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    Oscar Benton ‎- I Am Back (2018) FLAC (tracks)
    Artist: Oscar Benton | Album: I Am Back | Released: 2018 | Label: Munich Records | Genre: RnB | Country: Netherlands | Duration: 00:40:32

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    [Label: Growing Bin Records | Cat#: GBR013]

    1. Der Mitte Der World (11:57)
    2. Lockerina (5:55)
    3. Expedition (12:02)
    4. Auflösung (5:05)
    5. Welcome Zum Paradies (10:56)
    6. Kleiner Trommelbaum (1:15)
    7. Traum 4 (6:51)
    8. Kurzgedichte (1:12)
    9. Ahu (5:53)
    10. Aus Versehen Angetörnt (1:06)
    11. Weltraumsandalen (6:33)
    12. Ein Afrikadelle Danke (3:25)

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    Eraldo BernocchI & Chihei Hatakeyama
    Solitary Universe
    (Aagoo, 2018)
    more details

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    P!nk - The Album Collection [5CD Limited Edition Box Set] (2010)

    Artist: P!nk
    Title Of Album: The Album Collection
    Year Of Release: 2010
    Label (Catalog#): Arista/Sony Music [88697817672]
    Country: United States
    Genre: Pop, Rock, Acid Rock, R&B
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 4:50:02
    Full Size: 2.04 gb
    Upload: Turbobit / DipFile

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    Bobby Barth - Two Hearts-One Beat (1986) [Reissue  2009]

    ???????????: Bobby Barth (vocalist from Axe)
    ??????: Two Hearts-One Beat
    ????: Melodic Hard Rock / AOR
    ??? ??????: 1989 / 2009
    ??????: APE (image+.cue, covers)
    ????????: Lossless
    ??????: 272 Mb

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    The Who - Thirty Years of Maximum R&B [4CD Remastered Box Set] (1994)

    Artist: The Who
    Title Of Album: Thirty Years of Maximum R&B
    Year Of Release: 1994
    Label (Catalog#): MCA Records [MCAD4-11020]
    Country: England
    Genre: Rock, Hard Rock, Classic Rock, Rock & Roll
    Quality: FLAC (tracks +.cue,log,scans)
    Bitrate: Lossless
    Time: 5:02:54
    Full Size: 2.46 gb
    Upload: Turbobit / DepFile

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    2s9dsb6.jpg320 kbps | 424 MB | LINKS

    3CD SET PROVIDING AN EXCELLENT SHOWCASE OF THE BYRDS LIVE WORK DURING THE LATE 60s/EARLY 70s Featuring three full length FM Radio Broadcasts of performances by different incarnations of The Byrds, in 1968, 1973 and 1978 (albeit by then billed as McGuinn, Clark and Hillman) this boxed set provides an excellent showcase of this ever-changing groups live work during the decade that immediately followed their pop career in the earlier part of the 1960s. The first show featured, from the Avalon Ballroom in San Francisco in November 1968, was performed at a time of great change and uncertainty. Gram Parsons, who had joined a faltering line up in early 68, had departed prior to a disastrous tour of South Africa for which McGuinn notably had received much criticism. By September 1971, when the performance on the second disc of this set was transmitted, the only further change in line-up had been the replacement of John York – who had been asked to leave in September 1969 – with session bassist Skip Battin. Requiem for the Timeless, is the often overlooked McGuinn, Hillman & Clark project of 1978/79. The album they recorded together was lacklustre and featured an irritating disco-ish backing, but the live shows were magnificent. And at one-such hosted by The Boarding House venue in San Francisco on February 9th 1978, those present were treated to four original members for the price of three when David Crosby showed up. Disc Three of this package features this legendary show in its entirety.

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    zq320 kbps | 118 MB | LINKS

    The album consists of fourteen songs – eleven of Amy’s originals; two covers and a musical interpretation of a classic poem. She sings lead vocals and plays acoustic guitar and bass; and she is ably assisted by a handful of other very good musicians / vocalists where necessary. Its a fine collection. It is unmistakably ‘Amy’ in its overall sound and style; yet it remains fresh and interesting too. She is a lady with something to say – both lyrically and musically. And she has the skills to weave her creative thoughts into a tapestry of sound, using her voice and guitar.On all of Amy’s songs the lyrics; vocal harmony arrangements; and musicianship are very impressive indeed.

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    Select Mix Essentials Vol. 142 (2018)

    Artist: Various Performers
    Title: Select Mix Essentials Vol. 142
    Label: Remix Holdings, Select Mix
    Style: Electropop, Funk, Neo Soul, Reggaeton, Latin, Tropical, Future Bass, Trap
    Release Date: 15-02-2018
    Format: CD, Promo, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Codec: MP3
    Tracks: 12 Tracks
    Time: 00:52:12 Min
    Size: 133 MB

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    Marcos Valle - Previsao Do Tempo (1973) [Remastered 2011]

    Artist: Marcos Valle
    Title Of Album: Previsao Do Tempo
    Year Of Release: 1973/2011
    Label (Catalog#): EMI [026468 2]
    Country: Brazil
    Genre: Bossa Nova, Latin, Soul/Funk, MPB, Pop
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 36:08
    Full Size: 280 mb
    Upload: Turbobit / HitFile / DipFile

