various recordings of S.H
various recordings from 78's of the obscure post-war Rebetika singer Stella HashKill..
s.
Audiotalaia Netlabel
''Circles Around The World is a various artists compilation that can be seen as a celebration of the 25th release in Audiotalaia Netlabel. Over this two years of work we have been releasing works from artist all around the world. For this special occasion we want to deliver a gathering of works under a common concept....''
CIRCLES AROUND THE WORLD
s.
can
In the early 70s, British DJ John Peel was a great supporter of what later became known as Krautrock and Can recorded four sessions for his show (15 - 20 minutes recorded live at BBC studios) from 1973 - 5. Can's albums were all recorded at their own studio with Holger Czukay producing, so this really captures them in an unfamiliar setting. Can always incorporated a lot of improvisation in their shows, and most of the music on this CD is what Holger Czukay called 'spontaneous compositions.'
The CD starts with a lengthy piece from what is generally regarded as the classic Can line up with Damo Suzuki on vocals. Up The Bakerloo Line With Anne (possibly named for DJ Anne Nightingale) starts rather tentatively with some of Karoli's trademark blues raga guitar, before quickly hitting a Future Days style groove. Czukay and Liebezeit hold down the rhythm, while Karoli and Suzuki free form all over the place and Schmidt adds odd washes of colour from his keyboards. This is Can at the top of their game, demonstrating an almost telepathic interplay and conjuring up mind spinning sounds apparently out of thin air, although the fact that they had been playing together 10 hours a day for several years probably helped. When the piece fades out at 18.46 you're left with the feeling that they'd just got started and there was much more to come. The next two tracks were recorded 18 months later, and bear a strong resemblance to side 2 of Soon Over Babaluma. Return to BB City is a low key piece which recalls Quantum Physics, dominated by Schmidt's ghostly keyboards and Liebezeit's understated percussion. Tape Kebab is a fuzz guitar led freak out in the mould of Chain Reaction, but even more intense - this is one of Karoli's finest moments as a guitarist. Tony Wanna Go was recorded 9 months earlier, and is another long improvisation with some jaw dropping moments. Suzuki may have left, but in 1974 Can had lost none of their drive and fire. The last two tracks were recorded in 1975 at around the time of Landed, and show the band just past their peak. Geheim (Half Past One), as the title implies, is a reworking of Half Past One from Landed and features Michael Karoli on vocals - it's atmospheric stuff, but lacks the intensity of what went before. The last track is based around Irmin Schmidt's piano playing, and there is a splendid interplay with Karoli's guitar. It's highly structured and probably the closest thing to mainstream prog on the album, but as with Geheim there's a feeling that the band have lost some of their other worldliness and that they have started playing safe.
This is an excellent collection of largely original material from one of the seminal Krautrock bands, and shows their development over 2 years and 3 studio albums. Few of their contemporaries had such a talent for improvisation - King Crimson were probably the only other band at the time who had the same kind of interplay - but very little of their spontaneous music has been officially released. This album shows just how good they could be. Strongly recommended.
THE PEEL SESSIONS(manand)
talk talk
Virtually ignored upon its initial release, Laughing Stock continues to grow in stature and influence by leaps and bounds. Picking up where Spirit of Eden left off, the album operates outside of the accepted sphere of rock to create music which is both delicate and intense; recorded with a large classical ensemble, it defies easy categorization, conforming to very few structural precedents -- while the gently hypnotic "Myrrhman" flirts with ambient textures, the percussive "Ascension Day" drifts toward jazz before the two sensibilities converge to create something entirely new and different on "New Grass." The epic "After the Flood," on the other hand, is an atmospheric whirlpool laced with jackhammer guitar feedback and Mark Hollis' remarkably plaintive vocals; it flows into "Taphead," perhaps the most evocative, spacious, and understated piece on the record. A work of staggering complexity and immense beauty, Laughing Stock remains an under-recognized masterpiece, and its echoes can be heard throughout much of the finest experimental music issued in its wake.
LAUGHING STOCK
(manand)
μπει μπει
New music by Gu Zheng performer Bei Bei and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery and spiritual jazz. This uplifting, genre-bending, soundclash recalls the afrocentric harping of Dorothy Ashby, the hypnotic style of Alice Coltrane, and the organic electronics of Fourtet and Quantic.
