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    Για τους EsbjörnSvensson Trio ή απλώς e.s.t. (Esbjörn Svenssonπιάνο, Dan Berglund μπάσο, Magnus Öström ντραμς) έχουν γραφεί πολλά, πάρα πολλά. Έχει τονιστεί στο έπακρο, δηλαδή, η σημαντικότητά τους πάνω σε αυτή τη νέα ταυτοποίηση της ευρωπαϊκής jazz – κάτι που ξεκίνησε να συμβαίνει σταδιακώς μετά τα μέσα του ’90, για να ολοκληρωθεί περίπου μια δεκαετία αργότερα, με τον αδόκητο θάνατο τού Svensson (το 2008, στα 44 χρόνια του).
    Αυτό το συγκρότημα –που είχαμε την ευκαιρία να το δούμε ζωντανό στην καλύτερη στιγμή του, σε μια συναυλία που είχαν διοργανώσει το περιοδικό Jazz & Τζαζ και η A&N Music, την 11η Δεκεμβρίου 2006, στο προσφάτως τότε ανακαινισμένο Παλλάς– είναι σίγουρο πως δεν είχε φθάσει ακόμη στην καλλιτεχνική κορυφή του, κάτι που διαπιστώνεται τέλος πάντων και από τις… μεταθανάτιες εκδόσεις του, που δεν είναι και λίγες… “Leucocyte”, “301”, “E.S.T. Symphony” και τώρα “e.s.t. live in London”. Αυτό το τελευταίο 2LP και 2CD κυκλοφόρησε πριν λίγο καιρό, πάντα από την ACT Music + Vision (ΑΝ Music), ως μνημόσυνο για τα δέκα χρόνια απουσίας τού Svensson, συλλαμβάνοντας τους e.s.t. σε μια δημιουργική καμπή της διαδρομής τους, λίγο μετά την κυκλοφορία του ιστορικού “Viaticum” (2005). Πρόκειται για μια παράσταση στο Λονδίνο, ανέκδοτη έως σήμερα φυσικά, που συνέβη στο Barbican Centre την 20η Μαΐου 2005.
    ajazz%2Best.jpg
    Όπως γίνεται αντιληπτό το τότε εκδοθέν “Viaticum” αποτελεί το κυρίως μενού τού live set – καθώς από το πρώτο CD τα πέντε από τα έξι tracks προέρχονται από ’κει. Λέμε για τα “Tide of trepidation”, “Eighty-eight days in my veins”, “Viaticum”, “In the tail of her eye” και “The unstable table & the infamous fable”, με τηνπλευρά να συμπληρώνει το Mingle in the mincing-machine” από το “Seven Days Of Falling” του 2003. Αυτά τα πέντε tracks στο στούντιο άλμπουμ είχαν διάρκειες 7:12, 8:22, 6:51, 6:55 και 8:32, ενώ στο live οι νέες διάρκειες είναι 9:51, 10:17, 6:56, 7:13 και 12:55 αντιστοίχως. Επίσης το Mingle in the mincing-machine”, που στο “Seven Days Of Falling” διαρκούσε 6:48, εδώ διαρκεί 14:22.
    Παρατηρούμε λοιπόν πως οι διάρκειες του live είναι μεγαλύτερες ή και πολύ μεγαλύτερες (έως και επτάμισι λεπτά!) εκείνων του στούντιο – πράγμα που σημαίνει πως το γκρουπ διαμορφώνει τις συνθέσεις του, στη συναυλία, μ’ έναν τρόπο διαφορετικό, προβάλλοντας και περισσότερα αυτοσχεδιαστικά στοιχεία και εμμένοντας σ’ ένα μεγαλύτερο ξεκαθάρισμα των αναφορών του (τουλάχιστον εκείνων που προσπερνούν την jazz, προσεγγίζοντας το rock, ή το fusion καλύτερα, όπως και των κόσμο των live electronics). Και είναι αυτά τα rock και ηλεκτρονικά στοιχεία (ας τα λέμε έτσι), που δείχνουν στο 14λεπτο “Mingle in the mincing-machine” (στην αρχή και στο τέλος του) και στο “The unstable table & the infamous fable” (επίσης στην αρχή, και μέχρι το έκτο λεπτό, και προς το τέλος πάλι) εκείνη τη μοναδική ικανότητα των e.s.t. να περιγράφουν με ενάργεια και με δύναμη πολύπλοκες και σύνθετες καταστάσεις, που η εμπλοκή των διαφορετικών αναφορών τις κάνει, στο πάλκο, ακόμη συνθετότερες.
    Στο δεύτερο CD τα πράγματα δεν αλλάζουν. Εδώ έχουμε τέσσερα tracks, τρία από το “Strange Place For Snow” του 2002 (“When God created the coffeebreak”, “Behind The Yashmak”, “Spunky Sprawl”) και ένααπό το “Seven Days Of Falling” του2003 (“Believe, beleft, below”). Και εδώ οι διάρκειες είναι φυσικά μεγαλύτερες εκείνων των κανονικών CD (6:33, 10:22, 6:23, 4:51 στο στούντιο και 8:53, 17:32, 10:31, 7:24 στο live) και εδώ το μεγαλύτερο στο χρόνο track, το σχεδόν 18λεπτο “Behind The Yashmak”, είναι εκείνο το jazz-space κομψοτέχνημα, που μετά το ένατο λεπτό του, σταδιακώς, αποκτά εντελώς «χαμένα» και ανεπανάληπτα χαρακτηριστικά (ok o Svensson, αλλά το ρυθμικό τμήμα, και ιδίως ο μπασίστας Berglund, είναι εδώ το κάτι άλλο).
    Βεβαίως η σειρά και η κατανομή των συνθέσεων (με τις σωστές εναλλαγές ανάμεσα στα πιο δυναμικά κομμάτια και τα περισσότερο ήπια) παίζει ένα ρόλο, αλλά είναι η εξαιρετική αρχική εγγραφή (Åke Linton) και το προσεκτικό mastering (Classe Persson) που συμβάλλουν τα μάλα στην ολοκλήρωση αυτού του άλμπουμ, το οποίον έρχεται να πλασαριστεί, ασυζητητί, μεταξύ των πιο εντυπωσιακών τού EsbjörnSvensson Trio.