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  • 02/22/18--02:09: Real Life - Lifetime (1990)
  • Real Life - Lifetime (1990)

    Artist: Real Life
    Title Of Album: Lifetime
    Year Of Release: 1990
    Label (Catalog#): Curb Records [D2-77271]
    Country: Australia
    Genre: Synth-pop, New Wave
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 53:21
    Full Size: 417 mb
    Upload: Turbobit / HitFile / DipFile

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    30c5dom.jpgFLAC | 2,1 GB | LINKS

    2005 Brandi Carlile
    2007 The Story
    2008 Live at Easy Street Records
    2009 Give Up The Ghost
    2011 Live At Benaroya Hall With The Seattle Symphony
    2012 Bear Creek
    2015 The Firewatcher’s Daughter
    2018 By the Way, I Forgive You

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    51M-Dg5DnKL.jpg320 kbps | 380 MB | LINKS

    THREE CD SET FEATURING CLASSIC BROADCASTS RECORDED BETWEEN 1966 & 1995. This three CD boxed set features a number of live recordings of Joni from concerts and sessions recorded for FM Broadcast in the 1960s, 70s, 80s and 90s. Starting with a number of live cuts from shows she performed in the mid to late 1960s, her full set from the Newport Folk Festival in 1968, and a couple more cuts recorded in the early 1970s, Disc One provides an excellent introduction to the girl s live material from that early era. Moving on to Disc Two we are now in the early 1980s. This, of course, does not infer that Joni s 1970s work should be glossed over, and indeed anyone who knows anything about the lady would be aware this was her golden decade. However, there is a notable shortage of good quality recordings of previously unreleased live performances in existence from this era. So, back to 1983 and we find Joni in concert in the Netherlands performing an excellent set of songs, new and old, six or so months after the release of her first album of the decade, the often under-appreciated but nevertheless superb, Wild Things Run Fast. Disc Three concludes the set and jumps forward another decade, bizarrely catching Joni playing at the Gene Autry Museum in LA. Performing a marvellous set, albeit one replete with any number of cowboy jokes and stories between numbers, this 95 gig proves that Mitchell had lost none of the old magic, even after a full 30 years in the game!

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    [Tracks recorded, mixed, and mastered by Dijf Sanders]

    Sound: Celempungan

    When I came to Bandung in 2012, the bamboo revolution was just beginning. This bustling city in the volcano-studded highlands of West Java is a place where local Sundanese culture negotiates with global trends, a city where you can attend traditional ram fights and indie rock festivals on the same day and sometimes even on the same block. 

    Just a few years before I showed up in town as a fresh-faced English teacher, a movement had begun to brew, a Sundanese roots revival erupting from the underground metal scene of all places. A gang of metalheads from Ujungberung in East Bandung had got in touch with their Sundanese roots, exploring their ethnic identity by combining bamboo instruments, both traditional and modern, with a heavy metal aesthetic. The band was called Karinding Attack, and they called their music “happy bamboo, not heavy metal!” 

    The band were disciples of Abah Olot, a musician and instrument maker from Cimanggung, a village in Sumedang not far from the urban sprawl that Karinding Attack called home. Coming from a family of musicians, Abah Olot began consciously developing a Sundanese music workshop and studio in the early 2000s, rooting his work in the karinding mouth harp he had made and played as a boy. While the karinding was traditionally a solo instrument, Abah Olot began crafting a modern bamboo ensemble to flesh out its sound. After Karinding Attack combined this ensemble with the counterculture cool of the underground heavy metal scene, the popularity of these instruments exploded, with dozens of young bands popping up to explore this new Sundanese bamboo metal aesthetic. Sundanese music, and specifically bamboo music, was suddenly cool again for a whole new generation.

    This was only the latest chapter in a long history of bamboo musical ingenuity. Bamboo has been used for ages as a musical material, and for good reason: it grows fast, is remarkably strong, and its cylindrical shape and noded structure naturally lends itself to the making of instruments like flutes and xylophones. While bamboo instruments are still fairly common across the archipelago, nobody seems to have embraced the material quite like the Sundanese of West Java. Before the bronze metallophones of gamelan made their way to Java centuries ago, it’s likely that people in this part of the world were already jamming away on bamboo. While the refined music of the Sundanese aristocracy came to mostly favor other materials (think of the wooden kecapi, and the tinkling bronze of the gamelan degung), the folk music of the area, especially that played informally, was largely rooted in bamboo instruments from calung and angklung to celempung. The Dutch-era ethnomusicologist Jaap Kunst recorded a number of bamboo ensembles in Java, including a now-extinct variety in Central Java which is remarkably similar to the style now called celempungan.

    Photo from Kunst's Music in Java (as credited, Jhr. Mr. W. W. Feith)

    Photo from Kunst's Music in Java (as credited, Jhr. Mr. W. W. Feith)

    In Abah Olot’s hands, the celempung became the rhythmic heart of this “bamboo revolution.” The instrument is what organologists call an “idiochord,” a technical way of pointing towards the way the instrument’s string is made from the same material as its body. I’ve explained it a few times already in my other posts on idiochords or tube zithers (see Sumba’s gogah, West Sumatra’s talempong botuang, the Javanese gumbengand the very first Aural Archipelago post on celempung), but it doesn’t hurt to go over it again: with the celempung, a long, fat cylinder of bamboo (with nodes closing off either end) has strings carved from the outer “skin” of the bamboo and raised/tightened with bamboo bridges. Some celempung have three strings, with one bass string given weight and volume with a little bamboo tab attached to the string (not unlike the bundengan’s bandulan stops!) Others have two strings bridged by a piece of bamboo, with a hole drilled in the cylinder below this piece. When this floating bamboo bridge is struck, the bamboo strings resonate together, their gong-like vibrations resonating through the whole instrument via that little hole. 

