schnitzler made important contributions to the early history of Kraftwerk and Kluster. Like many in the Krautrock community, Schnitzler was greatly inspired by influences in the visual artistic world as well as the musical; he studied sculpture with Joseph Beuys, and composition with Karlheinz Stockhausen, also looking to John Cage and Pierre Schaeffer for inspiration. By 1969, he was working with Tangerine Dream, with whom he recorded Electronic Meditation. The album became one of the most distinctive in TD's discography, and Schnitzler deserved much of the credit for its chance-taking approach.
Before the end of the decade, Schnitzler had begun appearing with another soon-to-be Krautrock legend, Kluster. Formed with Dieter Moebius and Hans-Joachim Roedelius, the group recorded two albums in 1970, Klopfzeichen and Zwei Osterei. Schnitzler left for a solo career one year later, though Moebius and Roedelius probably appeared on his debut, Schwarz (no credits were given, but other musicians can be heard). With Schwarz and 1972's Rot, Schnitzler began to progress from mostly acoustic music to a style based around electronics and tape-looped sound. Though he continued to record sparingly during the 1970s, not much of Schnitzler's work was released until the following decade. He emerged in 1978 with the album Con (recorded at Peter Baumann's Paragon Studios), supported by the French label Egg Records.
The beginning of a new decade resulted in much activity for Schnitzler, and he released seven albums in total during 1980-1981 alone. The styles ranged from the harsh sequencer trance of Consequenz to the surprisingly pop-oriented project Con 3 (both were recorded with drum machines and vocals by Wolfgang Sequenza, formerly of Ton Steine Scherben). During the rest of the 1980s, Schnitzler recorded often, but released his work on increasingly obscure labels. After another fallow period during the early '90s, he began recording with Plate Lunch Records, which issued new releases such as 1998's 00/44 as well as archival reissues like 1971's Rot. Schnitzler continued recording throughout the first decade of the new millennium and, in fact, released a recording, 00/830, only days before he passed away. Conrad Schnitzler died from stomach cancer on August 4, 2011."
1. Fingers (El Rada) 4:33
2. Romance of Death 5:36
3. Merry-Go-Round 2:47
4. Wind Chant 5:50
5. Parana 6:03
6. San Francisco River 4:11
7. Tombo in 7/4 6:22
Flora Purim - Vocals
David Amaro - Guitars
Hugo Fattoruso - Harmonica, Keyboards
Ringo Thielmann - Bass
Airto - Drums, Percussion
Jorge Fattoruso - Drums
"The 1970s were banner years for Airto Moreira-not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as 'Wind Chant,''Tombo in 7/4' and 'Romance of Death,' the results are consistently enriching. Fingers is an album to savor."
1. One Time Love 3:37
2. Ridin' Thumb 1:00
3. Party Music 3:05
4. Get It up for Love 3:57
5. Love Jam 2:05
6. Another Song for You 2:50
7. Love on My Mind 3:53
8. Crossroads of My Life 3:01
9. This Devil in Me 5:11
10. All My Love 1:03
Kal David - Guitar, Vocals
Harvey Brooks - Bass, Vocals
Marty Grebb - Guitar, Keyboards, Saxophone, Vocals
Bob Leinbach - Horn, Keyboards, Trombone, Vocals
Artie Funaro - Guitar, Vocals
Brian Auger - Organ
Richard Bell - Piano
Paul Harris - Organ
Eric Kaz - Synthesizer
Billy Mundi - Drums
Eric Parker - Drums
Jack Scarangella - Drums
Greg Thomas - Drums
"The Fabulous Rhinestones were an R&B-based band formed in San Francisco in 1971 by ex-Illinois Speed Press guitarist/singer Kal David and ex-Electric Flag (and Bob Dylan, Al Kooper, and Miles Davis) bassist Harvey Brooks. They moved to Woodstock, NY, where they played with members of the Band and some of their own fellow Chicago bluesmen, including Paul Butterfield, and were signed by producer Michael Lang - the co-producer of the Woodstock festival - to his own Just Sunshine label. The group cut three LPs over the next three years, all of which received critical raves without selling in huge numbers - they also got considerable exposure playing on the same bill with the Allman Brothers, Stevie Wonder, and the Doobie Brothers, but their most visible gig was probably playing a 1971 antiwar rally in New York with John Lennon and Yoko Ono. They split up in the mid-'70s and David later played with Etta James, Al Kooper, and Johnny Rivers. The Fabulous Rhinestones' work has been compiled for reissue on CD in Japan in the 21st century."
