lunes, diciembre 31, 2007

Devendra Banhart: Smokey Rolls Down Thunder Canyon (2007)

Smokey Rolls Down Thunder Canyon is a album released September 25th, 2007. This album features more instrumentation than the previous records, as well as more genre experimentation. Smokey Rolls Down Thunder Canyon was recorded in Topanga Canyon, California. The majority of the merchandise sold on the US tour of Smokey was made in collaboration with Devendra by Adam Tullie and Angeline Rivas, who design the clothing line, Cavern. This album was #19 on Rolling Stone's list of the Top 50 Albums of 2007. The song "Seahorse" was #69 on Rolling Stone's list of the 100 Best Songs of 2007.Track List:
  1. "Cristobal" (with Gael García Bernal) - 4:30
  2. "So Long Old Bean" - 2:56
  3. "Samba Vexillographica" (with Chris Robinson of The Black Crowes) - 4:49
  4. "Seahorse" - 8:04
  5. "Bad Girl" - 4:48
  6. "Seaside" - 4:36
  7. "Shabop Shalom" (with Nick Valensi of The Strokes) - 4:38
  8. "Tonada Yanomaminista" - 2:56
  9. "Rosa" (with Rodrigo Amarante of Los Hermanos) - 5:08
  10. "Saved" - 5:33
  11. "Lover" - 3:43
  12. "Carmensita" - 4:49
  13. "The Other Woman" - 3:49
  14. "Freely" - 4:59
  15. "I Remember" - 4:25
  16. "My Dearest Friend" - 2:36
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jueves, octubre 25, 2007

Koop: Waltz For Koop (2001)

This is the second album by the Swedish electronic music duo Koop. It was their first album to hit a U.S. Billboard chart, peaking at number seventeen on top electronic albums.

Track list:

  1. Waltz for Koop (3:06)
  2. Tonight (2:54)
  3. Baby (3:47)
  4. Summer Sun (3:47)
  5. Soul for Sahib (3:37)
  6. Modal Mile (4:21)
  7. In a Heartbeat (5:10)
  8. Relaxin' at Club Fn (4:15)
  9. Bright Nights (3:55)
192 kbps.

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lunes, agosto 13, 2007

Metropolitan Jazz Affair: Bird of Spring (2007)

This is what I call an afternoon unique smooth jazz.

Light and subtle, MJA gives birth to a springtime jazz. Crystallized with the insets of Hard Bop, stirred with US soul, flirting with hip-hop, this project brings jazz back to the hip-shaking dancefloor (Escapism). Like in the 60's, when Cannonball "Buckshot LeFonque" Adderley liked to see jazz get down, get up and sweat. The "Affair" has always had this frightening effectiveness.

Track list:

1. bird of spring (5:28)
2. drifting (rnb mix) (4:27)
3. day dreaming (interlude) (1:39)
4. escapism (4:47)
5. find a way (5:49)
6. fourmi rouge (5:24)
7. everybody knows (4:23)
8. roaming (4:27)
9. sigh of dawn (5:12)
10. swagger (4:05)
11. turned to clay (5:09)
12. you can dig (4:28)
13. drifting (swing mix) (5:01)

170 kbps.

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Jimmy Smith and Wes Montgomery: The dynamic duo

I didn't know the cover was so funny.

This is not only the collaboration of two soul jazz giants, but Oliver Nelson's big band charts of "Night Train" and "Down By The Riverside" are among the greatest work of his career. "James And Wes" and "Baby It's Cold Outside" are small group sides with the organist and guitarist supported only by Grady Tate and Ray Barretto. Rudy Van Gelder's sound is absolutely breathtaking.

This 180-gram audiophile pressing was made by Speakers Corner in Germany.

Track list:

1. Down By The Riverside
2. Happy-Go-Lucky Local (Night Train)
3. James And Wes
4. 13 (Death March)
5. Baby, It's Cold Outside
6. O. G. D (Road Song) Alternative Take

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miércoles, agosto 08, 2007

Paul Mccartney: Memory Almost Full

Memory Almost Full is a studio album by Paul McCartney released in the United Kingdom on June 4, 2007 and in the United States a day later. The album is McCartney's first release on Starbucks' Hear Music label (it is also the first release on the newly formed label). The album was produced by David Kahne and recorded at Abbey Road Studios, Henson Recording Studios, AIR Studios, Hog Hill Mill Studios and RAK Studios between October 2003 and February 2007.