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    Fryderyk Chopin - 100 Best Chopin [6CD Box Set] (2010)

    Artist: Fryderyk Chopin
    Title Of Album: 100 Best Chopin
    Year Of Release: 2010
    Label: EMI Classics
    Genre: Classical
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 6:24:27
    Full Size: 1.28 gb
    Upload: Turbobit / DepFile / HitFile

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    VA - 100 Best Hymns [6CD Box Set] (2011)

    Artist: Various Artists
    Title Of Album: 100 Best Hymns
    Year Of Release: 2011
    Label: Warner Classics
    Genre: Classical Music
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 5:19:46
    Full Size: 1.44 gb
    WebSite: Album Preview
    Upload: Turbobit

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    Franz Liszt - 100 Best Liszt [6CD Box Set] (2011)

    Artist: Franz Liszt
    Title Of Album: 100 Best Liszt
    Year Of Release: 2011
    Label: Warner Classics
    Genre: Classical
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 7:40:45
    Full Size: 1.72 gb
    Upload: Turbobit

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    Ennio Morricone - The Very Best Of Ennio Morricone (2016) [SACD]

    Artist: Ennio Morricone
    Title Of Album: The Very Best Of Ennio Morricone
    Year Of Release: 2016
    Label: Virgin/Universal Music
    Genre: Soundtrack, Classical, Instrumental
    Quality: FLAC (tracks,scans)
    Bitrate: Lossless [88kHz/24bit]
    Time: 1:12:42
    Full Size: 1.33 gb
    Upload: Turbobit

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    VA - Best Tchaikovsky 100 [6CD Box Set] (2010)

    Artist: Pyotr Ilyich Tchaikovsky
    Title Of Album: Best Tchaikovsky 100
    Year Of Release: 2010
    Label: EMI / Musiccast
    Genre: Classical Music
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 7:30:03
    Full Size: 1.93 gb
    Upload: Turbobit

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    513X3JTbNHL._SS500.jpg320 kbps | 178 MB | LINKS