    As far as I know, Abah Olot was the first to take the latter variety of celempung and line them up in a row, supported by a frame. He called it the celempung renteng, Sundanese for “row” celempung. At first glance, the celempung renteng looks like an elaborate xylophone, but Abah Olot’s intentions for it was melodic. The original celempung’s purpose, after all, was rhythmic, with the strings mimicing the the sounds of the time-splitting gongs, with the instrument’s end played by hand like a drum. The genius of the celempung renteng was to make a variety of celempung that was devoted entirely to imitating the Sundanese drum or kendang. The kendang is famously melodic, with a wide range of sounds emanating from two or three double-headed barrel drums (melodic effects are achieved by manipulating one drum head with the heel of the player’s foot!). To imitate these famous drum patterns, a celempung renteng player uses soft mallets to hit the ascending tones of the lined up celempung zithers, their bassy sound occupying the same sonic space as a traditional drum. To imitate the drier, high-pitched sound of the kendang’s smaller drumheads (kemprang and ketipung), two slitted bamboo cylinders (slit drums) called kentongan are sometimes added to one side of the instrument. 


    Abah Olot’s celempung creations seemed to be an explosive success: they were everywhere when I showed up in Bandung six years ago. Not only were the instruments cheap substitutions for more expensive drums and gongs, but they had a rustic, organic charm which must have been attractive to a generation of urban Sundanese, folks feeling suffocated by the complications of life in a city dominated by gridlock and global culture. Soon, though, this celempung-rooted style (now sometimes called celempungan, a name once reserved for ensembles featuring the kacapi zither) was finding life in rural regions outside the city, places where the old-school celempung had not yet faded from memory. Some groups, such as those that proliferated in places like Sumedang and Garut, centered their sound on the droney karinding mouth harp which Karinding Attack had ridden to fame, while others let melodic instruments and vocals dominate the new ensemble sound. 

    One such group was Celempungan Gentra Wiwitan, an ensemble from Banceuy, a traditional village in the heart of the Ciater tea-growing region of Subang, just north of Bandung. The area around Banceuy is firmly rural, with the road into the village passing through tea plantations, rice fields, and mountainous pine forests before crumbling just at the village’s outskirts. The urban bamboo revolution, though, had made its way there through Lembang, a neighboring highland resort town with close ties to Bandung. Within a few years of these bamboo bands becoming popular, the amateur musicians of Banceuy were having a go at this trendy new art form themselves. 


    Banceuy may seem like an odd place for a modern format like celempungan to take hold: the village bills itself as a kampung adat (roughly, “traditional village"), with adat referring to the traditional Sundanese customs which many locals still maintain. Things are in many ways intentionally old-school here: annual rituals like the village cleansing ruwatan bumi and others feature unplugged gembyungan music are still dutifully performed, traditions long since lost in other nearby villages. On the other hand, the village seems open to musical innovation, as long as it has an organic, Sundanese sensibility. The band even combines celempungan with toleat, a single-reed wind instrument first created in a neighboring area of Subang just a few decades back (the toleat, long a favorite of mine, will star in its own post soon.) 

    The full line-up of Celempungan Gentra Wiwitan is a fine example of a beautifully fleshed out bamboo music group. In addition to virtuosic celempung renteng rhythms, the group adds a handful of single-string celempung to sub in for the gong parts so intrinsic to almost all Sundanese music. Meanwhile, the metronomic crash of kecrek, traditionally played with metal cymbals but now often played on motorcycle disk brakes (as in nearby tanji and bangpret bands) here finds a bamboo form, with a broom-like collection of bamboo slivers tied into a wooden frame and hit with bamboo sticks. Karinding is an optional addition to the gang, its droney buzz emphasizing the imagined gong parts. Finally, perhaps the most unique addition to Banceuy-style celempungan is what toleat master Pak Amar brings to the table. Pak Amar leads the group not only with toleat, but with a homemade klarinet Sunda or Sundanese clarinet, an addition inspired by the tanji marching band tradition I’ve written about before. The clarinet, and Pak Amar’s clarinet-inspired toleat playing, lends the group’s music an unexpected jazzy quality, with the smooth reedy sounds blending beautifully with the syncopated polyrhythms of the assorted celempung.

    The repertoire, as can be expected in a neo-traditional group like this, is fairly loose: Sundanese pop songs sit comfortably alongside jaipongan style pieces, with all pieces featuring the characteristic, mostly pentatonic Sundanese scales (salendro, pelog, and sorog) and those characteristically busy kendang-aping rhythms. When the band plays at village events like circumcision parties and village cleansing rituals, they’re ready to take requests, though in contrast to other bamboo groups I’ve seen, they tend to shy away from dangdut, that national pop style which is so beloved in villages across the nation. It seems an intentional move, with “keep things Sundanese” the unspoken rule. What it takes for something to be Sundanese, and what Sundanese music sounds like, is up to interpretation: the “bamboo revolution” shows a remarkable fluidity in the Sundanese musical world. This fluidity is what makes Sundanese music so exciting, with idiosyncrasies abound across West Java. Even in this musically diverse province, though, Banceuy’s celempungan group stands out, a potent symbol of the ingenuity and organic charm of Sundanese musical creation.