For this introductory, limited edition 10” EP, we include the original and instrumental versions of “Make Me Stronger,” with a vocal by Georgia Anne Muldrow who has recently produced and sang on records by Mos Def and Erykah Badu (she is also working on a solo record for Ubiquity.) Alongside these, is a storming version of the Billy Paul psychedelic soul opus “East.” And a remix by UK producer Floating Points (whose “Love Me Like This”, “Vacuum Boogie”, and “Radiality” releases have been turning heads all year long) takes the track deep into FP vs. Wu-Tang territory
απλα εκπληκτικο!!!
μπιουτι & δε μπιτς
(manand)
jackie mclean
HIPNOSIS
The title track is a snake charmer kind of vamp that is an excellent showcase for both the rhythm section and the soloists. Of particular note is the way drummer Higgins and pianist Lamont Johnson interweave the basket out of which emerge the serpentine horn lines of Jackie and Grachan. Some might call this a super-sophisticated "Sidewinder".
"Slow Poke" written by Jackie, is a soulful off-the-wall composition that recalls the best elements of early Ornette Colman but remains all Jackie just the same. The rhythm section comes and goes as it pleases, with pianist Johnson leaving large holes for Scotty Holt and Higgins to move about and much of the harmonic structure, like the time, is taken for granted or approached from relatively arbitrary angles by the horns. The common conception is simply no longer one of grooves but is expanded to include dramatic movement. Bassist Holt, who was a protege of Jackie's, solos with excellent facility and covers all the bases.
"The Breakout" does just that after a brief skirmish with a cross time opening theme. The soloing employs tone rows rather than chord changes. Despite the avant garde format, the soloing is somewhat traditional in character, and after a short series of chord resolutions, the piece abruptly ends.
"Back Home" by Moncur, reminds the listener that Grachan put in several long seasons on the road with the Ray Charles Band. It opens with a dramatic lament, with Higgins kicking loosely on the background, and one can almost visualize a country rode, down which comes a cow-cow boogie of the pure bred variety. The groove of this tune is authentic funk, more like Archie Shepp's tributes to his roots than the artificial twist jazz that was fashionable in the 60s.
The date ends with Johnson's "The Reason Why", a very rational chord progression followed by a string of logical rhythm kicks, out of which comes Jackie, flying upside down and sideways, wonderfully free and being buoyed up by the currents being generated behind him. His off-hand outside-in approach is a good closer to his package, as it demonstrates the fifties, sixties and even seventies elements in his playing.
(manand)
faust
Basically an expanded version of Munich and Elsewhere (which was itself a compilation of unreleased material), with the addition of the unreleased LP Faust Party Three (parts of which had previously appeared only as limited-edition EPs and singles), as well as two previously unreleased tracks. Parts wed brutal drum patterns to insistently repetitive guitar riffing; there are prog rock keyboard passages that slightly recall Soft Machine; and "Don't Take Roots" sounds like an unintentional satire of the cheap California psychedelia that you might hear on a late-'60s youth culture exploitation flick. Sometimes it even sounds like a parody of early King Crimson-type pomp rock. It would be nice to have some liner notes explaining exactly what comes from where, but basically what you need to know is that it was all recorded in Germany from 1971 to 1975 and is on par with the quality of the albums they actually released during that time.
71 MINUTES OF FAUST
(manand)
hank mobley
Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back." Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.
NO ROOM FOR SQUARES
1st track
(manand)
the united states of america
Originally released on Columbia in 1968, The United States of America is one of the legendary pure psychedelic space records. Some of the harder-rocking tunes have a fun house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self-conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic.
THE UNITED STATES OF AMERICA
(manand)
R.I.P MIDNIGHT
...''in death i've found the answer
in death i live again
fear not the reaper's blade
it does not mean the end
it never really ends....''