    Tracks:
    01. All Over Again
    02. What Do I Care
    03. Don’t Take Your Guns to Town
    04. I Still Miss Someone
    05. Frankie’s Man, Johnny
    06. You Dreamer You
    07. I Got Stripes
    08. Five Feet High and Rising
    09. Little Drummer Boy
    10. I’ll Remember You
    11. Seasons of My Heart
    12. Smiling Bill Mccall
    13. Second Honeymoon
    14. Honky Tonk Girl
    15. Goin’ to Memphis (Single Edit)
    16. Loading Coal (Single Edit)
    17. Girl in Saskatoon
    18. Locomotive Man
    19. The Rebel-Johnny Yuma
    20. Forty Shades of Green
    21. Tennessee Flat Top Box
    22. Tall Men
    23. The Big Battle
    24. When I’ve Learned
    25. In the Jailhouse Now
    26. A Little at a Time
    27. Bonanza!
    28. Pick a Bale of Cotton
    29. (There’ll Be) Peace in the Valley (For Me)
    30. Were You There (When They Crucified My Lord)?
    31. Busted
    32. Send a Picture of Mother


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    61RLhpGYYbL._SS500.jpg320 kbps | 110 MB | LINKS

    Few bands have a sadder coda than Mott the Hoople. Top of their game for three glorious years, one of the U.K.’s best-loved bands for six, the group should have come to a grinding halt the moment frontman Ian Hunter walked out. They’d lost key members before, of course: organist Verden Allen, who composed one of the finest songs in the band’s entire repertoire, the churning “Soft Ground”; guitarists Mick Ralphs and Ariel Bender, both of whom drove the group to distinctly different, but similarly spellbinding peaks during their years of lieutenanthood. But Hunter was different. Not only did he sing the majority of the songs, he wrote them as well, while his public image long fizzy hair, omnipresent shades was so universally well-known that, to many onlookers (the staunchest fans included), he WAS Mott the Hoople. Rhythm section Overend Watts and Bufin, and latter-day keyboard player Morgan Fisher felt otherwise. Recruiting two unknowns to fill the void (guitarist Mick Ronson departed with Hunter) and abbreviating the band name to its most recognizable syllable, the trio began work on a new album almost immediately and one still wonders what was really going on in their minds. Of the five, only Watts had any songwriting experience to call upon; indeed, his “Born Late 58” was one of the highlights of 1974’s The Hoople album. But any hopes that he might blossom à la an ex-Beatles George Harrison, or post-Vince Clarke Martin Gore were soon to crumble. The best songs (the first 45, “Monte Carlo,” the driving “It Takes One to Know One”) have absolutely nothing to do with the Hoopling of old; the worst (pretty much the rest of the record) are those which admit that fact. Mott emerged a dour, dry little record, its contents content to scour the rockiest edges of the old band’s charm, but with none of the humor, none of the élan, and certainly none of the temperamental flash which made the original band so special. And to think, this was only their first album.


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    Nguyen Le & Ngo Hong Quang feat. Paolo Fresu - Ha Noi Duo (2017) [Hi-Res]
    Label: ACT Music
    Жанр: Jazz, World Fusion
    Год выпуска: 2017
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless [88.2kHz/24bit]
    Продолжительность: 58:17
    Размер: 1.01 GB

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    Nguyen Le & Ngo Hong Quang feat. Paolo Fresu - Ha Noi Duo (2017) [Hi-Res]
    Label: ACT Music
    Жанр: Jazz, World Fusion
    Год выпуска: 2017
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless [88.2kHz/24bit]
    Продолжительность: 58:17
    Размер: 1.01 GB

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    Nguyen Le & Ngo Hong Quang feat. Paolo Fresu - Ha Noi Duo (2017) [Hi-Res]
    Label: ACT Music
    Жанр: Jazz, World Fusion
    Год выпуска: 2017
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless [88.2kHz/24bit]
    Продолжительность: 58:17
    Размер: 1.01 GB

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    ??? (FSB) - ??? ???? (Non Stop) (1977) [Reissue 2000]

    ???????????: FSB (???)
    ??????: Non Stop (??? ????)
    ????: Rock / Art Rock
    ??? ??????: 1977 / 2000
    ??????: FLAC (tracks+.cue, log, scans)
    ????????: Lossless
    ??????: 246 Mb
    ??: depositfiles/katfile/uploadboy

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    61gm89ztuPL._SS500.jpg320 kbps | 104 MB | LINKS

    Surf, Rock n’ Roll, Blues and Country instrumentals blasted out live in the studio.

    Jerry Miller is an American songwriter, guitarist and vocalist. He performs as a solo artist and as a member of the Jerry Miller Band. He is also a founding member of the 1960s San Francisco band Moby Grape, which continues to perform occasionally. Rolling Stone included Jerry at number 68 on their list of the 100 greatest guitarists of all time and Moby Grape’s album ‘Moby Grape’ at number 124 on their list of the 500 greatest albums of all time.