1. Peace For Five 16:21
2. 3/4 in the Afternoon 5:45
3. Sumother Song 11:22
4. Deer Wan 10:04
Kenny Wheeler - Flugelhorn, Trumpet
Jan Garbarek - Sax (Soprano), Sax (Tenor)
John Abercrombie - Guitar, Mandolin
Dave Holland - Bass
Jack DeJohnette - Drums
Ralph Towner - 12 String Guitar (2)
"Kenny Wheeler's beautiful sound on trumpet and his wide range are well-displayed on his four compositions, three of which are given performances over ten minutes long. With the assistance of ECM regulars Jan Garbarek (on tenor and soprano), guitarist John Abercrombie, bassist Dave Holland, drummer Jack DeJohnette and (on one song) guitarist Ralph Towner, Wheeler emphasizes lyricism and romantic moods on this fine set of original music."
Symphony No. 3, for strings
1. Movement 1 4:37
2. Movement 2 6:15
3. Movement 3 10:06
4. Movement 4 3:29
5. The CIVIL warS: Interlude No.1 5:34
6. Mechanical Ballet, for orchestra (from the opera "The Voyage") 5:51
7. The CIVIL warS: Interlude No.2 3:51
8. The Light 21:21
Vienna Radio Symphony Orchestra
Stuttgart Chamber Orchestra
Dennis Russell Davies - Conductor
"Philip Glass is an iconoclast, and as such, probably one of the best-known composers of the late 20th century. These recordings made in 1996 focus on compositions written between 1984 and 1995.
Glass's Symphony No. 3 pulses and breathes like a living being. Given the composer's intent to treat each performer as a soloist, the 19 piece Stuttgart Chamber Symphony is remarkably successful in creating such a tight performance. Building his melody with the orchestra's pizzicato delivery, Glass creates a truly exhilarating experience.
Interlude No. 2, written for Robert Wilson's stage production 'The CIVIL warS,' is a change for Glass, a more relaxed, sweeping composition. Beginning with strings providing a serene texture like ripples on a lake, the rhythmic melody builds in layers.
'The Light' eschews the biological for an even more primal pulse. Inspired by Glass's interest in physics and space, it is meant to depict the essence of light. Building in pace and vibrance, the music constantly unfolds new permutations before the audience. Is it a new creation, or the discovery of some immortal truth, one that was always before our eyes? Glass's music inspires that sense of wonderment."