    Banceuy is a village in love with sound. When I first stumbled into the village four years ago, my eyes caught on giant bamboo windmills buzzing high above the rice paddies. These huge propellers, I learned, were called kolecer, and they had no purpose but to make sound, an ambient whir that erupts into thundrous crashes in high winds. People have contests to see who can make the tallest, or the loudest. It’s all beautifully pointless, nothing but a pure delight in creation and sound. 

    Heading to a far-off village in search of music found in a YouTube video is like second nature to me now, but Banceuy was my first experiment in this mode of social media-aided research. I’d seen a video of Celempungan Gentra Wiwitan and had been entranced by their effortless tightness and the casual vibes of their set-up, playing in someone’s living room. I soon found myself wandering into Banceuy on motorbike with Bandung friends Reggie and Tom, asking around about celempungan. I was lucky to ask the right guy: Zezen, a tubby karinding player with a helpful spirit and a solid dose of local pride. Zen led me to Odang, a local leader with prematurely graying hair and a shy smile. Kang Odang, as I came to call him, was happy to see us: he’d been putting a lot of effort recently into promoting Banceuy as a kampung adat or traditional village, a mecca for lovers of Sundanese culture. With Odang as my hook-up, I spent many years going to Banceuy, both for rituals and to record and research the celempungan and toleat music there.

    Banceuy's kolecer windmills line the rice paddies

    Banceuy's kolecer windmills line the rice paddies

    Finally, in 2017, I was tasked with leading Belgian producer Dijf Sanders around Java for a Europalia-funded artist’s residency. Dijf is open to all sounds, I soon learned, but he loves the bamboo music I’ve shared on Aural Archipelago. I hadn’t yet shared celempungan or toleat on the site, so I took it as an excellent excuse to make my way back to the village and connect Dijf with the musical world of Banceuy. 

    It was quite a day: I threw Dijf on the back of my humble scooter and we drove into the hills above Bandung, skirting the volcano and rice paddies of Ciater and weaving our way into Cibeusi (the village where I first discovered bangpret.) The idea was to hike into the forest to the Cibareubeuy waterfall, domain of the celempung-playing palm sugar harvester, Pak Rosid. Nothing turned out quite as planned: we hiked through pouring rain only to find that Pak Rosid was actually back in the village where we started, but it was a beautiful chance to show Dijf a side of rural West Java that few outsiders get to experience. We eventually found Pak Rosid, with Dijf making some fresh recordings of the man’s celempung stylings. By the time we were finished, it was already dark, and we were still wet and covered in mud from our hike. We would have just headed home, but I insisted: you’ve got to meet Odang and the gang. 

    It was a relatively short ride down crumbling country roads, frogs barking in the dark as we tried not to get lost at each dim crossroads. When we pulled up to Banceuy’s single street, Kang Odang was waiting outside his house with a smile. The assortment of celempung was already sitting on a bamboo veranda just to the side of his front door, so we wasted no time in settling in on the woven bamboo floor, warming our bodies with hot tea as I introduced Dijf to the band. It was a hilariously tight fit on that little bamboo veranda, five musicians plus two oversized foreigners, but it made for an intimate atmosphere, with Dijf swapping curious questions with the band as I translated. Dijf soon whipped out his recording gear, a set-up far fancier than my own: a fancy ZOOM F-series field recorder with some nice external stereo mics plugged in. With the aim of collecting material for his Java album, Dijf recorded not only full songs, but the sounds of individual instruments, from the celempung renteng to Pak Amar’s clarinet and toleat. The sounds didn’t make it onto the album except for an unedited bonus track featuring the band, so this post is a little way of making up for that. The audio tracks are Dijf’s beautifully produced recordings, and even the video’s sound has been synched with Dijf’s recordings. 

    Dijf told me after our whole Java trip was over that that night may have been is favorite of his whole time on the island. Maybe it was the intimacy of that space, shoved into that bamboo veranda, mugs of hot tea at our feet; maybe it was the beautiful openness of these people, people who knew nothing of Dijf or his motives but welcomed him into their musical world for a while, an experience that I too had already shared countless times in my trips to Banceuy over the years. Or maybe it was that shared love of sound, creative spirits bonding even without a common language.