TRANSCENDENCE
R . I . P
the gaslamp killer and free the robots
THE KILLER ROBOTS EP
"Obey follows up their lauded A-Trak project with this beats excursion from two of LA's finest: Free The Robots and Lab's own Gaslamp Killer. Free The Robots starts off the EP with the maniacal psyche beats of "Clocks and Daggers." Wicked stuff for the horror-minded. GLK tags in with "Show Stopper," a heavily Indian flavored track with that tricky drum programming that we expect from this dude. FTR tags back with "The Bearded Lady Theme," a bluesy, playful number that harks back to their first EP release (also available digitally at the lab). GLK comes in for the finale, "Zalim," a thick number that will take you to the back alleys of Mumbai." - turntablelab.com
(manand)
mongo santamaria
ALL STRUNG OUT
Like most of Mongo Santamaria's Columbia efforts, All Strung Out consists largely of blistering Latin soul renditions of contemporary pop hits -- the formula may frustrate listeners yearning for a return to the traditional charanga sensibilities that defined the percussionist's early dates for Fantasy, but there's no denying the sheer energy and infectiousness of this music. As always, Santamaria approaches familiar pop texts like "Day Tripper" and "Ain't Too Proud to Beg" with deep respect and understanding, creating soulful, righteous rhythms that snake in and out of the original melodies with brilliant precision. Arranger Marty Sheller is in top form here as well, complementing Santamaria's relentless conga drumming with soaring horns and scorching piano -- the album's centerpiece, "Do Your Thing," may signify the apex of their collaboration, capturing Latin soul at its most transcendentally funky.
(manand)
"This material represents synthesis of styles trip-hop, synth-pop, electro-pop and ambient/downtempo", he said. "The album has turned out conceptual, it is devoted a theme of search of self-identification of the person in a modern society, to metaphysical search of the real name."
NOMEN
MetalOnMetal
i ''borrowed'' this from the Last Train To Cool blog and to tell you the truth i haven't even
listened to it yet but that cover artwork is so absolutely fucking awesome that made me post it here..as for the music it's Ron Carter and Billy Cobham ''arranging jazz music from Empire Strikes Back''..Hellyeah!!!
EMPIRE JAZZ
Heavy Fuckin' Metal
the undisputed truth
FACE TO FACE WITH THE TRUTH
A very sweet little album by this great Motown group! The record was produced by Norman Whitfield, and it's a perfect example of the rumbling funky soul sound that he was developing at the time -- a mixture of heavy bass, rumbling percussion, fuzzy guitars, and a stone righteous sound that pushed soul music firmly into the 70s! The songs are mostly all originals written by him and Barrett Strong -- and the band is filled with great players like Dennis Coffey, Earl Van Dyke, Johnny Griffith, and the great Melvin "Wah Wah" Ragin. Titles include "Ungena Za Ulimwengu (Unite The World) Friendship Train", "What It Is?", "Don't Let Him Take Your Love From Me", "What's Going On", and "You Make Your Own Heaven & Hell Right Here On Earth".
αυτο το "you make your own heaven & hell right here on earth" τι επος που ειναι!!!
(manand)
Willie Dixon was a prolific blues songwriter with more than 500 compositions to his credit. Born and raised in Mississippi, he rode the rails to Chicago during the Great Depression and became the primary blues songwriter and producer for Chess Records. "Willie Dixon is the man who changed the style of the blues in Chicago," proclaimed fellow bluesman Johnny Shines, as quoted in Guitar Player. "As a songwriter and producer, that man [was] a genius. Yes, sir."
CATALYST
HeavyMetal Is The Law
esther phillips
ALONE AGAIN, NATURALLY
One of the deepest soul sets from Esther Phillips' 70s years on Kudu Records -- a set with some nicely gritty grooves and a surprisingly earthy feel at times -- especially when compared to some of her other albums of the time! Backings are by James Brown's old reedman, Pee Wee Ellis -- and although there's some of the usual Kudu electric funk in the mix, there's also some deeper soul elements too -- a vibe that's often a bit laidback and open, almost more Atlantic Records at points -- which is a mighty good fit for Esther's wonderful voice! As usual for Kudu, the players are an all-star lineup -- one that includes Richard Tee on keyboards, George Benson on guitar, Maceo Parker on tenor, and Bernard Purdie and Billy Cobham on drums -- and Don Sebesky's also on deck a bit, to sweeten a few tracks up with light strings. The album's got a great version of Bill Withers' "Use Me" that features a tasty break in the intro -- and other titles include a great version of "Alone Again (Naturally)", plus the cuts "Let's Move & Groove", "Cherry Red", "Let Me In Your Life", and "You & Me Together".
