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    320 kbps | 104 MB | LINKS

    Founded in in 2009, Foster the People achieved success with the 2011 release of its debut album Torches, which has sold nearly two million albums and over nine million singles worldwide. Torches features the #1 hit single “Pumped Up Kicks,” which was declared “the year’s anthem” by SPIN, and also spawned the chart topping singles “Don’t Stop (Color On The Walls),” “Houdini,”, and “Helena Beat.” The band garnered three Grammy nominations for its monumental debut, including Best Alternative Album, Best Pop Duo/Group Performance for “Pumped Up Kicks” and Best Short Form Music Video for “Houdini.” Foster The People followed their debut with the full length album Supermodel, which was influenced by frontman Mark Foster’s world travels and shifting perspective. Supermodel was recorded in studios around the world and features fan favorites including “Coming of Age” and “Best Friend.”

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    Buddy Collette - Jazz Heat Bongo Beat (2000)
    Label: Blue Moon
    Жанр: Jazz / Latin
    Год выпуска: 1959 / 2000
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 31:48
    Размер: 156 Mb

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    Αφροκουβανός πιανίστας είναι ο Aruán Ortiz, γεννημένος πριν 44 χρόνια στο Σαντιάγο της Κούβας. Με παρουσία (και δισκογραφική) στα τζαζ πράγματα, που απλώνεται πέραν της 20ετίας, ο Ortiz(για άλμπουμ του οποίου με το τρίο του είχαμε γράψει πέρυσι στο δισκορυχείον) εμφανίζεται τώρα μ’ ένα σόλο πιάνο CD, το πρώτο του όπως διαβάζω μετά από 20 χρόνια, που έχει τίτλο Cub(an)ism [Intakt Records, 2017].
    Ο Ortiz είναι ρηξικέλευθος μουσικός, κάτι που αποδεικνύεται και από το συγκεκριμένο CD με τον τίτλο-λογοπαίγνιο... “Cub(an)ism”. Τι «κρύβει» η λέξη; Από τη μια μεριά την «κουβανικότητα» (στη μουσική) και από την άλλη τον «κυβισμό» (επίσης στη μουσική). Αυτές τις δύο αισθητικές κατευθύνσεις επιχειρεί να συνταιριάξει στο άλμπουμ του ο Ortiz, και μάλλον το επιτυγχάνει. Θέλω να πω πως υπάρχουν συνθέσεις, εδώ, στις οποίες είναι προφανής η αφρο-λατινική καταγωγή τους, με το ρυθμικό παίξιμο του πιάνου και την εν γένει κρουστή αντιμετώπισή του [άκου π.χ. το εισαγωγικό “Louverture op.1 (Château de joux)”] και άλλες, όπως το 11λεπτο “Cuban cubism”, που συνδυάζει την αφρικανικότητα με τα «γεωμετρικά» ρυθμικά μοτίβα, φέρνοντας στη μνήμη τα ragtime του Στραβίνσκι (“Piano-Rag-Music”), τα κατ’ εξοχήν έργα του μουσικού κυβισμού.
    Δεν θα την αποκαλούσα «φιλόδοξη» την προσπάθεια του Ortiz, γιατί με κάτι τέτοιο θα φαινόταν πως υποτιμώ τη δουλειά του – κάτι που δεν θα ήταν ορθό. Το “Cub(an)ism / Piano Solo” έχει ιδιαίτερο ενδιαφέρον ως άλμπουμ, και σίγουρα θα ενθουσιάσει πρώτους όλων τους τζαζ πιανίστες – χωρίς να αποκλείεται στη διαδρομή και το ελαφρώς μυημένο κοινό.

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    320 kbps | 110 MB | LINKS


    01. Blue Sky Rain Falls I
    02. Love Is an Ocean Vocal Mix
    03. Love Is an Ocean
    04. Blue Sky Rain Falls II
    05. On the Edge of Beauty I
    06. On the Edge of Beauty II
    07. On the Edge of Beauty III

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    Tracks recorded by Palmer Keen and Mitchell Mollison, Mixed by Palmer Keen. 