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    JOACHIM KÜHN NEW TRIO: Love & Peace [9861-2 ACT, 2018]
    Ο Joachim Kühn δεν είναι ένας όποιος κι όποιος τζαζ πιανίστας. Είναι μια σημαίνουσα μορφή της ευρωπαϊκής (γερμανικής) τζαζ ήδη από τα χρόνια του ’60, όταν μαζί με τον κλαρινίστα αδελφό του Rolf Kühn αρχίζουν να περιδιαβαίνουν (μέσα από διάφορους σχηματισμούς) τις εκτάσεις της free jazz (και μιας τομής της με το rock), φτιάχνοντας καταπληκτικούς και σήμερα ιστορικούς, πια, δίσκους. Φυσικά, η καριέρα του Joachim Kühn υπήρξε τεράστια, και οπωσδήποτε πολυδιάστατη, πράγμα που σημαίνει πως πολύ δύσκολα μπορείς να βρεις έναν γενικό, αισθητικό χαρακτηρισμό, που να την διαπερνά απ’ άκρη σ’ άκρη. Κεφάλαια μόνον, που, παραταγμένα το ένα μετά το άλλο, μπορούν να οδηγήσουν τον ακροατή σε μιαν αρχή. Όπως «κεφάλαιο», ένα νέο τέλος πάντων «κεφάλαιο», είναι και το… Joachim Kühn New Trio που τώρα κάνει το δεύτερο μόλις βήμα του. Ας υπενθυμίσουμε, λοιπόν, πως είχε προηγηθεί το “Beauty & Truth” το 2016, ενώ τώρα έχουμε τη συνέχειά του με το “Love& Peace”.
    Πάντα σε συνεργασία με τους Chris Jennings μπάσο και Eric Schaefer ντραμς, που έχουν τα μισά χρόνια του (να το πούμε αυτό), ο Joachim Kühn δεν φέρνει μόνο παλαιότερες συνθέσεις ξανά στην επικαιρότητα –όπως την “Night plans” του Ornette Coleman, από τη συνεργασία του με τον θρύλο Αμερικανό στο “Colors: Live from Leipzig” [Harmolodic, 1997], το “The crystal ship” των Doors ή το “Le vieux chateau” του Μουσόργκσκι (από το περίφημο «Εικόνες από μια Έκθεση»)–, αλλά βασικά εκείνο που φέρνει είναι μιαν επιμονή στην καλή μελωδία… απ’ όπου κι αν προέρχεται. Γράφοντας, συμμετέχοντας και εναρμονίζοντας παλαιότερες δικές του ή και όχι μελωδίες (όπως είδαμε), ο Kühn κάνει ένα άλμπουμ που οπωσδήποτε εμπεριέχει το “love” (άρα και την… ηχητική ομορφιά) και ενδεχομένως και το “peace”… αν υποτεθεί πως το πρώτο αποτελεί προϋπόθεση για το δεύτερο.
    SCOTT DUBOIS: Autumn Wind [9856-2 ACT, 2017]
    Κιθαρίστας είναι ο Scott Dubois, περίεργος κιθαρίστας όμως και όχι από τους πιο… τζαζ συνηθισμένους. Κάτι που μπορείς να το διαπιστώσεις και από τις προηγούμενες δουλειές του φυσικά, αλλά ακόμη περισσότερο από τούτην εδώ, το “Autumn Wind”, που σαν άλμπουμ δεν είναι και από τα πλέον… σύννομα  στον κατάλογο της ACT. Ποιο είναι εκείνο που κάνει τη διαφορά στο παρόν 2LP/CD; Μα οι συνθέσεις του Dubois, που είναι όλες δικές του, μυστήριες, ιδιαίτερες και πάντως άκρως ενδιαφέρουσες.
    Ο Dubois είναι επηρεασμένος από τη μουσική του 20ου αιώνα. Και μάλιστα από πολλά και διαφορετικά παρακλάδια της. Ο ίδιος μιλάει για δωδεκαφθογγισμό, αλεατορισμό, μινιμαλισμό κ.λπ., δίχως βεβαίως να ξεχνά την μοντέρνα τζαζ σύνθεση και τον δημιουργικό αυτοσχεδιασμό. Αναφορές σε όλες αυτές τις τεχνικές-αισθητικές και τα μουσικά κινήματα διακρίνονται βεβαίως στις συνθέσεις του, που παρότι είναι ιδιόμορφες δεν χάνουν ποτέ την αίσθηση τού μέτρου. Κάτι που φαίνεται ακόμη και από τις καταγραμμένες διάρκειες, οι οποίες σε ελάχιστες περιπτώσεις ξεπερνούν τα επτά ή τα οκτώ λεπτά, καθώς τα περισσότερα από τα δεκατρία tracks διαρκούν τρία, τέσσερα ή πέντε. Οι κιθαρισμοί έχουν βεβαίως τον πρώτο ρόλο εδώ, αλλά και τα υπόλοιπα μέλη του βασικού κουαρτέτου και ιδίως ο τενορίστας-μπασοκλαρινετίστας Gebhard Ulmann(οι Thomas Morgan και Kresten Osgoodείναι στο μπάσο-ντραμς) έχουν πολύ σημαντικό μερίδιο στα δρώμενα. Δίπλα, τώρα, σ’ αυτή τη βασική τετράδα προστίθεται ένα κουαρτέτο εγχόρδων (δύο βιολιά, βιόλα τσέλο) και ακόμη μια τετράδα φιλοξενουμένων μουσικών (σε φλάουτο, όμποε, κλαρινέτο και μπασούν).
