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     :ovo2...

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    Obrigad...

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    Brian LynchWoody Shaw was an artist endowed with two of the greatest qualities a musician could ever dream of: perfect pitch and a photographic memory. In his short years on earth, Shaw was not only an influence and an inspiration for legion of trumpeters, but he left a lasting imprint on the instrument like no trumpeter has ever done.
    Shaw extended the vocabulary of the instrument by innovative use of wide intervals of fourths and fifths that defied the architecture of the trumpet. In both his writing and in performance he introduced polytonality, often using highly complex permutations of the pentatonic scale. He was a master of modality and used a wide range of harmonic color, generating unusual contrasts, using tension and resolution, dissonance,…

    256 MB  320 ** FLAC

    …odd rhythmic groupings, and “over the barline” phrases. Shaw had a rich, dark tone that was distinctive with a near-vocal quality to it; his intonation and articulation were highly developed, and he greatly utilized the effects of the lower register, usually employing a deep, extended vibrato at the end of his phrases.

    Shaw was not only open to ideas, but he was capable of incorporating a staggering array of them so as to enable him to play in any idiom and style from Jazz to classical and had he lived longer he would probably have also developed a significant Afro-Caribbean repertoire. Why? Quite simply because Woody Shaw was a student of living music and – according to his son and executive producer of this disc under review, Woody Shaw III – had an astute ear for traditional Japanese music, Indonesian Gamelan, Indian classical music, Brazilian music, and various other musics of the world. Picking up the slack, the younger Shaw has come together with the fiery trumpeter Brian Lynch to produce a masterfully shaped Latinized repertoire of Shaw’s classic songs. Lynch had released two other albums where he has paid tribute to trumpet masters: Unsung Heroes – Volumes 1 and 2; albums that were substantial projects themselves. However neither of them approached the size and scope of this homage to Shaw entitled Madera Latino: A Latin Jazz Interpretation On the Music of Woody Shaw. Not only is the disc just shy of 2 hours long but it brings together two – probably three – generations of trumpeters, all of whom have made their mark individually. Even more remarkable is the fact that some of these musicians are playing way out of their comfort zones.

    Add to that a rhythm section comprising probably the most sought after piano-bass tandems – the Curtis Brothers, Zaccai and Luques. And as if that could not be topped, Lynch has a barnstorming percussion section led by the thunderous Obed Calvaire, who eggs on an inspired Pedrito Martinez, Little Johnny Rivero and the already-legendary Anthony Carrillo. One might speculate how much more of an Ekpe/Abakuá encounter this might have been with Román Díaz, but barring the absence of vocals in the monumental Brian Lynch composition ‘Madera Latino’ dedicated to Woody Shaw, the music is as close to the bluest part of the Afro-Caribbean flame as Lynch could possibly bring it without burning itself out. As it happens, few trumpeters could have put their minds to furthering the already fecund imagination of someone as widely-read as Woody Shaw. Brian Lynch seems to have the perfect credentials for the job. He is one of the most brilliant technicians on the instrument and even if he is not as endowed with the gifts that Shaw was, Brian Lynch is easily as intrepid as his honouree. It is hard, in fact, to think of anyone who is such a rank outsider by birth to be considered as close to a blood-relative of cultural geography of South American (i.e., Latin-Jazz) music.

    Brian Lynch is clearly a mystically-inclined instrumentalist. He proves this, time and again, with growing intensity, and with every new recording he makes. Lynch seems to have reached the height of his powers on this performance. He plays with superb intonation and velvet power, and he displays an amazing range, spatial definition and Shavian manners. Moreover, the trumpeter has digested Woody Shaw’s music spontaneously, as if he were a ‘method’ trumpeter along the lines of a trumpet-playing James Dean. The results are immediately and consistently compelling, as if Lynch’s response to an Afro-Caribbean Shaw were primarily to his relationship with the composer as some sort of kindred spirit. In song after song, beginning with ‘Zoltan’ Brian Lynch identifies the musical elements and colours of Shaw’s music with a deeply concrete curiosity. As the music develops it becomes increasingly infused with warmth and resolve. Much of this has to do with the overarching performances of Sean Jones, Dave Douglas, Michael Rodriguez, Etienne Charles, Diego Urcola, Josh Evans, Philip Dizack, Bryan Davis, and, of course the great Lynch himself.