    Location: Bandar Lampung, Lampung Province

    Sound: Gitar klasik (also called gitar tunggal)

    Pride can be a funny thing. It’s one of the things I love about the musicians I meet through Aural Archipelago, how proud folks are of their music and culture. But pride also has a distorting effect on the stories people tell about their music: it’s not unusual to hear musicians claim sole ownership of a style for themselves or their village, or to insist that their way is right and others are wrong. I’ve no doubt that these claims are often sincere, but I’ve learned to meet them with a certain level of skepticism. 

    Sumatran guitar music is a great case study. The guitar and vocal style called gitar tunggal was one of the first musics I recorded for Aural Archipelago way back in 2014. I’d heard the style had roots in the Bukit Barisan mountains of South Sumatra, so I headed there and met with local guitarists. The story I heard there is now familiar after years of meeting with musicians: gitar tunggal was created here, by our people. Our style is the most asli, or authentic. 

    I took their word for it - how naive I was! Only when I heard similar claims being made about guitar music in neighboring Bengkulu that I began to be skeptical. Now I’ve met a third claimant in Lampung, another neighboring province. Such claims to cultural heritage can be incredibly contentious: Indonesia and Malaysia have famously feuded over ownership of the angklung and dance forms. I can’t go so far as to claim one group is right and the other is wrong: there’s simply little to no evidence one way or the other. All I can do is present the story as I heard it, to share their truth, as they want it told. 

    Regional guitar music is popular all around the southern provinces of Sumatra, from the rainforests of Jambi to Bengkulu, South Sumatra, and Lampung on the island’s southern tip. Despite the huge geographical area it covers, the style is surprisingly uniform, with almost identical scales and even melodies being heard across this huge swath of the island. Whether it’s called gitar tunggal (“solo guitar”), gitar klasik (“classic guitar”), or even Batang Hari Sembilan (“the nine river branches,” named after the distinctive geography of South Sumatra), this style is typified by fingerpicked acoustic guitar in unconventional tunings and lyrics based on pantun, or rhyming couplets.

    Once you’re keyed into that style, though, it's fun to listen for the differences from area to area and even from player to player. In Lampung, I was told, you can hear the difference between guitar music of the Pepadon people of the interior and the Saibatin people of the coasts: the Pepadon style is more likely to feature unconventional tunings and keroncong-inspired chord progressions; the Saibatin, meanwhile, hew closer to standard Western guitar tuning and minor keys. 

    Our origin story for Lampung-style guitar music comes from Imam Rozali, who also goes by the colorful title Batin Pahit Lidah ("Batin" is a formal title, while "Pahit Lidah" means "Bitter Tongue). Hailing from the village of Babatan near Lampung’s southern coast, Imam conveniently traces the roots of gitar klasik to his corner of the world. Before there were guitars in Lampung, Imam tells it, there was kiyas, a kind of ritual speech and lament. If a man’s close friend passed away, he would express his grief through kiyas, a kind of wailing song. This use of kiyas is now rare, Imam explained, as many Muslims now frown on musical laments. These roots in grief, though, can still be felt in Lampung-style gitar klasik’s often mournful character.

    Imam explained that guitars first made their way through Sumatra from the southern ports of Lampung, spread by the colonial occupiers of centuries past: the Dutch, Portuguese, and British. It was also in this southern corner, Imam believes, that the gitar klasik style first flourished, later spread along the same route to the other regions where Sumatran guitar music is now found. He even put a date on the birth of gitar klasik: it was in 1928, Imam explained, thathis great uncle returned from battle with the Dutch. He’d been in the jungle for months engaging in fierce guerrilla warfare, and when he returned he picked up a guitar and told of his struggles through kiyas. The stories were dark, but with the guitar accompaniment they were easier to digest.

    Through his special take on the Sumatran guitar origin story, Imam is not-so-subtly rooting himself in the center: not only is he centering the music’s roots in his family and his territory, but he also happens to be a master of kiyas. In framing the story this way, he positions himself as the gatekeeper of Lampung’s guitar tradition - a conveniently prestigious role. I don’t think Imam is being disingenuous, though. After all, it's a very human thing to center ourselves in the stories we tell.

