viernes, 27 de mayo de 2011

Zombi, Escape Velocity (2011)


Escape Velocity sees ZOMBI return to their roots, using synth, and drums to create stirring melodies and moving cadences. Whereas earlier efforts found the band entrenched in Italian horror scores, Escape Velocity finds Zombi continuing their exploration of famed Italian record producer Giorgio Moroder and legendary Kraut Rock icons Neu and Harmonia. The sweeping synth sequences and pulsing rhythms are sometimes dancey, sometimes reflective, but always hypnotic under the watchful eye of this distinguished duo. Escape Velocity’s five ethereal tracks are simply put, celestial music for other worlds.

01. Escape Velocity ( 7:10)
02. Slow Oscillations ( 2:51)
03. Shrunken Heads ( 8:22)
04. DE3 ( 9:02)
05. Time Of Troubles ( 5:39) 

Steve Moore: Bass, Synthesizers
A. E. Pattera: Drums, Synthesizers


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miércoles, 25 de mayo de 2011

Bob Dylan, Desire (1976)


If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: "Hurricane" is the best-known, but the effervescent "Mozambique" is Dylan at his breeziest, "Sara" at his most nakedly emotional, and "Isis" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs. ~ Stephen Thomas Erlewine, All Music Guide (http://www.artistdirect.com/nad/store/artist/album/0,,79743,00.html)

1. Hurricane 8:33
2. Isis 6:58
3. Mozambique 3:00
4. One More Cup of Coffee (Valley Below) 3:43
5. Oh, Sister 4:05
6. Joey 11:05
7. Romance in Durango 5:50
8. Black Diamond Bay 7:30
9. Sara 5:29

Howie Wyeth: Piano, Drums
Scarlet Rivera: Violin
Rob Stoner: Bass, Vocals (Background)
Ronee Blakley: Vocals, Vocals (Background)
Dominic Cortese: Mandolin, Accordion
Steven Soles: Guitar, Vocals (Background), Vocals
Eric Clapton: Guitar
Vincent Bell: Bass, Bellzouki
Emmylou Harris: Vocals, Vocals (Background)
Bob Dylan: Guitar, Harmonica, Piano, Guitar (Rhythm), Keyboards, Vocals


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The Pepper Pots, Train To Your Lover (2011)


Como tantos otros grupos retrosoul, The Pepper Pots se afanan por recrear lo más fielmente posible el sonido y espíritu de aquellos añorados viejos tiempos. Utilizando los mismos instrumentos, similar estética e iguales técnicas de grabación analógicas ansian ser etiquetados por fin con el sello de la máxima autenticidad en una enfermiza carrera -por momentos absurda y un tanto friki- por alcanzar la perfección.

Este grupo de tres vocalistas y ocho músicos, además de lograr poner en el mapa musical a Girona -su pequeña ciudad española de origen- llama la atención por su esfuerzo por crear canciones originales, cansados como estamos de escuchar la enésima versión de un tema clásico, asumiendo de esta manera un importante riesgo si tenemos en cuenta que el listón de la composición de aquella época está muy muy alto y no resulta nada fácil resistir inevitables comparaciones. Formados en el año 2002, sus dos primeros discos estaban más próximos al sonido jamaicano (ska, reggae) pero finalmente orientaron -con gran éxito- su propuesta hacia la vieja música soul.

Tras su aclamado Now! (2009) y una gira que les llevó por toda Europa, Estados Unidos y Japón (una banda con un directo muy convincente y divertido), a finales del pasado mes de abril han editado su cuarto larga duración. Se han hecho cargo de todas y cada una de las tareas que implica la grabación de un disco excepto la masterización reponsabilidad del legendario Bob Ohlsson ingeniero de sonido de Motown entre 1965 y 1972, la época clásica del sello. El resultado, son doce temas originales que transitan entre aquellos sonidos añejos del sonido Motown o del northern soul, otro paso más en su infatigable búsqueda por recrear aquel sonido de las grandes bandas norteamericanas de soul de mediados y finales de los sesenta. (http://musicasoul.blogspot.com/2011/05/pepper-pots-train-to-your-lover-2011.html)

1. Can't Let Him Go
2. I Need To Hold Your Hand
3. Wanna Blindly Trust In You
4. Fated Heart
5. Let's Go To Dance
6. Dreams Of Coming Back
7. Trian To Your Lover
8. I Can't Choose
9. It's Not Easy
10. You Are The Best Song
11. You Hurt Me Really Bad
12. Gladden Your Soul