While it was announced that copies of the album sold in the Starbucks coffee shops in the U.K. would not be counted by the Official UK Charts, due to the fact that they are not registered in the copies counting system, Memory Almost Full still managed to hit #5 on the UK Album Charts. In the U.S. the album debuted at #3 with about 161,000 copies sold, making it McCartney's highest-charting album there since 1997's Flaming Pie. The album has sold over 1 million copies worldwide to date.

McCartney is reportedly aiming to sign a long term deal with Starbucks due to the success that Memory Almost Full has enjoyed.

Excellent review by All music Guide:

Track list:

1. "Dance Tonight" - 2:54
2. "Ever Present Past" - 2:57
3. "See Your Sunshine" - 3:20
4. "Only Mama Knows" - 4:17
5. "You Tell Me" - 3:15
6. "Mr. Bellamy" - 3:39
7. "Gratitude" - 3:19
8. "Vintage Clothes" - 2:22
9. "That Was Me" - 2:38
10. "Feet in the Clouds" - 3:24
11. "House of Wax" - 4:59
12. "End of the End" - 2:57
13. "Nod Your Head" - 1:58

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sábado, agosto 04, 2007

Miles Davis: Seven Steps to Heaven

Seven Steps to Heaven is an album recorded in 1963 by Miles Davis. On the 16th and 17th of April, a quintet comprising Davis, George Coleman, Victor Feldman, Ron Carter and Frank Butler recorded all six tunes plus "Summer Night", for an album to be titled So Near, So Far. A month later, Davis re-recorded three of the tunes (tracks 2,4 & 6) with a new quintet, replacing Feldman with Herbie Hancock and Butler with Tony Williams. The new rhythm section of Hancock, Carter and Williams would form the nucleus of Davis's working band for the next five years. This is the last of Davis's studio albums which relies substantially on standard tunes - once Wayne Shorter joined the quintet in 1964, tunes on studio recordings were almost always composed by members of the group.

Tracks 1, 3 & 5 are tunes produced from the April session with Feldman, Butler, Carter and feature Davis in a quartet setting without Coleman.

Track list:

1. "Basin Street Blues" (Cootie Williams) April
2. "Seven Steps to Heaven" (Victor Feldman, Miles Davis) May
3. "I Fall in Love Too Easily" (Jules Styne, Sammy Cahn) April
4. "So Near, So Far" (Tony Crombie, Benny Green) May
5. "Baby, Won't You Please Come Home?" (Charles Warfield, Clarence Williams) April
6. "Joshua" (Victor Feldman) May

CD reissue includes an alternate take of "So Near, So Far" (from the April session) and "Summer Night", recorded by the Feldman/Butler quintet during the same sessions, but originally released on Quiet Nights. The alternate take of "So Near, So Far" produces a rare phenomenon - an alternate take with a different rhythm section. This would be no great deal were it not for the fact that Feldman and Butler were of such a startlingly different style from Hancock and Williams, almost of a different age.

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Miles Davis: Kind of blue

Do I really need to say something? Well... I guess so for those guys who don't know what is this album about. After you hear and find out what is this album you'll understand why I don't really need to say something.

Kind of Blue is a jazz album by musician Miles Davis, released on August 17, 1959. As of January 16, 2002, it has been certified triple platinum in sales by the Recording Industry Association of America. Though precise figures have been disputed, Kind of Blue has been cited as Davis's best-selling album, and as the best-selling jazz record of all time. It is also counted by many as the greatest jazz album of all time and ranks at or near the top of many "best album" lists in disparate genres.

Conceptions: By late 1958, Davis employed one of the best and most profitable working bands pursuing the hard bop style, his personnel stabilized to alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Wynton Kelly, long-serving bassist Paul Chambers, and drummer Jimmy Cobb. His band played a mixture of pop standards and bebop originals by the likes of Charlie Parker, Thelonious Monk, Dizzy Gillespie, Tadd Dameron; as with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song.

However, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. In 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords. Abandoning the traditional major and minor key relationships of Western music, Russell invented a new formulation using scales or a series of scales for improvisations; this approach came to be known as modal in jazz.

Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his 1958 album Milestones. Satisfied with the results, Davis now prepared an entire album based on modality. Pianist Bill Evans, also an enthusiast of Russell, but recently departed from the Davis band to pursue his own career, was successfully drafted in to the new recording project - the sessions that would become Kind of Blue.