    Other than illuminating his take on gitar klasik’s history, Imam also offered some interesting insight into the nuts and bolts of the music itself. At its heart, of course, is the guitar. While other areas and ethnic groups can feature eccentric tunings, the Saibatin folk of South Lampung tend to play either in standard tuning or a slightly modified version where the A string is tuned up to a B (I never thought to ask these things when I first recorded Sumatran guitar music years ago!) Songs are based on special picking patterns called peting: in our recording session, Imam played pickings called peting gitar Saibatin (“Saibatin guitar picking”), dobel bas (“double bass”, where the thumb picks the bass strings actively along with the melody-picking index finger), and peting gambus klasik (“classic gambus picking”), a simpler picking style based on the technique of playing the gambus, a lute with roots in Yemen which is popular all across the archipelago. Other pickings include ngalalawai and peting segata

    Imam explained that Saibatin-style gitar klasik is known for its wide melodic range, as the instrumental intermissions called jedah feature intricate melodic runs that span the length of the fingerboard. During verses, the index finger picks out a melody that roughly follows the vocal line, but never exactly - this is one of the challenges of playing gitar klasik, and being able to play fluidly while singing is a mark of a master musician.


    The vocals, meanwhile, are sung in the local language (in this case, bahasa Lampung) in the rhyming verse form called segeta (a kind of pantun.) Other freer songs are based not on segeta but on improvised cerita, or stories. Even segeta are narrative-driven, it seems, and epic stories can stretch songs into hour-long affairs. In gitar klasik as in many other Indonesian genres that mix vocals and instruments, the song texts are more or less independent of the picking or melody used. In other words, you can have two pieces that use the same picking but with different lyrics; it may sound the same to folks who don’t speak the language, but for locals, they are two very different “songs.” Songs can be about anything from history to folk genealogy, but the favorite topic, unsurprisingly, is love. 

    Gitar klasik translates, of course, to “classic guitar,” and it obviously evokes a sense of nostalgia for its golden era in decades past (one wonders what it was called then, simply “gitar”?) It’s mostly the older generation who are carrying the tradition, with professional guitarists hired to play at events like weddings and circumcisions, and amateurs playing for the amusement of their families and themselves at home. I wonder about the future of this music, though. These days, dangdut pop music and electronic organ music is more popular. With charismatic torchbearers like Imam Rozali around, though, I don’t think gitar klasik will be dying out anytime soon.


    I came to Lampung for the gongs. An old friend of mine had introduced me to a young Australian ethnomusicologist, Mitchell Mollison, who is researching the talo balak gong chime tradition of the region. I’d been looking for an excuse to visit Lampung for a long time - it was the last province in this corner of Sumatra that I hadn’t visited. Mitch wrote to say he was going to record some gong groups in East Lampung, and a few weeks later I was there.

    The talo balak was great, but I had a few extra days to kill in the regional capital of Bandar Lampung and I was eager to hear Lampung’s take on Sumatran guitar. Luckily, Mitch’s friend Indra had the hook-up: all it took was a phone call and the next day we were recording Imam Rozali.

    The author and Imam Rozali 

    The author and Imam Rozali 

    Imam had taken a taxi into Bandar Lampung from his village in the south, and when we went to pick him up in the middle of town, he wasn’t hard to spot. Guitar case in hand, he was dressed like a David Lynch character, sporting an oversized beige jacket and a cartoonish yellow tie. Climbing into Indra’s car, he instantly launched into charismatic self-promotion, telling us proudly how he’d played for Indonesian presidents Megawati and Susilo Bambang Yudhoyono, and he’d be playing for Jokowi in September! 

    Indra had offered to help us rent a studio, but his living room turned out to be just fine. Imam had brought an electric guitar with him that looked more suitable for a hair metal band than the placid folk picking of gitar klasik, but he opted to use Indra’s electric-acoustic in the end (gitar klasik can be played on either, but I’d say acoustic is more common just for economic reasons.) Imam insisted that he was used to playing plugged in, so we ran the guitar through Indra’s Peavey amp, the sound warm and crisp. I usually like to record acoustic, but it seems like the amplified guitar sound has become part of the gitar klasik aesthetic in the past few decades. Why mess with the formula?