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lunes, 16 de mayo de 2011

Jackie McLean, Swing Swang Swingin' (1959)


One of Jackie McLean's earliest Blue Notes, Swing, Swang, Swingin' parts company with the vast majority of his output for the label by concentrating chiefly on standards (only one of the seven tunes is a McLean original). Perhaps as a result of Blue Note's more prepared, professional approach to recording sessions, McLean sounds invigorated here, catapulting each melody forward before launching into a series of impassioned improvisations. Not that every track is a mind-blowing meltdown -- McLean's playing always fits the mood of the song -- but his total commitment to the material is evident throughout the album. He's also very much the focal point of the quartet, which includes pianist Walter Bishop, bassist Jimmy Garrison, and drummer Art Taylor. McLean's unique, cutting tone -- always threatening to go ever so slightly out of tune -- lends a particular urgency to his melody statements and extended notes, highlighted by an intense and swinging version of Cole Porter's "I Love You" and an exuberant take on Irving Berlin's "Let's Face the Music and Dance." Though Bishop and Taylor are less well-known than their compatriots, they offer active support that helps push McLean even more. Swing, Swang, Swingin' may not be as groundbreaking as McLean's more modernist work, but it's a solid session from an artist just beginning an incredible hot streak. ~ Steve Huey, All Music Guide

01. What's New?
02. Let's Face the Music and Dance
03. Stablemates
04. I Remember You
05. I Love You
06. I'll Take Romance
07. 116th and Lenox

Jackie McLean: Alto sax
Walter Bishop Jr: Piano
Jimmy Garrison: Bass
Art Taylor: Drums


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Joe Henderson, Canyon Lady (1973)


This album has trumpeter Luis Gasca featured as a co-star with tenor-saxophonist Joe Henderson. Gasca arranged "Tres Palabras" which is played by a 13-piece group (Oscar Brashear takes the trumpet solo) while the other three originals (two by pianist Mark Levine) use either a sextet or a nonet. Henderson is in fine form on these spirited Latinish performances which have also been included on his eight-CD Milestone box set. ~ Scott Yanow, All Music Guide

01 - Tres Palabras 10:10
02 - Las Palmas 9:58
03 - Canyon Lady 9:08
04 - All Things Considered 8:39

Joe Henderson: Tenor saxophone
Luis Gasca: Conductor, trumpet, flugelhorn
Hadley Caliman: Tenor saxophone, flute
Oscar Brashear: Trumpet
John Hunt: Trumpet
Julian Priester: Trombone
Nicholas Tenbroek: Trombone
Ray Pizzi: Flute
Vincent Denham: Flute
Mark Levine: Piano
George Duke: Electric piano
John Heard: Bass
Eric Gravatt: Drums
Victor Pantoja: Congas
Francisco Aguabella: Congas
Carmelo Garcia: Timbales


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Gil Melle Quartet with Kenny Dorham, Hal McKusick, Gil's Guests (1956)


Baritonist Gil Melle's recordings are usually a bit unusual and this CD reissue is no exception. Melle's nine compositions are performed by one of three sextet/septets featuring either Art Farmer, Kenny Dorham or Donald Byrd on trumpets, Hal McKusick or Phil Woods on alto, guitarist Joe Cinderella, bassist Vinnie Burke, drummer Ed Thigpen and sometimes either Julius Watkins on French horn or Don Butterfield on tuba. The charts are unpredictable and often dramatic, looking ahead toward a musical future that never occurred. Watkins takes solo honors during his three appearances. ~ Scott Yanow, All Music Guide

01. Soudan
02. Tomorrow
03. Block Island
04. Sixpence
05. Still Life
06. Ghengis
07. Funk For Star People
08. Golden Age
09. Herbie

Phil Woods: Sax (Alto)
Donald Byrd: Trumpet
Vinnie Burke: Bass
Don Butterfield: Trombone, Tuba
Joe Cinderella: Guitar
Kenny Dorham: Trumpet
Art Farmer: Trumpet
Gil Melle: Sax (Baritone)
Julius Watkins: French Horn
Hal McKusick: Flute, Sax (Alto)
Ed Thigpen: Drums

Art Farmer

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Charlie Rouse, Takin' Care of Business (1960)


Charlie Rouse's debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse's own uptempo "Upptankt," the standard "They Didn't Believe Me," and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set. ~ AllMusic.com

01 - Blue Farouq
02 - '204'
03 - Upptankt
04 - Wierdo
05 - Pretty Strange
06 - They Didn't Believe Me

Blue Mitchell: Trumpet
Charlie Rouse: Sax Tenor
Art Taylor: Drums
Walter Bishop: Piano
Earl May: Bass

Fats Navarro and Charlie Rouse. Photography by William P. Gottlieb, betwen 1946 and 1948.