1. Sonnet #65 0:49
2. Once Upon a Time 2:40
3. Raindrops 2:05
4. City of Gold 3:09
5. Nancy 4:50
6. Seasons in the Sun 3:24
7. My Father 2:22
8. The Man 2:30
9. Casablanca 2:33
10. Wedding 1:42
11. Did You Dream of Unicorns 2:49
Tom Rapp - Guitar, Vocals
John Duke - Flute, Oboe
Bill Pippin - Flute, Oboe
David Briggs - Harpsichord, Piano
Buddy Spicher - Cello, Viola, Violin
Mac Gayden - Guitar
Charles McCoy - Bass, Dobro, Guitar, Harmonica
Norbert Putnam - Bass
Hutch Davie - Keyboards
Kenny Buttrey - Drums
Elisabeth - Vocals
David Noyes - Vocals
"'Do not give dogs what is holy; and do not throw your pearls before swine, lest they trample them under foot and turn to attack you' sayeth Jesus in Matthew 7:06. Singer/songwriter Tom Rapp may have taken these words to heart on City of Gold, as the third Reprise album by Rapp and Pearls Before Swine is divided into two parts. Side one of this project, recorded in New York and Nashville in the fall of 1970, is credited to Rapp, while Pearls Before Swine is the band on side two. The music here is country-folk with sparse musicianship and vocals by Rapp, Elisabeth, and David Noyes. Leonard Cohen's soaked-in-harpsichord 'Nancy' is a standout on side one, feeling longer than the close to five minutes that it is, while opener 'Sonnet No. 65' goes as quickly as it comes, a collaboration between William Shakespeare and Rapp clocking in at 41 seconds. 'Once Upon a Time' is true underground country with harmonica and horn battling it out under the bandleader's vocals. 'Raindrops' drips with pretty sadness, Elisabeth's voice the answer to what sounds like it should be a soliloquy. The title track's poignancy is interrupted by a gunshot sound effect, country-ish folk with the songwriter's liner notes adding a bit more insight to his mindset on this deep essay. Side two surprises with a very intelligent reading of the Jacques Brel/Rod McKuen tune 'Seasons in the Sun,' which hit for the Kingston Trio eight years before this version, and four years later in 1974 for Terry Jacks. Elisabeth takes on Judy Collins''My Father,' the movement of the instrumentation way behind the vocals. Four Rapp originals conclude this wandering record, an up-tempo 'The Man' followed by a crawling folk-pop 'Casablanca,' the mood shifting from side one's country to a more polished early-'70s FM approach. 'Wedding' is an interesting moment not sounding anything like the other songs here, while 'Did You Dream Of' saves the best for last. City of Gold may not be the definitive Pearls Before Swine album, but it is an interesting artifact worthy of a few spins."
City of Gold
City of Gold
1. Spanish Key 19:44
2. All Blues 9:21
3. Ife (Fast) 8:41
4. In a Silent Way 2:33
5. It's About That Time 10:00
6. Jean Pierre 11:36
1. So What 8:09
2. Miles Runs the Voodoo Down 9:03
3. Blue in Green 13:07
4. Great Expectations 8:39
5. Ife (Slow) 14:11
6. Miles from India 6:53
Gary Bartz - saxophones
Dave Liebman - saxophones
Rudresh Mahanthappa - saxophones
John McLaughlin - guitars
Mike Stern - guitars
Pete Cosey - guitars
Chick Corea - keyboards
Adam Holzman - keyboards
Robert Irving III - keyboards
Louiz Banks - keyboards
Ron Carter - bass
Michael Henderson - bass
Marcus Miller - bass
Benny Rietveld - bass
Jimmy Cobb - drums
Leon 'Ndugu' Chancler - drums
Lenny White - drums
Vince Wilburn - drums
Gino Banks - drums
Ranjit Barot - drums
Badal Roy - tabla
Ravi Chari - sitar
Vikku Vinayakram - ghatam
V. Selvaganesh - khanjira
U. Shrinivas - electric mandolin
Brij Narain - sarod; Dilshad Khan - sarangi
Sridhar Parthasarathy - mridangam
Taufiq Qureshi - Indian percussion
A. Sivamani - Indian percussion
Kala Ramnath - Carnatic violin
Rakesh Chaurasia - flute
Shankar Mahadevan - Indian classical vocals
Sikkil Gurucharan - Indian classical vocals