    Το άκουσμα είναι σε κάθε περίπτωση… άνετο. Παρότι το “Autumn Wind” διαρκεί περί τα 70 λεπτά, πουθενά δεν παρατηρείται «κοιλιά». Οι συνθέσεις είναι πάντα διαυγείς, επεξεργασμένες, με τρομερή δουλειά τόσο στο πρώτο επίπεδο, όσο και στο background. (Άκου π.χ. το “Early November bird formations” με την εισαγωγή των εγχόρδων, τα δυναμικά breaks της κιθάρας, που συν τω χρόνω υποχωρεί σ’ ένα πίσω πλάνο, αφήνοντας μπροστά το τενόρο του Ullmann, που ακούγεται σ’ ένα εκστατικό δημιουργικό σόλο).
    Πολύ καλό τζαζ άλμπουμ, που, αφού κινείται (και) πέραν της jazz, δείχνει χαρακτήρα.
    DIEGO PINERA: Despertando[9854-2 ACT, 2018]
    Ο ουρουγουανός ντράμερ και περκασιονίστας (ζει στη Γερμανία) Diego Pinera δεν είναι καινούριο όνομα στο χώρο της latin-jazz, ούτε ηχογραφεί τώρα για πρώτη φορά. Είναι όμως η πρώτη φορά κατά την οποίαν ένα δικό του άλμπουμ τυπώνεται από μιαν εταιρεία του διαμετρήματος της ACT – κάτι, που μπορεί να σημαίνει πολλά για τον καλό μουσικό. Πόσω μάλλον, όταν η εμφάνισή του στη γερμανική ετικέτα γίνεται μέσω του “Despertando”, ενός πολύ ευχάριστου, σχεδόν… λαϊκού, latin-jazz άλμπουμ, που στοχεύει οπωσδήποτε στην απόλαυση και βεβαίως στα πλατύτερα των ακροατηρίων.
    Ο Pinera συνοδεύεται εδώ από τους Tino Derado πιάνο, ακορντεόν, Omar Rodriguez Calvoμπάσο, Daniel Manrique-Smith φλάουτα, Julian Wasserfuhr τρομπέτα, φλούγκελχορν και όλοι μαζί, είτε στις αναπαραγωγές είτε στα πρωτότυπα, δείχνουν και πόσο μουσικάρες είναι και πόσο έχουν εντρυφήσει στην ιστορία τού στυλ (μέσα από τις versions σε συνθέσεις των Ellington/ Tizol, Sonny Rollins, Gato Barbieri, Ernesto Lecuona, Emiliano Salvador…). Το άκουσμα –το είπαμε– είναι απολαυστικό. Το κουιντέτο του Diego Pinera είναι πάντα «εκεί» όχι μόνο με το να αναπλάθει την ιστορία, αλλά και με τα δικά του tracks, όπως το εισαγωγικό “Osvaldo por Nueve” ή το έσχατο “Once pasos”, συνθέσεις που σε κερδίζουν με την απλότητα της αφήγησής τους και με τις διακεκαυμένες διασταυρώσεις των παιξιμάτων. Τέλειοι!
    ANDREAS SCHAERER: A Novel of Anomaly [9853-2 ACT, 2018]
    Για τον φοβερό ελβετό τραγουδιστή και βοκαλίστα έχουμε γράψει τουλάχιστον τρεις φορές στο δισκορυχείον. Την τελευταία, μάλιστα, τον Απρίλη του 2017, όταν αναφερθήκαμε στο άλμπουμ του “The Big Wig” (επίσης στην ACT). Τώρα, λιγότερο από ένα χρόνο μετά, ο Schaererέχει ένα ακόμη έξοχο CD στην ACT– ένα από τα ωραιότερα με τραγούδι, που έχω ακούσει τον τελευταίο καιρό. Είναι απίστευτος ο Schaerer, είναι μοναδικός ο τρόπος που ενδύεται διάφορες φωνητικές / τραγουδιστικές περσόνες, και μάλιστα σε διαφορετικές γλώσσες, δημιουργώντας μοναδικά «τοπία». Βεβαίως και οι μουσικοί που τον συνοδεύουν (κάποιοι συνθέτουν κιόλας), δηλαδή οι Luciano Biondini ακορντεόν, Kalle Kalima κιθάρα και Lucas Niggli ντραμς (όλοι τους άσσοι και με γερό παρελθόν) δεν μένουν πίσω, αλλά ο Schaerer όπως και να το κάνουμε είναι εκείνος που πρωταγωνιστεί στο “A Novel of Anomaly”. Τραγούδια λοιπόν, που υπογραμμίζουν τις διαφορετικές καταγωγές των μελών του γκρουπ (Ιταλία, Φινλανδία… με τον Schaerer να τραγουδά ακόμη και σε μια διάλεκτο τού γερμανικού κομματιού, του καντονίου στο οποίο μεγάλωσε!) και που έχουν τον τρόπο να σε παρασύρουν άλλοτε με τον συγκρατημένο λυρισμό τους, και άλλοτε με την πηγαία εξωστρέφειά τους.
    Ένα άλμπουμ, που λειτουργεί ως ύμνος για τη φωνή, είναι το “A Novel of Anomaly”, με μουσικές αναφορές πέραν των ορίων, που μπορεί να συμβολίζουν τα υπόλοιπα τρία όργανα. Αριστούργημα το “Stagione” και εκπληκτικά τα “Planet Zumo”, “Fioresalino”, “Getalateria” (άπιαστη ροκιά), “Signor Giudice” και “Flood”, δίχως να υπολείπεται κανένα από τα υπόλοιπα tracks.