* Miles Davis – trumpet, leader
* Julian "Cannonball" Adderley – alto saxophone, except on "Blue in Green"
* John Coltrane – tenor saxophone
* Wynton Kelly – piano, only on "Freddie Freeloader"
* Bill Evans – piano, liner notes
* Paul Chambers – bass
* Jimmy Cobb – drums

Track List:

1. "So What" – 9:22
2. "Freddie Freeloader" – 9:46
3. "Blue in Green" – 5:37
4. "All Blues" – 11:33
5. "Flamenco Sketches" (take 2) – 9:26
6. "Flamenco Sketches" (alternate - take 1, featured on the 1997 reissue as a previously unreleased bonus track) – 9:32

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Miles Davis: Love Songs

A compilation of the best love songs recorded by miles davis before Kind of blue's release.

Track List:

1. I Fall In Love Too Easily
2. I Thought About You
3. Summer Night
4. My Ship
5. Someday My Prince Will Come
6. Stella By Starlight
7. My Funny Valentine - (live)
8. I Loves You, Porgy - (from "Porgy & Bess")
9. Old Folks

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Miles Davis: Sketches of spain

Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960. The album pairs Davis again with arranger and composer Gil Evans, on a program of compositions largely derived from the Spanish folk tradition. (An extended version of the second movement of Joaquin Rodrigo's Concierto de Aranjuez is also included, as well as a tune called "Will o' the Wisp", from a ballet by Manuel de Falla.)
Sketches of Spain is considered to be one of the most accessible albums of Davis' career: the most recent edition of the Penguin Guide to Jazz on CD describes it as "elevated light music". Less improvisational than much other jazz, contemporaries suggested that Sketches of Spain was something other than jazz. Davis replied (according to Rolling Stone magazine) "it's music, and I like it".
In 2003, the album was ranked number 356 on Rolling Stone's list of the 500 greatest albums of all time.

Track list:

1. "Concierto de Aranjuez" (Adagio) (Joaquín Rodrigo) –16:19
2. "Will o' the Wisp" (Manuel de Falla) –03:47
3. "The Pan Piper" (Gil Evans) –03:52
4. "Saeta" (Evans) –05:06
5. "Solea" (Evans) –12:15

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viernes, agosto 03, 2007

Frank Sinatra and Tom Jobim Sessions

The Sinatra-Jobim Sessions is a 1979 double LP compilation album of Frank Sinatra's work with Antonio Carlos Jobim. The album was published only in Brazil by producer Roberto Quartin, and has never been re-released on vinyl or CD.

All but three songs recorded by Sinatra and Jobim in 1967 and 1969 were released on Francis Albert Sinatra & Antonio Carlos Jobim (1967) and Sinatra & Company (1971). The tracks "Bonita", "Sabiá", and "Off Key (Desafinado)", however, were previously only available on the 8-track Sinatra-Jobim (1970), which was quickly pulled from release [1]. The first two of these tracks are included on Sinatra-Jobim Sessions, making it eagerly sought by collectors. "Off Key (Desafinado)" was not included here and remained largely unavailable until Sinatra's The Complete Reprise Studio Recordings was released in 1998.

Sinatra and Jobim worked together for a final time in 1994 on Duets II, recording a cover of "Fly Me to the Moon".

Track list:

1. "Baubles, Bangles and Beads" (Robert C. Wright, George Forrest, Alexandre Borodine) – 2:32

2. "I Concentrate on You" (Cole Porter) – 2:32
3. "Dindi" (Ray Gilbert, Antonio Carlos Jobim, Aloysio de Oliveria) – 3:25
4. "Change Partners" (Irving Berlin) – 2:40
5. "Quiet Nights of Quiet Stars (Corcovado)" (Antonio Carlos Jobim, Gene Lees) – 2:45
6. "If You Never Come To Me (Inútil Paisagen)" (Antonio Carlos Jobim, Ray Gilbert, Aloysio de Oliveira) – 2:10
7. "The Girl from Ipanema" (Antonio Carlos Jobim, Norman Gimbel, Vinícius de Moraes) – 3:00
8. "Meditation (Meditação)" (Antonio Carlos Jobim, Norman Gimbel, Newton Mendonça) – 2:51
9. "Once I Loved (O Amor Em Paz)" (Antonio Carlos Jobim, Ray Gilbert, Vinicius De Moraes) – 2:37
10. "How Insensitive (Insensatez)" (Antonio Carlos Jobim, Norman Gimbel, Vinicius De Moraes) – 3:15
11. "Drinking Again" (Johnny Mercer, Doris Tauber)
12. "One Note Samba (Samba de Uma Nota So)" (Antonio Carlos Jobim, Newton Mendonça) – 2:20
13. "Don't Ever Go Away (Por Causa de Voce)" (Ray Gilbert, Delores Duran, Antonio Carlos Jobim) – 2:28
14. "Wave" (Antonio Carlos Jobim) – 3:25
15. "Bonita" (Antonio Carlos Jobim)
16. "Someone to Light up My Life" (Vinicius de Moraes, Antonio Carlos Jobim, Gene Lees) – 2:37
17. "Drinking Water (Agua de Beber)" (Vinicius de Moraes, Antonio Carlos Jobim, Norman Gimbel) – 2:35
18. "Song of the Sabiá" (Antonio Carlos Jobim, Chico Buarque)
19. "This Happy Madness (Estrada Branca)" (Vinicius de Moraes, Antonio Carlos Jobim, Gene Lees) – 2:57
20. "Triste" (Antonio Carlos Jobim) – 2:40