    Uniquely for a traditional musician, Imam came ready with a repertoire of his own material (the lyrics, that is - remember the “pickings’ are a separate, more standardized thing.) His hit, known throughout his part of Lampung, is “Kumbang Kupi,” so that’s the first one I’ll share with you. Singing in the segeta verse form, Imam addresses his lover, explaining that he’s eager to marry but can’t yet afford the bride price: “[Skin] white like a coffee flower (kumbang kupi), if you really like me, you’ll wait one year [to marry me.]” 

    Next was “Jada Ulun Tuha”, or “Far From My Parents.” In the song, Imam sings as a young man who has immigrated (merantau) far from home. The song is a tender take on the feeling of homesickness familiar to anyone who’s moved to a strange new place. Unlike the Minangkabau people of West Sumatra who are famous for their traditions of merantau, Lampung folks are homebodies, and those who immigrate to other parts of Indonesia often find it a challenge. 

    It was a delight to hear Imam play, as his performances were nearly flawless. In my travels around South Sumatra and Bengkulu, I’d met quite a few folks promised to be guitar masters, only to be met with sloppy playing and unsteady vocals. Sumatran guitar is a quietly virtuosic style, easy to play poorly and hard to master. It’s also a genre where each player’s individual style really shines through, and Imam Rozali has truly put his stamp on it. Maybe he’s earned his place in the center of gitar klasik history, after all. 


    Huge thanks to Mitch for helping out with this session, and for introducing me to Bang Indra. Terima kasih banyak Bang Indra untuk mengenalkan saya sama Pak Imam Rozali...dan tentu saja terima kasih Pak Imam Rozali AKA Batin Pahit Lidah untuk musiknya, luar biasa! 

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    320 kbps | 104 MB | LINKS


    01. Shooting Star 03:08
    02. Far Away 03:05
    03. Whiskey In The Jar 04:03
    04. Plastic World 05:38
    05. Clowns In A Game 04:17
    06. Greenlands 03:41
    07. Going Down 03:38
    08. Black Velvet Band 05:08
    09. Hell You Know 04:22
    10. Island Of The Green 04:48
    11. Spanish Lady 03:15
    12. A Lost One’s Ballad 03:48

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    320 kbps | 71 MB | LINKS

    A performer in Toronto since 1990, when not touring the globe w/ Lemon Bucket Orkestra, MLJ is a notorious busker and bartender, (NOW Mag Best Bartender, 2013). He leads the ArtSpin, playing trumpet while riding his bicycle, is creator of popular vinyl night, D-cide on the B-side. Fronts the 13-piece improv brassband Rambunctious, and holds a jazz residency at Communist’s Daughter since 2003.

    Michael Louis Johnson – guitar, vocals and flugelhorn
    Great Bob Scott – drums
    Nathan Dell-Vandenberg – trombone
    Christopher Weatherstone – saxophone

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    FLAC | 223 MB | LINKS

    Judee Sill was a true original. A singer-songwriter with a wealth of influences and a fascination with religion, she referred to her work as ”country-cult-baroque.” She was the first artist signed to David Geffen’s Asylum label, and, along with Joni Mitchell and Carole King, exemplified the breezy ”Laurel Canyon Sound” of the early ’70s. Sill scored moderate hits with Lady-O (originally written for the Turtles) and Jesus Was A Cross Maker and released two albums – 1971’s Judee Sill and 1973’s Heart Food – before suffering chronic pain and eventually dying of a drug overdose at age 35.

    Sill grew up in Oakland, California, and began playing piano at age three. A troubled family life and brushes with the law landed her in reform school, where, as church organist, she developed the gospel style that would characterize her future recordings. After a stint in college and three down-and-out years of addiction, she cleaned up and began work on her dream of becoming a songwriter. She spent a short time penning songs for the Turtles’ production company before signing her own deal with Asylum.