    IIRO RANTALA & ULF WAKENIUS: Good Stuff [9851-2 ACT, 2017]
    Δύο μουσικοί, ο Φινλανδός Iiro Rantala και ο Σουηδός Ulf Wakenius, και δύο όργανα, το πιάνο και η ακουστική κιθάρα, εδώ, σε δρόμους… ας τους πούμε παράλληλους. Περί τίνος πρόκειται; Μα το είπαμε… Συνθέσεις, πρωτότυπες και διασκευασμένες, για αυτά τα δύο τόσο διαφορετικά όργανα, που άλλοτε συμπλέουν και άλλοτε εναλλάσσουν ρόλους, ρυθμικούς και μελωδικούς, επιχειρώντας να συνομιλήσουν δίχως χάσματα τονικά, ακουστικά κ.λπ. Δύσκολο εγχείρημα, με τα ζόρια να εντοπίζονται στη δυναμική των δύο οργάνων (ένταση), στα ανόμοια ηχοχρώματά τους, στη μικρή διάρκεια του ήχου της κιθάρας (σε σχέση με το πιάνο) κ.λπ., αλλά επειδή ο Rantala και ο Wakenius είναι μεγάλοι μουσικοί (κι επειδή στην παραγωγή είναι ο ίδιος ο Siggi Loch) οι σκόπελοι αποφεύγονται με τρόπο.
    Το ρεπερτόριο φυσικά είναι κλασικό. Και κλασικό-κλασικό (Bizet, Puccini) και jazz (Coltrane) και pop (Louis Armstrong, Stevie Wonder), συν τις συνθέσεις των Wakenius και Rantala, που δημιουργούν τις κατάλληλες γέφυρες ώστε οι δύο μουσικοί να περνούν από το ένα στο άλλο δίχως πρόβλημα.
    Υπάρχει, τέλος, και μια γεωγραφική διάσταση στο project, καθώς οι πρωτότυπες συνθέσεις τιτλοφορούνται με ονομασίες τού τύπου… “Vienna”, “Helsinki”, “Palma”, “Seoul”, “Berlin” και “Rome”, υποδηλώνοντας κατά μίαν έννοια και την ηχητική διάστασή τους.
    Ενδιαφέρουσα προσπάθεια, οπωσδήποτε, ολοκληρωμένη από δύο παικταράδες, που δεν χρειάζονται συστάσεις.
    STEFANO BOLLANI TRIO: Mediterraneo [9849-2 ACT, 2017]
    Πρέπει να ήταν 2008, στο Θέατρο Βράχων, όταν είχα δει liveτον ιταλό πιανίστα Stefano Bollani. Τώρα να πω πως εκείνη η παράσταση ήταν εκπληκτική –μία από τις 3-4 ωραιότερες τζαζ, που έχει τύχει ποτέ να παρακολουθήσω– θα πω κάτι κοινότοπο, όπως κοινότοπα θ’ ακουστούν όσα υπερθετικά και να παραθέσεις για τον Bollani. Μεγάλος μουσικός, με πάντα φρέσκιες ιδέες, που, ευτυχώς, συχνά γίνονται και δίσκοι – αυτό να πούμε. Όπως το παρόν “Mediterraneo” για παράδειγμα, που αποτελεί κατά βάση την ηχογράφηση του 17ου κονσέρτου Jazz at Berlin Philharmonic και που φέρνει σ’ επαφή το τρίο του Bollani(ο ίδιος στο πιάνο φυσικά, ο Jesper Bodilsenμπάσο, ο Morten Lund ντραμς), με τον ακορντεονίστα Vincent Peirani και βεβαίως με τα έγχορδα και με τα πνευστά της ορχήστρας (την οποία διευθύνει ο Geir Lysne).
    Το κόνσεπτ εδώ έχει να κάνει με την ιταλική μουσική. Με μεγάλα κεφάλαια της ιταλικής μουσικής, τα οποία ο Bollani μαεστρικά ενώνει, πλάθοντας μιαν απολαυστική ηχητική ιστορία για όλους. Συνθέσεις των Monteverdi, Rota (“Amarcord”), Morricone (“Chi Mai”, «Ο Καλός, ο Κακός και ο Άσχημος»…), Puccini, Rossini καθώς και το απίθανο “Azzuro” του Paolo Conte, που έγινε πασίγνωστο από τον Adriano Celentano, εναλλάσσονται στο σετ τού Bollani και βεβαίως στο CD, δημιουργώντας ανεπανάληπτα ευφρόσυνα ρίγη.
    Ας σημειώσουμε, λοιπόν, πως εδώ δεν έχουμε να κάνουμε με απλές… νοσταλγικές διασκευές, ούτε με κάποιαν ανούσια συρραφή προορισμένη για φτηνή κατανάλωση. Απεναντίας, πρόκειται για ένα, και κατ’ αρχάς, υπεράνω κριτικής σετ, το οποίο (ξανα)απογειώνει ο Bollani, με τις ευφάνταστες διασκευές του, από τις οποίες δεν απουσιάζουν ούτε το χτίσιμο νέων μελωδιών, ούτε το χιούμορ, ούτε ο αυτοσχεδιασμός, ούτε η πρωτοπορία, ούτε η λαϊκότητα. Όπως πρέπει να συμβαίνει, και συμβαίνει, με τις παραστάσεις των πραγματικά μεγάλων καλλιτεχνών. 