"It was such a simple concept. Producer Bob Belden (who has directed the Miles Davis reissue series) was talking with Times Square label owner Yusuf Gandhi about Miles' use of Indian instrumentation during The Complete On the Corner Sessions and wondered aloud what it would sound like if Indian musicians played Miles' music. Gandhi replied 'Miles from India,' and nearly a year later Belden delivered this brilliant set that not only features a number of India's finest musicians but a veritable who's who of Miles' own sidemen. In perhaps the boldest move, Belden and the musicians looked well beyond Miles' 1972-1975 sessions with Indian instruments for inspiration, performing tracks from the '50s, '60s, '70s, and '80s (the same time span covered by Miles' associates on this album). Another fun thing about these performances is that some of Miles' sidemen play on songs they didn't originally play on - like the opener, 'Spanish Key,' featuring Mike Stern and Dave Liebman. But despite some additional Indian percussion and vocalizing, 'Spanish Key' doesn't vary much from the original. On the other hand, 'All Blues' is completely transformed, with Ravi Chary's sitar taking the place of Miles' trumpet. The Gary Bartz/Rudresh Mahanthappa sax duet on this is a real treat, as are the presence and playing of Jimmy Cobb, who also played on the original 1959 Kind of Blue session. The fast version of 'Ife' marks the entrance of monster bass player Michael Henderson and the wonderfully deranged guitar of Pete Cosey, who does not record nearly enough. After the lovely but relatively brief sarod-led 'In a Silent Way,' it's great to hear Cosey rip it up on 'It's About That Time.' He's nearly matched in intensity by Bartz's sax and Kala Ramnath's violin while Henderson does his thing with that killer Dave Holland bassline. Stern gets to reprise his role on the classic 'Jean Pierre,' paired with some great flute from Rakesh Chaurasia.
Chick Corea appears only on 'So What,' but turns in a great piano solo with some tasty inside-the-piano work. Like 'All Blues,''So What' becomes something else again with the addition of a trio of Indian percussionists and a change in time signature. And while the bassline of 'Miles Runs the Voodoo Down' doesn't really lend itself to Henderson's signature propulsive style, the percussionists lock in with him, providing a platform for more sick playing from Cosey. 'Blue in Green' has Wallace Roney's trumpet singing with Shankar Mahadevan's voice and then sarangi in another sublime transformation. Here, Mike Stern's solo is as gentle as the one on 'Jean Pierre' was noisy. Henderson and drummer Vince Wilburn kick it on 'Great Expectations,' which segues briefly into the introspective 'Orange Lady' and back. Chary and Roney both contribute excellent solos and Cosey goes nuts (why doesn't he record more?). Fortunately, he gets plenty more space on the slow version of 'Ife,' both soloing and comping. The rhythm section of Henderson and Badal Roy on tabla is completely hypnotic here, providing a perfect base for languid solos from Dave Liebman and Gary Bartz and some nice spacy sounds from Cosey and Adam Holzman. The album closes with the only track Miles didn't record: 'Miles from India,' penned by John McLaughlin for this set. Scored for voice, piano, guitar, and the electric mandolin of U. Srinivas, it's a pensive and atmospheric track that nevertheless features some passionate soloing. And that's merely touching on some of the highlights. Folks like Ron Carter, Marcus Miller, Ndugu Chancler, and Lenny White haven't even been mentioned, let alone some of the great Indian musicians also present here.
The essence of jazz is improvisation and expression, and Miles always sought out highly individual players. The beauty of Miles from India is how the players from different cultures and backgrounds meet on Miles' turf with their individual voices completely intact. Miles from India is not only an amazing celebration of the music of Miles Davis, it's also a tribute to the way Miles and Teo Macero changed the way jazz music can be made. Granted, it's the musicians involved who turn in these scorching performances, but this album was recorded in Mumbai, India, Chicago, New York, Los Angeles, and Saylorsburg, PA (!?), and would not have been possible without the studio techniques Macero pioneered with Miles. Perhaps, like Macero, Bob Belden will be remembered more for his production than his horn playing. Either way, with Miles from India, Belden has outdone himself and delivered a tribute that succeeds completely on every level. Kudos to all involved."