    Unbelievably, in the imagination of each of the individual trumpeters – playing dreamily at times – the lyrical flow of the music is captured as rapturously as when Woody Shaw first felt these emotions and wrote them down in music. Only now Brian Lynch has, through ingenious arrangements, relocated this intimacy to the soundscape of Latin Jazz. The culmination of this extraordinary osmosis finds its pinnacle in ‘Madera Wood’ into which Lynch pours his own spatial dimensions to rewrite the Woody Shaw musical script with his (Lynch’s) own distinctive shape, shading and personality, always vividly alert to the tonal and emotional colouring of Latin polyrhythms, even as he breathes expansive new life into the fervent phrases of the music. As a result of all of this – the re-imaginings of Woody Shaw’s work, as well as the two original compositions by Brian Lynch – the results clearly form a distinct musical vision that, no matter how adventurous a particular piece may be in terms of timbral or technical requirements, never loses sight of the sheer joy of playing Woody Shaw’s music all over again. — latinjazznet

    Personnel: Brian Lynch: trumpet; Sean Jones: trumpet (3, 6, 7); Dave Douglas: trumpet (1, 5, 9); Michael Rodriguez: trumpet (2, 4, 8, 10); Etienne Charles: trumpet (1, 9, 11); Diego Urcola: trumpet (1, 11); Josh Evans: trumpet (4, 8, 10); Philip Dizack: trumpet (3, 6); Bryan Davis: trumpet (11); Zaccai Curtis: piano; Luques Curtis: bass; Obed Calvaire: drums (2, 3, 5, 6, 7, 8, 10); Pedrito Martinez: timbales (1, 5, 9, 11), congas (3, 6, 7); Little Johnny Rivero: congas (1, 2, 4, 5, 8-11), percussion (11); Anthony Carrillo: bongo, campaña (1, 5, 9, 11).


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    Tee MacSoul Jazz Records’ are releasing Tee Mac’s Night Illusion, a lost classic Nigerian Afro soul meets disco boogie funk album originally released in Nigeria in 1980. Impossibly hard to find, the record remains practically unknown outside of Nigeria.
    Tee Mac Omatshola Iseli is a multi-instrumentalist, composer and arranger and features on Soul Jazz Records’ recent collection Nigeria Soul Fever: Afro Funk Disco and Boogie alongside Joni Haastrup, Christy Essien and others, as well as on a recent compilation Nepa Oh Nepa.
    The timelessness of this soulful, ground-breaking funk jazz lost masterpiece Night Illusion leads to comparisons with James Mason’s legendary lost classic album Rhythm of Life, with his unique individualism and intensity hinting at…

    100 MB  320 ** FLAC

    …the boogie funk of groups such as Mass Production and Slave so loved by artists such as Moodyman and Theo Parrish.  While Fela Kuti is now a cultural icon of Nigerian music throughout the world, the recent crossover success of William Onyeabor shows just how much undiscovered Nigerian music remains waiting to be explored outside of the country.

    Tee Mac was born in Lagos, the son of a Nigerian princess and a Swiss diplomat. He picked up the flute at age 7 and ten years later was studying classical musical in Switzerland under his uncle the composer J.J. Direndirger. Returning to Lagos, Nigeria in 1970 he formed the heavyweight afro rock group Tee Mac and Afro Collection (which included Johnny Haastrup on keyboards and The Lijadu Sisters on vocals). This band was famously joined by the legendary Cream drummer Ginger Baker who came to Nigeria to play with them in 1971 (captured in the film Ginger Baker in Africa).

    At age 24, Tee Mac moved to Germany where he co-wrote and recorded the European disco group Silver Convention (whose ‘Fly Robin Fly’ became number one in the USA charts).

    Tee Mac continues to live in Lagos today and travels the world as a composer – one of whose pieces is The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100+ piece orchestra.


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    Emmylou Harris - коллекция 1975-2008 (22 альбома) Жанр : Folk, Сountry rock, Singer-songwriter Носитель : CD Год издания : 1975-2008 Страна исполнителя (группы) : US Studio Albums Страна-производитель диска : EU Год первого выпуска : 1975 Год настоящего издания : 2004 Издатель (лейбл) : Warner Bros.