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martes, julio 31, 2007

B. B. King and Eric Clapton: Riding with the king

Riding with the King is a blues album by Eric Clapton and B.B. King released in 2000.

Although Eric Clapton and B.B. King had a 30-plus years friendship originating with a chance meeting and subsequent jam session at New York City's Caf' Au Go Go in 1967, the idea for a collaborative album only crystallized during the sessions for King's 1997 album Deuces Wild. The resulting record, Riding with the King, is a stellar event thanks to a wealth of rich material and a solid supporting cast including Jimmie Vaughan, Joe Sample and Steve Gadd.

B.B. King's extensive catalog provides a wellspring of inspiration, including signature songs such as the smoldering "Three O'Clock Blues", alongside lesser-known numbers like the ribald shuffle "Days Of Old", and the Live at the Regal chestnut "Help The Poor". Elsewhere, King and Clapton look to guitarist Big Bill Broonzy (an acoustic "Key to the Highway") and Chicago pianist Maceo Merriweather (the slow-rolling "Worried Life Blues") for inspiration. Even the non-blues numbers are delivered with a rich subtlety befitting these guitar icons' consummate musicianship. John Hiatt's title track becomes a mid-tempo exchange between old friends, while their honeyed vocals on the standard "Come Rain or Come Shine" are worthy of Ray Charles' 1959 version.

Riding with the King won the 2001 Grammy Award for Best Traditional Blues Album.

Track list:

1. "Riding with the King" (John Hiatt) – 4:23

2. "Ten Long Years" (B.B. King/Taub) – 4:40
3. "Key to the Highway" (Big Bill Broonzy/Charles Segar) – 3:39
4. "Marry You" (Doyle Bramhall II/Susannah Melvoin/Craig Ross/Charles Segar) – 4:59
5. "Three O'Clock Blues" (King/Taub) – 8:36
6. "Help the Poor" (Charles Singleton) – 5:06
7. "I Wanna Be" (Bramhall, Charlie Sexton) – 4:45
8. "Worried Life Blues" (Big Maceo Merriweather) – 4:25
9. "Days of Old" (Jules Bihari, King) – 3:00
10. "When My Heart Beats Like a Hammer" (King/Taub) – 7:09
11. "Hold On! I'm Comin'" (Isaac Hayes/David Porter) – 6:20
12. "Come Rain or Come Shine" (Harold Arlen/Johnny Mercer) – 4:11

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domingo, julio 29, 2007

Astor Piazzolla: El tango

This is a nice album of Gidon Kremer playing piazzolla songs. There are many special guests which makes a big amount of musicians.
There is a very special track in this album, its name is "El tango". The original song was a piazzolla musicalization of the borges' poem "El tango". In this song played by Gidon Kremer the one that reads the poem is Caetano Veloso. As I said a lot of artists in a very great album. The lyrics of the poem:

Jorge Luis Borges: El tango

¿Dónde estarán?, pregunta la elegía
de quienes ya no son, como si hubiera
una región en que el Ayer pudiera
ser el Hoy, el Aún y el Todavía.

¿Dónde estará (repito) el malevaje
que fundó, en polvorientos callejones
de tierra o en perdidas poblaciones,
la secta del cuchillo y del coraje?

¿Dónde estarán aquellos que pasaron,
dejando a la epopeya un episodio,
una fábula al tiempo, y que sin odio,
lucro o pasión de amor se acuchillaron?