Miles from India
Miles from India
1. Sonnenzeichen - Feuerzeichen 5:19
2. Fur ein kleines MÃ¤dchen 5:23
3. Nichts fur mich 6:33
4. Nach diesem Tag 4:08
5. La la 3:17
6. Sonne 4:45
7. Tanz und Tod 15:11
Uwe Karpa - acoustic & electric guitars
Matthias Ulmer - keyboards, vocals
Harald Bareth - bass, lead vocals, voice
Peter Schmidt - drums, percussion
"Anyone's Daughter was a late-'70s, early-'80s symphonic prog rock band heavily influenced by Genesis as well as by German bands such as Elroy and Grobschnitt. After breaking up in the mid-'80s, the group reformed in 2000.
Consisting of Uwe Karpa (guitars), Matthias Ulmer (keyboards, vocals), Harald Bareth (bass, lead vocals), and Kono Konopik (drums), Anyone's Daughter was formed in 1978. Their first record, Adonis (1979), featured English vocals, epic tracks with reflective and aggressive moments, and a prominent keyboard sound with heavy use of Moogs in particular. Anyone's Daughter (1980) found the band moving towards shorter material, but 1981's Piktors Verwandlungen, on which the band first sang in German, was their most experimental work. Recorded live, it is a concept album based around Hermann Hesse's novel Pictor's Metamorphoses and Other Fantasies and featured several sections with spoken word. Although it contained some references to past glories, In Blau (1982) reversed course once again, with the band moving towards a more straightforward approach that would be fully realized on Neue Sterne (1983). At this point, Konopik left and was replaced by Peter Schmidt who was featured on the next album, Live (1984). The band briefly reformed in 1986 with several new members. Then, after over a decade of silence, Anyone's Daughter reformed around Karpa and Ulmer, with three new members for the 2001 CD, Danger World."
1. Aquarela Do Brasil 6:01
2. Rio de Janeiro 6:27
3. Tomarapeba 3:42
4. Dancando 7:55
5. Fogueira 5:52
6. Bianca 6:41
7. Don Quixote 7:41
8. O Dia, À Noite 3:52
Egberto Gismonti - Dilruba, Flute, Guitar, Performer, Piano, Vocals, Voices
Naná Vasconcelos - Berimbau, Percussion, Vocals, Voices
"'Aquarela do Brasil,' an unofficial anthem of Brazil, may have received literally thousands of different version and interpretations, but even then, Egberto and Brazilian percussionist Naná Vasconcelos (his sole accompanist here) were able to devise an extremely original version, which opens with an unassuming stylized samba introduction, slowly bringing elements which conduce the listener to the piece's identification. Egberto is very fond of percussive attacks and ethereal configurations, both acquiring superior importance in his music, not being necessarily attached to or supportive for a musical theme or melody. Therefore, the next defined melody presented (in the low strings of his 10 string violão) is at track six, 'Bianca,' which is a complex yet lyrical construction based in which seems a folkloric rhythm motif. Follows 'Dom Quixote,' another beautiful, lyrical, courageously simple theme delivered at the piano, with Naná's emulating of an African chant and his triangle playing in the forró tradition."
1. Level One 3:21
2. The Other Side 4:35
3. Diedra 3:56
4. Some Greasy Stuff 3:30
5. NYCTOPHOBIA 4:03
6. Suite 5:32
7. Eyes Of Love 2:35
8. Struttin`With Sunshine 3:20
9. That`s The Joint 4:03
Michael Lawrence - flugelhorn, trumpet
Larry Coryell - guitar
Mike Mandel - keyboards
John Lee - bass
Alphonse Mouzon - drums, percussion
"This was the follow-up to the legendary Introducing the Eleventh House recording. While it never achieved the classic status of its predecessor, it is an excellent follow-up that captures the band at their creative and technical peak. From the whimsical 'Diedra' to the intense 'Nyctophobia,' Coryell leads his group with an understated refrain. He has always been at his best when acting as an equal within a group's space rather than as the centerpiece. His one indulgence here is the pretty, acoustic guitar solo 'Eyes of Love.' Of particular interest on this recording is the ferocious drumming of Alponse Mouzon, who displays a style of speed and power that rivals that of Billy Cobham. This is a forgotten gem from the fusion era."