(manand)
otis redding
OTIS BLUE
Otis Redding's third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, "A Change Is Gonna Come" and "Shake," are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it's useful to hear the songs from those sessions juxtaposed with each other, and with "Wonderful World," which is seldom compiled elsewhere. Also featured are Redding's spellbinding renditions of "(I Can't Get No) Satisfaction" (a song epitomizing the fully formed Stax/Volt sound and which Mick Jagger and Keith Richards originally wrote in tribute to and imitation of Redding's style), "My Girl," and "You Don't Miss Your Water." "Respect" and "I've Been Loving You Too Long," two originals that were to loom large in his career, are here as well; the former became vastly popular in the hands of Aretha Franklin and the latter was an instant soul classic. Among the seldom-cited jewels here is a rendition of B.B. King's "Rock Me Baby" that has the singer sharing the spotlight with Steve Cropper, his playing alternately elegant and fiery, with Wayne Jackson and Gene "Bowlegs" Miller's trumpets and Andrew Love's and Floyd Newman's saxes providing the backing. Redding's powerful, remarkable singing throughout makes Otis Blue gritty, rich, and achingly alive, and an essential listening experience.
(manand)
Acte Vide
Acte Vide is an open-ended duo project. It consists of a series of improvised sessions that happen spontaneously and at intermittent periods, and involve mainly piano and laptop, but extend to voice, percussion, and any found object in sight.
Acte Vide is also a constant circle of reactivity between two sound sources, two personalities, and two lives. We tend to move around a lot and have often spent long periods of time separated by considerable geographical distance. Our sessions are intimate and concentrated, and they are treated and documented as one-off performances, usually relying on very basic home recording set-ups, with virtually no editing.
Le Nouveau Sans Frontières (Live at Cafe Oto) [2009]
or download it directly from Acte Vide's Webpage
gzrstrrr
lodestar
Lodestar were formed in 1996 by Heitham Al-Sayed (Lead Vocalist), John Morgan(Drums) and "Haggis" (Bass/Sound Engineer) after they left Senser.
LODESTAR
(manand)
Eddie Gale
''It is often difficult to gauge the relative importance or message of an artwork, years or decades after its initial release. Truly impressive are those works that not only retain their Zeitgeist, the spirit of the times, but also find relevance and significance with the present. Listening to the re-release of 1968's Eddie Gale's Ghetto Music, one not only senses the social awakening of the late 1960s, there is an equal and unfortunate awareness of our current cultural waste. Francis Wolff, co-founder of Blue Note, felt so strongly about this album that he personally financed the production and release of this music in 1968, after recording Gale on Cecil Taylor's Unit Structures and Larry Young's Of Love and Peace.
Along with its companion piece, Black Rhythm Happening, Eddie Gale's Ghetto Music fell victim to the chaos following Liberty Records' takeover of Blue Note. Both pieces never appeared beyond their initial releases, until now.
The good people at San Francisco-based Water Music have taken the initiative and re-released Eddie Gale's Ghetto Music on CD. The success of the album stems from its unique use of folk, blues, gospel, soul and jazz to create a wildly vibrant, urban force. "The Rain," with Joan Gale's soft, assured delivery, sets the pace for the entire album, as it morphs from a single guitar strum into a massive entity of sound, rhythm, and swing. Surprising, since 17 musicians appear on the album, is the precision and efficiency of the music.
On "Fulton Street," for example, the feel of the famous Brooklyn street is captured immediately by the child-like voices pronouncing its name proudly: "Fulton Street, baby!" Then, the low down riff comes in, the singers mimic the sound of the horns, they interchange riffs, and someone runs here, somebody else goes there, and you feel it, you're on Fulton Street, baby. It welcomes you.