Los busco en su leyenda, en la postrera
brasa que, a modo de una vaga rosa,
guarda algo de esa chusma valerosa
de los Corrales y de Balvanera. .

¿Qué oscuros callejones o qué yermo
del otro mundo habitará la dura
sombra de aquel que era una sombra oscura,
Muraña, ese cuchillo de Palermo?

¿Y ese Iberra fatal (de quien los santos
se apiaden) que en un puente de la vía,
mató a su hermano el Ñato, que debía
más muertes que él, y así igualó los tantos?

Una mitología de puñales
lentamente se anula en el olvido;
una canción de gesta se ha perdido
en sórdidas noticias policiales.

Hay otra brasa, otra candente rosa
de la ceniza que los guarda enteros;
ahí están los soberbios cuchilleros
y el peso de la daga silenciosa.

Aunque la daga hostil o esa otra daga,
el tiempo, los perdieron en el fango,
hoy, más allá del tiempo y de la aciaga
muerte, esos muertos viven en el tango.

En la música están, en el cordaje
de la terca guitarra trabajosa,
que trama en la milonga venturosa
la fiesta y la inocencia del coraje.

Gira en el hueco la amarilla rueda
de caballos y leones, y oigo el eco
de esos tangos de Arolas y de Greco
que yo he visto bailar en la vereda,

en un instante que hoy emerge aislado,
sin antes ni después, contra el olvido,
y que tiene el sabor de lo perdido,
de lo perdido y lo recuperado.

En los acordes hay antiguas cosas:
el otro patio y la entrevista parra.
(Detrás de las paredes recelosas
el Sur guarda un puñal y una guitarra.)

Esa ráfaga, el tango, esa diablura,
los atareados años desafía;
hecho de polvo y tiempo, el hombre dura
menos que la liviana melodía,
que sólo es tiempo. El tango crea un turbio
pasado irreal que de algún modo es cierto,
un recuerdo imposible de haber muerto
peleando, en una esquina del suburbio.

Track List:

1 Revirado 3:14
2 Pachouli 8:13
3 Preludio Para el Ano 3001 (Rinascero) 3:51
4 My Happiness 2:19
5 El Tango 6:50
6 Instead of a Tango 4:15
7 Decarissimo 3:38
8 Los Mareados 5:18
9 Che Tango Che 3:00
10 Milonga Per Tre 6:29
11 Michelangelo '70 3:22

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lunes, julio 23, 2007

Lou Reed: Transformer (1972)

Transformer is Lou Reed's breakthrough second solo album, released in December 1972. Unlike its predecessor Lou Reed, eight songs of which were leftovers from his Velvet Underground days, this album contains mainly new material.

It was produced by David Bowie and Mick Ronson, who had been strongly influenced by Reed's work with the Velvet Underground. The album features some of Reed's best-known songs such as "Walk on the Wild Side", "Perfect Day" and "Satellite of Love", and made him an international star in his own right.

"Andy's Chest" had been recorded in 1969 for The Velvet Underground's "lost fourth album" (see VU and Another View) and "Satellite of Love" had been demoed for that band's 1970 album Loaded, but neither had been used. For Transformer, the poppy up-tempo feel of these songs was slowed down to turn them into fragile ballads. Although all songs on the album were credited to Reed, it has long been rumoured that "Wagon Wheel" is actually a David Bowie composition.

The first single from the album, "Walk on the Wild Side", became an international success, despite its adult subject matter (it was edited in some countries and banned in others) and it is now generally regarded as Reed's signature tune. "Satellite of Love" was issued as the second single in February 1973. In 2002, a 30th anniversary edition of the album was released; in addition to demos of "Hangin' Round" and "Perfect Day", it includes a hidden track featuring an advert for the album.

The cover art was from a Mick Rock photograph.

Track List:

1. "Vicious" – 2:58
2. "Andy's Chest" – 3:20
3. "Perfect Day" – 3:46
4. "Hangin' Round" – 3:35
5. "Walk on the Wild Side" – 4:15
6. "Make Up" – 3:00
7. "Satellite of Love" – 3:42
8. "Wagon Wheel" – 3:19
9. "New York Telephone Conversation" – 1:33
10. "I'm So Free" – 3:09
11. "Goodnight Ladies" – 4:21

2002 bonus tracks:

1. "Hangin' Round" (Acoustic demo) – 3:57
2. "Perfect Day" (Acoustic demo) – 4:50

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viernes, julio 20, 2007

Björk and Jazz Trío: Gling-Gló

Gling-Gló, released in 1990, is the only album by Björk Guðmundsdóttir & Tríó Guðmundar Ingólfssonar, consisting of Guðmundur Ingólfsson on piano, Guðmundur Steingrímsson on drums, and Þórður Högnason on bass. Gling-Gló is an Icelandic onomatopoeia whose English equivalent is "Ding Dong," or the sound that a bell makes.