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    Joyce Feminina Recorded     January 1980 Original release on Odeon This reissue: EMI JAPAN / UICY-76389 1.     “Feminina”       (Joyce)     3:48 2.     “Mistérios”       (Joyce, Maestro)     4:32 3.     “Clareana”       (Joyce )    2:50 4.     “Banana”       (Joyce)     4:16 5.     “Revendo Amigos”      ( Joyce)     3:20 6.     “Essa Mulher”       (Joyce, Terra)     3:32 7.     “Coração de Criança”       (Joyce, Leporace)     3:13 8.     “Da Cor Brasileira”       … Continue reading

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    Obrigado  :coelhocomer...

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    WÖR - Back To The 1780's (2015) {Appel}
    Artist: WÖR
    Title: Back To The 1780's
    Year Of Release: 2015
    Label: Appel
    Genre: Folk
    Quality: FLAC / MP3
    Total Time: 47:07 min
    Total Size: 290 MB / 107 MB



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    Imbaru - El Inherente Sentir En Los Árboles (2015)
    Artist: Imbaru
    Title: El Inherente Sentir En Los Árboles
    Year Of Release: 2015
    Label: GS Productions
    Genre: Folk Metal, Neofolk
    Quality: MP3
    Total Time: 50:17 min
    Total Size: 116 MB



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    320 kbps | 345 MB | LINKS

    There was a moment in 1987, when a feisty and driven Joan Baez thought, “enough is enough.” She rolled up her sleeves and accepted an offer from artist manager and label executive Danny Goldberg to join his latest start-up, Gold Castle, and start making records again. That decision led to three albums whose reappearance in 2017 should be cause for no small amount of rejoicing in Joan Baez circles, especially by those who might’ve been looking the other way (musically, most likely), or just missed them entirely the first time around. So quickly did they seem to come and go.

    The 33 collective tracks contained on Recently (originally released July 1987), Diamonds & Rust In The Bullring (recorded live in Bilbao, Spain, 1988, released April 1989), and Speaking Of Dreams (November 1989) hold their own as some of the greatest song selection sequences of Joan’s entire discography. And that’s saying a lot, considering the scholarship and timeliness of material to be found on her (other) 30 or so principal career albums, studio and live. All three Gold Castle titles were produced by Alan Abrahams at Capitol Records Studios in Hollywood.

    The Rock & Roll Hall of Fame states that: Joan Baez breathed new life into folk music in the 1960s, powering rock music’s turn toward social and political consciousness. Baez’s unwavering dedication to activism shows that volume isn’t the only way to be loud – and totally rock and roll.

    In a career spanning over 55 years and over 30 albums, Joan Baez is still touring and still mesmerising audiences all over the world. Her social activism has provoked and inspired, encouraging many other performers who followed to stand up for their beliefs.

    CD1
    1. Brothers In Arms (5:02)
    2. Recently (3:07)
    3. Asimbonanga (4:52)
    4. The Moon Is A Harsh Mistress (3:08)
    5. James And The Gang (4:29)
    6. Let Us Break Bread Together – Oh Freedom (8:49)
    7. Mlk (2:52)
    8. Do Right Woman, Do Right Man (3:22)
    9. Biko (5:17)
    10. Lebanon (5:07)

    CD2
    1. Diamonds And Rust (Live) (3:46)
    2. Ain’t Gonna Let Nobody Turn Me Around (Live) (1:22)
    3. No Woman No Cry (Live) (3:44)
    4. Famous Blue Raincoat (Live) (4:58)
    5. Swing Low, Sweet Chariot (Live) (3:44)
    6. Let It Be (Live) (3:58)
    7. El Preso Numero Nueve (Live) (3:16)
    8. Llego Con Tres Heridas (Live) (2:36)
    9. Txoria Txori (Live) (3:00)
    10. Ellas Danzan Solas (Cueca Sola) (Live) (5:37)
    11. Gracias A La Vida (Live) (6:14)
    12. No Nos Moveran (Live) (1:25)