     

     


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    [Label: Numero Group | Cat#: NUM5063]

    1. It Just Fits (2:00)
    2. Hurt, Hurt, Hurt (2:17)
    3. Anytime, Anywhere (2:28)
    4. I’m Gonna Laugh Right in Your Face (2:08)
    5. Jody (2:38)
    6. Silent Island (2:40)
    7. My Quiet Village (2:16)
    8. Someone to Love (2:20)
    9. No Secret Now (2:17)
    10. The Long Silence (2:01)
    11. Valley of Eternity (2:13)
    12. The Letter (1:51)
    13. Ah! Sweet Mystery of My Life (1:53)
    14. Sitting Bull’s Last Stand (2:15)
    15. Red Dress (2:38)
    16. Un Momento Mas (2:22)
    17. I Pledge Allegiance (2:41)
    18. Only Yours (2:05)
    19. Baby Baby Baby (2:29)
    20. Witch’s Brew (2:31)
    21. Half Angel (1:48)
    22. Rainy Day in Rome (2:37)
    23. The Flower of Love (2:25)
    TB

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  • 05/25/18--06:17: Marillion – Mirrors (2018)
  • 51JR7-AWYML._SS500.jpg320 kbps | 228 MB | LINKS

    From January through September 2018 a carefully curated and strictly limited and numbered series of Marillion live albums will be released in retail series across the globe for the very first time. Each of these individual concerts perfectly captures the unique magic around Marillion. This Limited Edition series consists of 10 fantastic live albums, each limited to 5,000 copies worldwide, which will be released in pairs in a bi-monthly cycle. Smoke and Mirrors were recorded on Saturday and Sunday of the Marillion Weekend in Minehead, England in 2005. Together the two performances work as an equilibrium; Smoke on Saturday featuring Marillion s most up-beat and high-energy songs and Mirrors on Sunday showcasing the slower and more atmospheric side of the band.

    Tracks:
    01. Born to Run (Live)
    02. A Collection (Live)
    03. Now She’ll Never Know (Live)
    04. The Space (Live)
    05. Brave (Live)
    06. Faith (Live)
    07. One Fine Day (Live)
    08. House (Live)
    09. Enlightened (Live)
    10. Estonia (Live)
    11. After Me (Live)
    12. When I Meet God (Live)
    13. A Few Words for the Dead (Live)
    14. Made Again (Live)


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    519hAhZL2dL._SS500.jpg320 kbps | 168 MB | LINKS

    ‘Musical Explorers: Waves of Joy’ is the fifth release in the Musical Explorers series from ARC Music, curated by Simon Broughton, Editor-in-Chief of Songlines Magazine. ‘Musical Explorers’ seeks to document the historic works of musicians and ethnomusicologists who brought attention to the burgeoning world music scene in the 20th century. Deben Bhattacharya built a massive music and film library of priceless archive recordings made during his lifelong commitment to exploring the musical roots of a large variety of cultures.

    ‘Musical Explorers: Waves of Joy/Bauls from Bengal’ celebrates the poems of both present and past bauls, revered spiritual poets or aesthetes of Bengal. Compositions range from historically celebrated bauls such as Matam Chand Gosain and the prominent philosopher Lalon Shah Fakir through to contemporary bauls such as film actor and folk musician Mujib Pardeshi and lyricist, composer Bhaba Pagla.

    As Simon Broughton writes,

    “Bhattacharya was born into a Bengali family in Benares, India. He came to Britain in 1949, worked for the Post Office and as a porter in John Lewis – and was assigned some programmes on Indian music commissioned by the BBC. He was also lucky enough to be introduced to Harley Usill of Argo Records who’d already released an LP of musicians from Bali recorded at the Winter Garden Theatre in London (demolished in 1965). Bhattacharya wanted ‘ethnic music’, as it was called, for his radio programmes and Usill liked the idea of releasing music from around the world in what became ‘The Living Tradition’ series. Together they released dozens of records and Usill helped him buy his first tape recorder.”

    “It was semi-professional equipment, portable but heavy,” Bhattacharya recalled. “As I set out for my first recording journey to India toward the end of 1953, my one-man mobile unit consisted of a 12-volt car battery without the car and a vibrator for power supply in the villages in addition to the tape-recorder and other accessories. I returned with about ten hours of music and Harley and I spent hours selecting material for the first two LP records in my series.”