Once in, it may well be difficult to relinquish the sensation of songs like "A Walk With Thee" or "The Coming of Gwilu." Both burn as deep, groove as hard, as anything else on the vaunted Blue Note catalog. For that reason, those that rarely venture outside the hard bop fringes of Blue Note will be most rewarded by the music here, as it presents new possibilities without abandoning the "Blue Note sound." ''
Ghetto Music
gzrstr
''...We welcome to trastienda the antifolk duo from Los Angeles, Makeshivt Kity. Discover their personal sound thru the single Again and the album Los Angeles: seven tracks in which the amazing voice of Jordannah Elizabeth floats over the experimental works by Chris Bullock on the autoharp....''
LOS ANGELES
GZRSTRRR
horace silver
SERENADE TO A SOUL SISTER
One of the last great Horace Silver albums for Blue Note, Serenade to a Soul Sister is also one of the pianist's most infectiously cheerful, good-humored outings. It was recorded at two separate early-1968 sessions with two mostly different quintets, both featuring trumpeter Charles Tolliver and alternating tenor saxophonists Stanley Turrentine and Bennie Maupin, bassists Bob Cranshaw and John Williams, and drummers Mickey Roker and Billy Cobham. (Williams and Cobham were making some of their first recorded appearances since exiting the military.) Silver's economical, rhythmic piano style had often been described as funky, but the fantastic opener "Psychedelic Sally" makes that connection more explicit and contemporary, featuring a jubilant horn theme and a funky bass riff that both smack of Memphis soul. (In fact, it's kind of a shame he didn't pursue this idea more.) Keeping the album's playful spirit going, "Rain Dance" is a campy American Indian-style theme, and "Jungle Juice" has a mysterious sort of exotic, tribal flavor. "Kindred Spirits" has a different, more ethereal sort of mystery, and "Serenade to a Soul Sister" is a warm, loose-swinging tribute. You'd never know this album was recorded in one of the most tumultuous years in American history, but as Silver says in the liner notes' indirect jab at the avant-garde, he simply didn't believe in allowing "politics, hatred, or anger" into his music. Whether you agree with that philosophy or not, it's hard to argue with musical results as joyous and tightly performed as Serenade to a Soul Sister.
(manand)
felt
Felt was formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards). The band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs written for the most part by Jackson. The mostly blues-styled songs on this album are full of great guitar work and contain fine Beatles-esque harmony vocals. While most of this album has a blues feeling to it, some of the songs hint of progressive rock with swirling keyboards, intense drumming, and blistering guitar solos. The album has recently been discovered for its musical excellence and has become a very rare collectors' item. Guitarist Lee would later go on to become a member of punk band the Dickies in the late '70s.
FELT
(manand)
blue mitchell
THE THING TO DO
This Blue Mitchell date is a classic, particularly the opening "Fungii Mama," which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson ("Step Lightly") and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended.
(manand)
...the wonder kid known as Fantastikoi Hxoi gives us an ep of five songs with his usual
dreamvintageGreeksampladelic atmospherics(this ep was given originally as a free cdr in the Party of the web music magazine MIC...you can also check F.H's blog here
APERANTA XORAFIA (ENDLESS FIELDS)
gzrstr
dino felipe
NO FUN DEMO
Miami-based sound wizard Dino Felipe has made a lot of records-- more than 30 in the past decade, if you count his various groups and compilation appearances-- but very few of them sound alike. His primary M.O. is electronic noise, but he's also good at droning ambience, fractured punk, sample-heavy frivolity, and weirdo bedroom pop. He's made a subterranean career out of dodging definition, so it figures that his first record for No Fun, the noise label run by his friend and colleague Carlos Giffoni, would be his poppiest to date. It may not also be his best, but it's up there.
Of course, pop is a relative term when it comes to Felipe. There are melodic, structured songs here, but his approach is still hazy, off-kilter, and weird. Most of his tunes sport skewed hooks and off-key riffs which get dipped in fuzz and echo, half-hidden by distortion, pitch shifting, and ghostly distance. This puts No Fun Demo in the same ballpark as the AM-radio lo-fi of Ariel Pink, but Felipe's songs are more sturdy, and the album is more consistent than any Pink record save the underrated House Arrest. In that sense, its title is deceptive: These tracks may initially sound like four-track demos made alone in a basement, but they hold up as well-crafted songs, the kind that couldn't have been whipped up in a single lonesome evening.