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Hank Mobley, No Room For Squares (1963)


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. ~ AllMusic.com

1.Three Way Split
2.Carolyn
3.Up a Step
4.No Room for Squares
5.Me 'N You
6.Old World, New Imports
7.Carolyn (Alternate Take)
8.No Room for Squares (Alternate Take)

Hank Mobley: Tenor saxophone
Lee Morgan: Trumpet (1, 2, 4, 5, 7 y 8)
Donald Byrd: Trumpet (3 y 6)
Andrew Hill: Piano (1, 2, 4, 5, 7 y 8)
Herbie Hancock: Piano (3 y 6)
John Ore: Bass (1, 2, 4, 5, 7 y 8)
Butch Warren: Bass (3 y 6)
Philly Joe Jones: Drums


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Kronos Quartet with Kimmo Pohjonen & Samuli Kosminen, Uniko (2011)


UNIKO features the Grammy winning Kronos Quartet together with a Finnish duo, accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen. Produced by Iceland's Valgeir Sigurosson, known for his collaboration with Bjork, this album was recorded at Avatar Studios in NYC.

UNIKO was commissioned by Kronos in 2003 and premiered live at the Helsinki Festival in 2004. It has subsequently drawn sellout audiences in Moscow, Molde (Norway), and New York at the 2007 BAM NEXT WAVE Festival. UNIKO is highlighted by Pohjonen's electrified and MIDI-fied accordion with Kosminen's electronic percussion devices which reproduce his own accordion samples and his samples of Kronos' instruments. These samples, together with live strings and electric accordion plus effects and manipulations create a new, multi-dimensional sound world. 

I Utu 6:58
II Plasma 6:16
III Sarma 5:34
IV Kalma 11:01
V Kamala 5:38
VI Emo 10:20
VII Avara 6:01

Kimmo Pohjonen: Accordion, violin
Samuli Kosminen: String & accordion samples, programming

Kronos Quartet:
David Harrington: Violin
John Sherba: Violin
Hank Dutt: Viola
Jeffrey Zeigler: Cello

All music composed by Kimmo Pohjonen and Samuli Kosminen


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sábado, 14 de mayo de 2011

Scherzoo, 01 (2011)


Scherzoo is F. Thollot's 3rd CD, with a new band, featuring Anthony Bard (bass), Franois Mignot (guitar), Jeremy Van Quackebeke (piano), Guillaume Lagache (sax alto) & Franois Thollot (drums). This is his most accomplished effort so far, the band plays tight & the music is an unlikely fusion of Zeuhl & mid/late period of Soft Machine. 6 tracks (including a 19 minutes re-written version of "Voyage au bout de la nuit" which was part of Thollot's first CD -in 2002, then recorded alone as a multi instrumentist). (http://www.recordheaven.net/index.cfm?iID=108833)

01. Enilek [08:25.52]
02. Douz [07:16.04]
03. L'an 01 [06:26.73]
04. Béba [08:40.76]
05. Ceux d'en Face [06:39.39]
06. Voyage au Bout de la Nuit [19:15.17]

Anthony Béard: Bass
François Mignot: Guitar
Jeremy Van Quackebeke: Piano
Guillaume Lagache: Alto saxophone
François Thollot: Drums


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TheRhythmIsOdd, Raw material (2011)


TheRhythmIsOdd were formerly known as Trio, and we have stocked a previous album by them entitled "From Nowhere to Eternity". On that one, they played a sort of heavy power trio fusion music. Here, they've not only changed their name, but they have changed their approach. This is a heavy, psych/out/jammer, which will remind you of groups like early Guru Guru, Sepsis and Loch Ness. The band plays with total authority and also with total abandon. Unbelievably great if you like this style; highly recommended. (http://www.waysidemusic.com/Music-Products/TheRhythmIsOdd---Raw-Material__TRIO-spc-003.aspx)

1. Traveller (3:07)
2. Subway (13:33
3. Mrs. Hippie (3:02)
4. Road less travelled (12:17)
5. Marten Trotzigs dance of decades (1:19)
6. Vision of thoughts (9:19)

Bjorn Egelius: Bajo eléctrico
Tobbe Johansson: Guitarra eléctrica, acústica, guitarra-sintetizador
Leif Fredriksson: Batería y percusiones


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