    Pleased with the creative direction of Judee Sill, the singer-songwriter again teamed with engineer/producer Henry Lewy (Joni Mitchell, Neil Young) for her follow-up. On Heart Food, Sill’s voice is stronger and Lewy’s production more resonant. Built around the singer’s guitar or piano, the songs are arranged with similar ambition. Rather than using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone. But the results are outstanding, with echoes of Bach supporting the stellar early ’70s Laurel Canyon singer/songwriter melodies. The supporting cast of top L.A. studio musicians solidifies Sill’s unique brand of folk-flavored pop, which moves from introspective meanderings to loping rock, often within a single song.

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    Full Tilt Remix Vol 72 (2017)

    Artist: Various Performers
    Title: Full Tilt Remix Vol 72
    Label: Full Tilt Remix LLC
    Style: Electropop, Tropical, Disco, Hip House, Folk, Ragga, Dancehall, Synthpop
    Release Date: 10-05-2017
    Format: CD, Promo, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 15 Tracks
    Size: 162 Mb / 01:10:37 Min

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    Judy Mowatt - Black Woman (2015)
    Label: Caroline 
    Жанр: Reggae
    Год выпуска: 1979 / 2015
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 66:32
    Размер: 459 Mb

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    Δύο χρόνια πριν τη «Νύχτα των Ζωντανών Νεκρών» (1968), ο Ντίνος Δημόπουλος σκηνοθετεί το σενάριο του Φώσκολου «Κοινωνία Ώρα Μηδέν» (1966), με τον Κούρκουλο, τη Χρονοπούλου κ.ά. Στην ταινία υπάρχει καθαρή σκηνή με ζόμπι (τους σκοτωμένους ενός αεροπλάνου, που ζωντανεύουν στα μάτια του Κούρκουλου και ζητούν δικαιοσύνη ή εκδίκηση). Τα ελληνικά ζόμπι είναι τέλεια μακιγιαρισμένα και περπατάνε αργά, όπως κι εκείνα του Ρομέρο!

    Ο τουρισμός είναι η καταστροφή του φτωχού -του ενός τρίτου των Ελλήνων δηλαδή-, καθώς τον πάει ακόμη πιο βαθιά στα τάρταρα.
    Για παράδειγμα είναι η βασική αιτία τις αύξησης των ενοικίων παντού στην Αθήνα το τελευταίο διάστημα (λόγω Airbnb), αφού κανείς δεν περιμένει τους ντόπιους να πληρώσουν τα ακριβά πλέον ενοίκια (τα οποία πληρώνουν και με το παραπάνω οι τουρίστες) και, κλασικά, είναι η αιτία τής γενικότερης αύξησης των τιμών λόγω της υπερβολικής ξένης ζήτησης, που έχει βεβαίως δυναμικά χαρακτηριστικά (άρα είναι ακόμη πιο επικίνδυνη όσον αφορά στη σταθεροποίηση των υψηλών τιμών), με τον πληθωρισμό να οδεύει ολοταχώς για το 2%. Και τούτο όταν τα εισοδήματα είναι ανύπαρκτα για το ένα τρίτο των ανθρώπων της χώρας, με την ανεργία να κυλάει σε διαστημικά ύψη.
    Φάτε τουρίστες… 

    O Κώστας Μουρσελάς που πέθανε σήμερα στα 85 του δεν ήταν μόνο ο γνωστός και καταξιωμένος λογοτέχνης («Βαμμένα Κόκκινα Μαλλιά») και θεατρικός συγγραφέας («Ω! Τι Κόσμος Μπαμπά!»). Είχε κάνει και κάποια περάσματα από το σινεμά, καθώς είχε εμπλακεί στα σενάρια τριών τουλάχιστον ταινιών. Οι δύο απ’ αυτές, μάλιστα, είναι από τις πιο σημαντικές του ελληνικού κινηματογράφου.
    Ο Κώστας Μουρσελάς είχε επιμεληθεί τους διαλόγους στο «Πρόσωπο με Πρόσωπο» (1966) του Ροβήρου Μανθούλη, ενώ είχε γράψει εξ ολοκλήρου το σενάριο στην ταινία «Ένας Νομοταγής Πολίτης» (1974) του Ερρίκου Θαλασσινού.  