    CD3
    1. China (6:29)
    2. Warriors Of The Sun (5:30)
    3. Carrickfergus (5:39)
    4. Hand To Mouth (4:34)
    5. Speaking Of Dreams (4:27)
    6. El Salvador (Feat. Jackson Browne) (3:59)
    7. Rambler Gambler – Whispering Bells (Feat. Paul Simon) (5:09)
    8. Fairfax County (5:54)
    9. A Mi Manera (Feat. The Gipsy Kings) (3:57)
    10. Goodnight Saigon (5:56)
    11. Warriors Of The Sun – She’s Got A Ticket (7:07)


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    Mastermix Extended Floorfillers Irish (2017)

    Artist: Mastermix
    Title: Extended Floorfillers Irish
    Label: Music Factory
    Style: Folk, Blues, Celtic, Jazz, Country, Gospel, Dream Pop, Electric Folk
    Release Date: 01-04-2017
    Format: CD, Compilation, Mixed, Partially Mixed, Promo
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 13 Tracks
    Size: 177 Mb / 01:16:46 Min

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    320 kbps | 104 MB | LINKS

    Born April 1, 1957, in Ghent, Belgium, as Jan De Vos, JD Fox served as drummer for The Machines, Belgium’s number one pop band, from the late 1970s through the early 1980s. The group recorded three albums. Their first, A World of Machines, was cut at the famed Abbey Road Studios in London, England. In 1989, he joined Derek & The Dirt, a heavy rock outfit which recorded four albums before his departure. In 1991, he became a singer-guitarist, combining American roots music with French lyrics, recording one album with the band Paris Texas and three solo records. Then came 2007, and he thought he’d had enough of the music business.

    Tracklist:
    1. Sweet Inspiration (3:19)
    2. The Roadmaster (2:47)
    3. A Woman Left Lonely (3:52)
    4. Genie In The Jug (2:23)
    5. I’m Not Through Loving You Yet (3:30)
    6. I’m Your Puppet (4:02)
    7. Cry Like A Baby (4:13)
    8. Keep On Talking (3:23)
    9. Life Rolls On (3:44)
    10. Lonely Women Make Good Lovers (3:47)
    11. Don’t Lose Your Good Thing (3:31)
    12. Feed The Flame (3:24)
    13. I’m Not Through Loving You Yet (Feat. Spooner Oldham) (2:56)


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    Carolyn Mark Жанр : Alternative Country, Americana, Singer/Songwriter Год выпуска диска : 1999-2016 Страна : Sicamous, British Columbia, Canada Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 07:27:13 Albums: 01.

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    tudo upad...

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    Find The WaysAllred & Broderick
    Find The Ways
    (Erased Tapes, 2017)
    more details


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    Mzansi Beat CodeSpoek Mathambo
    Mzansi Beat Code
    (Teka Records, 2017)
    more details


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    320 kbps | 84 MB | LINKS

    “Gotta Wind Down!’ is the fourth full-length release on Crackerjill Music by Kitty Rose. Just like a scruffy Kitty, this album is a mash up of hard Rockabilly, jump blues and swing inspired by the hot humid climes of the American South.


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    320 kbps | 101 MB | LINKS

    Tracklist:
    1. Memphis Women And Chicken (3:30)
    2. Breakfast In Bed (3:50)
    3. If You Say So (2:40)
    4. Take Time To Love (3:09)
    5. Muscle Shoals (3:28)
    6. Zero Willpower (4:04)
    7. Choo Choo Train (3:55)
    8. Epitaph (Black & Blue) (3:12)
    9. Why Is My Day So Long (2:23)
    10. Rainbow Road (3:05)
    11. We Had It All (3:02)
    12. 300 Pounds Of Hongry (2:39)
    13. My Friend (3:43)


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  • 04/17/17--17:09: Lao New Year with Rattana!
  • Lao.JPG

    This Wednesday, April 19, from 7-10 PM EDT, Bodega Pop Live on WFMU's Give the Drummer Radio welcomes special guest Rattana; together we'll spin some of our favorite Lao tracks for Pi Mai Lao 2017! Classical, mor lam, post-rock, lam luang, hip hop, khaplam wai, synth pop, and much, much more.



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