    Η ACT Music + Vision εισάγεται από την AN Music

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    Ik koester deze plaatjes al vele jaren. Als verzamelaar van
    Afghaanse hasjpijpen en allerhande kunst- en gebruiksvoor-
    werpen uit dit intrigerende land kwamen ze reeds eind jaren
    zeventig bij mij terecht. Toen ik Gerrit’s elpee bij Lola van de
    week zag, dacht ik, tijd om hier een post mee te maken. In de
    post enkele foto’s van door mij verzamelde objecten en in de
    map vindt je er nog meer. Ik kan hier vele pagina’s mee vullen
    maar heb een kleine selectie toegevoegd. In de muziek hoor
    je regelmatig dat er stevig gehoest wordt, zouden ze daar ook
    een pijpje tussendoor gerookt hebben, wie weet..

    I am a long time collector of Afghan hashpipes and artifacts and
    own two albums of folk music since the late seventies. When I saw
    Gerrit’s from Lola’s post with Afghan music this past week, I thought it
    to be a good idea to do a mindliking post. I have added some fotos of
    collected items in the post and some in the file as well. Could make
    many pages with stuff like this but just added a small selection. On
    the record we hear some coughing at certain points, do you think
    they were smoking hookhas in between the
    recordings too, haha, who knows..

    tracks ;

    01 – Pashtu Landay – Dambura and voice
    02 – Pashtu Ghazal – Voice with robab
    03 – Pashtu Ensemble – Harmonium, robab, tabla, zerbaghali
    04 – Babulala – Dambura and voices
    05 – Song from Nangarhar – Robab, tabla, harmonium and voice
    06 – Sorna and Dhol
    07 – Char Bayti – Voice
    08 – Herat Ensemble – Dotar, zerbaghali, tasak and voice
    09 – Olang Olang – Dayra and voice
    10 – Song from Northern Herat – Dotar and voice
    11 – Tula – Instrumental
    12 – Ghichak and Zerbaghali – Instrumental
    13 – Ensemble of Northern Afghanistan – Dambura, voice, tasak and zerbaghali


    check from 10.42

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    CHRIS DE BURGH ?The Ultimate Collection? (DE 2 x CD 2005 A&M Records Ltd. ? 0600753212493)

    Performer: CHRIS DE BURGH
    Album / collection: ?The Ultimate Collection?
    Label / country: ⒸⓅ 2000, 2005 A&M | Universal International Music BV. Made in Germany.
    Source: Rip by KoGGaN? scans by inet...
    Official DR value: 9/9
    Catalog (Barcode): 0600753212493 (6 00753 21249 3)
    Genre / Style: Pop, Soft Rock, Pop Rock, Ballad
    Year (info): 2005 (2 × CD, Re-issue 2009, Re-mastered, Compilation, Best-Of, Limited Edition)
    Format: WV (image + .cue)
    Bitrate: lossless
    Covers: in archive
    Amount of tracks: 38
    Total time: 2:34:53
    Size RAR: ~ 1.17 Gb
    Password / ?????? : 1965
    Recovery 3%

    CHRIS DE BURGH ?The Ultimate Collection? (DE 2 x CD 2005 A&M Records Ltd. ? 0600753212493)

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    61zkkJQ42qL._SS500.jpg320 kbps | 104 MB | LINKS

    Rock Bottom, the new album by Los Angeles guitar legend Michael Landau—best known for his session work with Pink Floyd, Roger Daltrey, James Taylor, Michael Jackson, Joni Mitchell and so many more, is set for a February 23 release via Mascot Label Group. To put it simply, the album sounds like it walked out of Morrison Hotel in 1970, got lost in Laurel Canyon and finally found its way out onto Ventura Boulevard in 2018.

    “I’ve been playing mostly instrumental music for the past 10 years, and out of nowhere I woke up one morning with the strong urge to play some hard-edged music with vocals,” Landau says. “Guess it makes sense because it’s really the music I grew up on. So I reunited with my ole pal David Frazee from the Burning Water days. We wrote a lot of songs together, most of which ended up on Rock Bottom.”

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  • 02/22/18--04:36: Al Di Meola – Opus (2018)
  • 41qvdzHDAjL._SS500.jpg320 kbps | 134 MB | LINKS

    Multi-instrumentalist and composer Al Di Meola has revealed that he’ll release a new studio album in early 2018.

    It’s titled Opus and is set to arrive on February 23 via earMUSIC after Meola recently signed a new deal with the label.

    The Grammy award winning virtuoso says: “With Opus I wanted to further my compositional skills as I think that the evolution of this part of my persona has labelled me more composer/guitarist than guitarist/composer.

    “At the same time, this record also marks a new era in my life. For the first time in my life, I have written music being happy, I’m in a wonderful relationship with my wife, I have a baby girl and a beautiful family that inspires me every day. I believe it shows in the music.”

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    Eek-A-Mouse - Wa-Do-Dem (1981) [Remastered 2001]

    Artist: Eek-A-Mouse
    Title Of Album: Wa-Do-Dem
    Year Of Release: 1981/2001
    Label (Catalog#): Greensleeves Records [GREWCD 31]
    Country: Jamaica
    Genre: Reggae, Dancehall
    Quality: FLAC (tracks,cue,log)
    Bitrate: Lossless
    Time: 44:37
    Full Size: 289 mb
    Upload: Turbobit / HitFile / DipFile

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