    Να πάτε στο Ρομάντσο και να δείτε την έκθεση Η ΕΠΟΧΗ ΤΟΥ ΔΙΑΣΤΗΜΑΤΟΣ. Υπάρχουν πολύ ωραία πράγματα εκεί, που αφορούν πολλούς – και μουσικόφιλους και φίλους των εικαστικών κ.λπ. Εγώ προσωπικά εντυπωσιάστηκα από τα διαστημικά παιγνίδια (ελληνικά και μη). Καταπληκτικά!
    Και από τις συζητήσεις με τους Θανάση Μουτσόπουλο και Νεκτάριο Παπαδημητρίου άλλο ένα θεματάκι.
    Δεν ξέρω πόσοι έχουν προσέξει την εισαγωγή από το «Πυρετός 42», το φοβερό τραγούδι των Πελόμα Μποκιού από το 1972. Για μισό λεπτό στην αρχή ακούγεται κάτι ηλεκτρονικό… Ίσως είναι θερεμίνη. Αλλά μάλλον όχι. Κάποια γεννήτρια ίσως…

    Επειδή χθες είχαμε μια συζήτηση με τον Νεκτάριο Παπαδημητρίουκαι τον Θανάση Μουτσόπουλο, στο Ρομάντσο, περί ηλεκτρονικής μουσικής στην Ελλάδα.
    Η "Τετραλογία" (1975) του Μούτση είναι το πρώτο ελληνικό άλμπουμ στο οποίο ακούστηκε moog synthesizer.

     Το κομμάτι αυτό είναι ένα απότα κορυφαία garage-punk των σίξτις και το είχε πει ο μεγάλος Bob Seger στην πρώτη πλευρά του single “East Side story/ East side sound”, που είχε βγει στην Hideout του Ντιτρόιτ το 1966. Το τραγούδι είχε δώσει, άμεσα, τη δυνατότητα στον Seger για ένα συμβόλαιο με μεγαλύτερη εταιρία και κάπως έτσι ξαναβγήκε μέσα στην ίδια χρονιά στην Cameo-Parkway, ως Bob Seger & The Last Heard αυτή τη φορά. Ακούστε…

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    320 kbps | 120 MB | LINKS

    With fourteen tracks in total, you’ll find a great mixture of songs ranging from traditional bluegrass and gospel to straight ahead country.

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    320 kbps | 427 MB | LINKS

    DELUXE 3 X CD BOX SET FEATURING THE BEST OF METALLICA IN CONCERT They formed more than 35 years ago and across that astonishing time period Metallica have released 11 studio albums. While these records are all rock classics, there is one thing better than listening to a Metallica album: witnessing the band play live. This 3 x CD box set features live selections from the entire career of Metallica to date, all sourced from broadcast or transmission appearances, and is presented in this deluxe compilation for all fans of the band to add to their collections and libraries. Including the band s finest numbers live, in perfect audio quality, this compilation is set to become one of the best loved Metallica titles.

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  • 07/17/17--10:45: Spirits
  • Nigerian–born, London–raised, Brooklyn–based saxophonist, composer and producer Zem Audu is no novice to the music industry. While working closely with notable names like Hugh Masekela, Jason Moran and Lauryn Hill over the years, the Skatalites band member has ingested a variety of genres: contemporary jazz, ska, reggae, funk, soul and r&b.

    Zem’s new album, Spirits (Origin Records), is a fusion of his life experiences: his roots in Nigeria–Afrobeat and highlife; his influences from living in England, giving him exposure to ska, reggae and Caribbean music; and funk, soul and r&b from his stay in the United States. These diverse experiences all come together to infuse his style of contemporary jazz with a richness of culture and groove. The self-produced 11–track LP features Zem on the saxophone, fusion guitarist Mike Stern (a veteran of Miles Davis’ band in the early ‘80s), Benito Gonzalez on keyboards, Ben Williams on the electric and upright bass, and John Davis on drums.