    Baul poetry and music are amongst the greatest expressions of Bengali culture. The complete Musical Explorers series released so far includes: Colours of Raga; Krishna in Spring; Music of Tibet; Taiwan Silk & Strings and new release ‘Musical Explorers: Waves of Joy’ being released through ARC Music on the 25th May, 2018.


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    Jeff Jensen - Wisdom and Decay (2018) FLAC
    Artist: Jeff Jensen | Album: Wisdom and Decay | Released: 2018 | Genre: Blues, Rock

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    Corey Stevens - The Partys Gonna Go On (2018) FLAC
    Artist: Corey Stevens | Album: The Partys Gonna Go On | Released: 2018 | Genre: Blues

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    519hAhZL2dL._SS500.jpg320 kbps | 168 MB | LINKS

    ‘Musical Explorers: Waves of Joy’ is the fifth release in the Musical Explorers series from ARC Music, curated by Simon Broughton, Editor-in-Chief of Songlines Magazine. ‘Musical Explorers’ seeks to document the historic works of musicians and ethnomusicologists who brought attention to the burgeoning world music scene in the 20th century. Deben Bhattacharya built a massive music and film library of priceless archive recordings made during his lifelong commitment to exploring the musical roots of a large variety of cultures.

    ‘Musical Explorers: Waves of Joy/Bauls from Bengal’ celebrates the poems of both present and past bauls, revered spiritual poets or aesthetes of Bengal. Compositions range from historically celebrated bauls such as Matam Chand Gosain and the prominent philosopher Lalon Shah Fakir through to contemporary bauls such as film actor and folk musician Mujib Pardeshi and lyricist, composer Bhaba Pagla.

    As Simon Broughton writes,

    “Bhattacharya was born into a Bengali family in Benares, India. He came to Britain in 1949, worked for the Post Office and as a porter in John Lewis – and was assigned some programmes on Indian music commissioned by the BBC. He was also lucky enough to be introduced to Harley Usill of Argo Records who’d already released an LP of musicians from Bali recorded at the Winter Garden Theatre in London (demolished in 1965). Bhattacharya wanted ‘ethnic music’, as it was called, for his radio programmes and Usill liked the idea of releasing music from around the world in what became ‘The Living Tradition’ series. Together they released dozens of records and Usill helped him buy his first tape recorder.”

    “It was semi-professional equipment, portable but heavy,” Bhattacharya recalled. “As I set out for my first recording journey to India toward the end of 1953, my one-man mobile unit consisted of a 12-volt car battery without the car and a vibrator for power supply in the villages in addition to the tape-recorder and other accessories. I returned with about ten hours of music and Harley and I spent hours selecting material for the first two LP records in my series.”

    Baul poetry and music are amongst the greatest expressions of Bengali culture. The complete Musical Explorers series released so far includes: Colours of Raga; Krishna in Spring; Music of Tibet; Taiwan Silk & Strings and new release ‘Musical Explorers: Waves of Joy’ being released through ARC Music on the 25th May, 2018.


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    81NT8qersxL._SL1200_.jpg320 kbps | 91 MB | LINKS

    Carter Sampson burst onto the European alt-country/americana scene with the release of her 2016 album Wilder Side. It was immediately propelled into the Euro Americana Chart and ended up as the no. 3 album in the EAC year’s end list.
    Since then her career has been steadily on the rise: 8 very successful European tours within 12 months brought her to Italy, Holland, Ireland and the United Kingdom and saw her conquer audiences at pop venues like Paradiso Amsterdam and renowned folk clubs but also bigger crowds at festivals like Maverick and Glastonbury in UK, Kilkenny Roots in Ireland, Naked Song and Take Root in the Netherlands and Buscadero Day or Accadia Blues in Italy.
    By public demand, a compilation of previous albums was released in Europe which included her signature song “Queen Of Oklahoma” as the title track alongside all time favorites like “Be My Wild Wood Flower” and “Sanctuary”.

    All in all, Carter feels she’s “LUCKY” and, co-produced with Jason Scott, she now deliveres a wonderful album with that name. 7 mostly upbeat (co-)originals, including Rattlesnake Kate (an absolute crowd pleaser) and 3 well chosen covers. Shell Silverstein’s Queen of The Silver Dollar is a regular in Carter’s sets and Kalyn Fay’s Tulsafeels like a state anthem to proud Okies.
    The album was recorded with a stellar cast of Okie-musicians like Kyle Reid, John Calvin Abney and Jared Tyler and shows the continuous growth of this charming and talented Okie girl.


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