Take "Found 2 Photos"-- its mid-tempo drum machine, loping bass line, and two-chord organ seem to follow one simple idea. But a closer listen reveals clever guitar flourishes, random percussion, and a vocal line that sounds like Silver Jews filled with helium. The same goes for "Working on Not", a looping electronic piece that's like a pop take on Can or Excepter, and "Rabbit Head", whose sneaky melody at first seems lethargic, but eventually becomes energetic and almost tight.
A few of Felipe's songs are just flat-out, unfiltered pop. "I Wanna Feel Better" bends and twists around a syrupy hook, while the bouncing "Chandeliers" (a Haunted House cover) features scorched chanting over a driving piano line. Felipe only falters when he gets too retro-clever-- check the blatant 80s-synth exercise "What's Wrong With Me?"-- or repeats himself (a few of the slower pieces feel identical). But at least No Fun Demo is stylistically consistent. Felipe rarely deviates from his own oddball logic, and if his worst sin is not enough variety to give his music a wider appeal, well, maybe that's just another feather in his bulging cap.
(manand)
gandalf
GANDALF
With spellbinding, atmospheric songs which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin' Spoonful producers Charlie Koppelman & Don Rubin & conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf (not to be confused with the heavy metal outfit with the same name) features swirls of Hammond B3 organ, caressing vibraphone runs & electric sitar on Sando's originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner, Alan Gordon & Eden Ahbez.
(manand)
...this is the soundtrack of a Greek movie about going Pagan in the Heart of Athens.
a woman released from her inner fears surrenders to the secret desires of god Pan and his Satyr disciples,a metaphor for modern life's isolation and pressures....
M A N I A
gzrstr!
don cherry
ETERNAL RHYTHM
Eternal Rhythm is a masterpiece on several levels. It was one of the earliest major examples of the idea that it was possible for any and all musical cultures to exist simultaneously, a philosophy that rejected any innate musical hierarchy and had no trouble placing the earthiest blues alongside the most delicate gamelan. It was also a summit meeting between representatives of the American and European jazz avant-garde, black and white, dismissing as meaningless both the cautious attitude of American jazz musicians toward Europeans edging onto their turf and the tentative stance of Europeans playing a music that was not "theirs." More importantly, Eternal Rhythm exists as an utterly spectacular, movingly beautiful musical performance, one of the rare occasions where the listener has a visceral sense of borders falling and vast expanses of territory being revealed for the first time. Cherry balanced compositional clarity, wild free improvisation, and a totally inclusive musical consciousness in a manner seldom achieved, resulting in a cohesive, spellbinding session. His own playing throughout on both trumpet and flute is at his highest levels, but the contributions of his fellow musicians are just as amazing. Special mention should be made of guitarist Sonny Sharrock, whose "glass shards" approach is in full bloom here, and vibraphonist/pianist Karl Berger, who throws himself with sublime abandon into both the gamelan and blues aspects of the piece. If only the pallid "world music" of the succeeding decades had followed this model! Eternal Rhythm is Don Cherry's masterwork and one of the single finest recordings from the jazz avant-garde of the '60s. It is required listening.
(manand)
three fish
THREE FISH 1
THREE FISH 2
Mystic rockers Three Fish teamed Tribe After Tribe frontman Robbi Robb and Pearl Jam bassist Jeff Ament, mutual admirers who met when their respective bands toured jointly in 1993. Their fast friendship eventually led to the formation of Three Fish, a trio rounded out by former Fastbacks drummer Richard Stuverud; the group's self-titled 1996 debut earned solid critical notice.
Jeff Ament's fretless bass work is overlooked in Pearl Jam's smooth sound. Here he gets to show off some more with some beautiful songs, complemented well by Stuverud's drumming and over which Robb's scratchy, nasal voice works better than i'd've expected. "Laced" is probably my favorite track. "Build" is a departure from the other tracks, with a stomping racket setting the stage for electronically modified guitar sounds.
ειναι ριπαρισμενο απο το cd σε flac...
(manand)