    The musical expedition starts with Neon Lights,” a feel-good, chill song that exudes good energy through the drummer’s delivery. The sweet, soulful melodies of the saxophone are accompanied by piano chords that build up with the excitement of the drums locked in the groove of the funky bass line, later spiced up with the dark riffs of Mike Stern’s guitar solo. “Big Q” has an upright bass and a very funky ska and dub vibe to it. “Muso,” a jazz-funk track, starts gradually with a smooth soulful sax leading to the shiny sounds of the cymbals and a little rumble of toms, giving way to the bass guitar, leading to more arpeggios by Zem. The drums are more upfront and rhythmically syncopated, with Benito’s great piano solo before the saxophone solo that goes into the bass solo sounding a bit like Jaco Pastorius. Benito starts “Bird” with some arpeggios that welcome the drums and upright bass. Reminiscent of Cape Town jazz, this track makes you want to cruise.

    The title track is an Afrobeat and jazz fusion with a heavy killer groove. Williams switches to the electric bass once again, with reggae-style chords on the piano at first that break up into a tight propulsive Afro feel. John gets into an Afrobeat drum rhythm that works so well with the bass’s continuous infectious groove it makes you want to get up and dance. Zem and Mike play in unison leading into the guitar solo, sounds a bit like George Benson at some point, but in a Mike Stern context, before Zem’s solo. The funky track, “Flow,” is an American standard that sounds like the new recordings of Fred Wesley but gets jazzier as it goes on. Mike sits out on the airy and spacey track “Dragon,” leaving Zem and Benito to work brilliantly together. “Bamijo,” which means “dance with me” in Yoruba, is a laidback song with a prominent upright bass, and Mike is back, giving some sexy notes on his guitar complemented by Zem’s sultry and mellifluous tone. “Arcade” has Ben’s killer solo leaving a print on the dreamy track. “Moth” has some festive calypso and highlife ingredients in it, with Mike showing his virtuosity once again, not to mention Ben’s bouncy bass line and a crazy drum solo by John. “Nebula” is a groovy chill track that swings and has some r&b and soulful ingredients.

    One of Zem Audu’s outstanding attributes is that he gives the other musicians room to shine even though it’s his album. Spirits is a pot of many ingredients: Afrobeat, funk, reggae, soul, and r&b, all under the umbrella of jazz. There have been many fusion albums from heavyweights like Miles Davis, Herbie Hancock and Return to Forever, but Zem’s diversified musical vocabulary makes Spirits a unique and up-to-the-minute album.



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    coverVarious Artists
    Soul Jazz Records presents Space, Energy & Light: Experimental Electronic And Acoustic Soundscapes 1961-88
    (Soul Jazz Records, 2017)
    more details

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    Maggie Thorn • The Other Side Жанр : Country Rock/Americana Страна : USA (Nashville, TN) Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:46:40 Наличие сканов в содержимом раздачи : нет Источник релиза : Lossless 01.

    Тема на форуме

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    Orchestra Baobab - Pirates Choice (1989) [LP Remastered 2015]

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    The Orchestra SoledadOriginally released in 1970 by little-known Chicago imprint Futuro, Vamonos / Let’s Go! is the first and only album recorded by Brooklyn neighbourhood salsa band The Orchestra Soledad. Led by trombonist and singer Hector Ramos, the music of Orchestra Soledad is characterised by brash and energetic salsa arrangements created by Ramos himself, who also composed (or co-composed) all of the music featured on the LP.
    This ultra-rare record came to our attention courtesy of DJ Amir who discovered it (along with a ‘battle of the bands’ trophy that the band had won) in a shop located only blocks away from the Bushwick home of Hector Ramos. Immediately captivated by the striking artwork and incredible music, Amir went on to include the track…

    94 MB  320 ** FLAC

    …“El Ritmo Soledad” on his 2016 BBE compilation Buena Música Y Cultura, an album celebrating latin music from across the Americas.

    The Orchestra Soledad was made up of talented local kids (maybe local heroes), all dreaming of Fania All-Stars fame when they stepped in the studio, sadly destined never to ‘make it’. Yet this one shining album remains, a lasting testament to their brilliance. Raw, authentic 70s street salsa, all the recordings featured on ‘Vamonos/ Let’s Go!’ have a distinctly live, unpolished feel, evoking all the sweat and drama of a hot summer’s night in the barrios of Sunset Park, Bushwick or Williamsburg back in the day.

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    We’re pleased to share another exclusive mix from DJ Ephraim Asili, who delivered the Brazil Samba MPB Vol. One mixtape to us last year. Asili, a full-time visiting artist in the Film and Electronic Arts Department at Bard College, returns to share with us some of his favorite 45s that he picked up on a recent trip to Kingston, Jamaica.

    The mixtape, which was recorded live by Asili this past week, touches upon all of the cornerstones of Jamaican music. Coming in at just short of two hours, the expansive 40-plus track mix features dub, ska, rocksteady, dancehall and of course reggae tracks, all deejayed seamlessly into one another to deliver a show that’s about as close as you can get to a sound system experience without a trip to the island nation. Dub is a natural inclusion in the mix as the genre grew out of remixes popularized by the sound systems. Studio engineers would remove the vocals from already popular tracks and place more emphasis on the drum and bass parts. Asili stays true to the traditional Jamaican sound with his deejaying by featuring classic artists like Bob Marley and Barrington Levy, but throws in a few unique picks like Joyce Bond’s cover of the Beatles’ “Ob La Di Ob La Da.” The mix can be found on Asili’s Soundcloud and you can also hear him deejay his weekly radio program “In the Cut” on WGXC.


    1. “Capone’s Revenge” Glen Adams

    2. “Cream of the Crop” Prince Fari

    3. “Sabotage” Desmond Dekker

    4. “Wake up Jamaica” Dennis Alcapone

    5. “A Shot in the Dark” Roland Alphonso

    6. “A Love Like Yours” John Holt

    7. “Get Up” Jackie Edwards

    8. “Moments” Al Campbell

    9. “Baby I’ve Been Missing You” Bunny Maloney

    10. “Just Don’t Want to be Lonely” Horace Andy

    11. “It’s A Shame” Delroy Wilson

    12. “Dum Dum” Delroy Wilson

    13. “Life Is For Living” Elaine Moore

    14. “Natty Cool” Jah Sonny

    15. “Rent Crisis” Max Romeo

    16. “World Go Away” Elaine Moore

    17. “Memories By the Score” Ansel Linkers and the Christian All Stars

    18. “Bridge Over Troubled Water” Jimmy London and the Impact All Stars

    19. “Let It Be” The Mohawks

    20. “Ob La Di Ob La Da” Joyce Bond

    21. “Pretty Cottage” Stranger “Soul” Cole

    22. “Mighty Organ” Glen Adams

    23. “Chicken Mary” The Pyramids

    24. “Our Reggae Music” Brown Sugar

    25. “The Bed’s Too Big Without You” Sheila Hylton

    26. “Top Rankin (1995)” Althea and Donna

    27. “You Don’t Love Me (No, No, No)” Dawn Penn

    28. “That’s the Way Love Goes” Sharon Forrester

    29. “Speak Softly Love” Clive Mathews

    30. “Under Mi Sensi” Barrington Levy

    31. “Tribute to Marley” Lone Ranger

    32. “Ambush In the Night” Bob Marley

    33. “Rock to Sleep” Horace Andy

    34. “False Rasta” Jacob Miller

    35. “Acting Strange” Delroy Scarlett

    36. “Skylarking” Horace Andy

    37. “Some Day We’ll Be Together” Joy Roberts

    38. “Just My Imagination” The Charmers

    39. “La La Means I Love You” Alton Ellis

    40. “Gypsy Woman” The Mighty Diamonds

    41. “Voice of My Father” Dennis Brown

    42. “Rooting For A Cause” The Cimarons


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