This album was recorded on September 1 and September 3, 1990 at Stúdio Sýrland. It was produced by Tómas Magnús Tómasson, the bassist of Stuðmenn, who also did the mix for this album.

Gling-Gló contains Icelandic themes, and most of the songs are sung in Icelandic. There are also three versions of English language songs by other artists: “Ruby Baby,” by Jerry Leiber and Mike Stoller, and the jazz standard “I Can’t Help Loving That Man”, by Oscar Hammerstein II and Jerome Kern; and in Icelandic “Það Sést Ekki Sætari Mey”, which means in English “There Is No Sweeter Girl”, and is misattributed in the album notes and on the CD as having been written by "Rogers/Hammerstein", but is in reality a completely reworded cover of "You Can't Get A Man With A Gun" by Irving Berlin from the famous musical Annie Get Your Gun. There is also the Icelandic version of Sway, Í Dansi með Þér.

Track List:

01 Gling Gló
03 Kata Rokkar
04 Pabbi Minn
05 Brestir Og Brak
07 Bella símamær
08 Litli tónlistarmaðurinn
09 Það sést ekki sætari mey
10 Bílavísur
11 Tondeleyo
Ég veit ei hvað skal segja
13 Í dansi með þér
14 Börnin við tjörnina
15 Ruby Baby
16 I Can't Help Loving That Man

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jueves, julio 19, 2007

King Crimson: Islands (1971)

Islands is an album by the band King Crimson, released in 1971.

The last King Crimson studio album before the group's trilogy of Lark's Tongues in Aspic, Starless and Bible Black and Red, it is also the last to feature the lyrics of Peter Sinfield and the last to feature the band's 'traditional' progressive sound.

The album was not particularly well received critically, although fans have suggested that the second side of the LP is much stronger than the first, which could have something to do with the poor reviews. There are four tracks with lyrics on this album, and three of them concern women, one of them in a notoriously misogynistic way: "Ladies of the Road", about groupies, although fans have suggested that the song might be a joke.

Track List:

1. "Formentera Lady" (Robert Fripp, Peter Sinfield) – 10:14
2. "Sailor's Tale" (Fripp) – 7:21
3. "The Letters" (Fripp, Sinfield) – 4:26
4. "Ladies of the Road" (Fripp, Sinfield) – 5:28
5. "Prelude: Song of the Gulls" (Fripp) – 4:14
6. "Islands" (Fripp, Sinfield) – 11:51


* Robert Fripp – guitar, mellotron, Peter's pedal Harmonium and sundry implements.
* Boz Burrell – bass guitar, lead vocals and choreography.
* Mel Collins – flute, bass flute, saxophone, vocals
* Ian Wallace – drums, percussion, vocals
* Peter Sinfield - words, sounds and visions

Additional Musicians:

* Paulina Lucas – soprano vocals
* Keith Tippett – piano
* Robin Miller – oboe
* Marc Charig – cornet
* Harry Miller – string bass

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lunes, julio 16, 2007

The verve compilation: Bossa Nova Brasil

My first Bossa Nova album, one of the best compilations I ever heard. Caetano Veloso, Elisa Regina and Tom Jobim are among the many great musicians of this album.
If you ever heard Bossa Nova this is a great compilation to have, and if you never heard it, this is your opportunity to hear a great mix of artist and someway the essence of Bossa nova in Brasil.

Track List:

1. Desafinado - Gal Costa
2. Telefone - Nara Leao
3. Pra Iluminar - Leila Pinheiro
4. Aguas De Marco - Elis Regina
5. Manha De Carnival - Luiz Bonfa
6. Coracao Vagabundo - Caetano Veloso
7. Chega De Saudade - Antonio Carlos Jobim
8. De Conversa Em Conversa - Joao Gilberto
9. Pra Que Chorar - Alcione
10. Surfboard - Roberto Menescal
11. Boranda - Edu Lobo
12. Bom Conselho - Maria Bethania
13. Carta Ao Tom 74 - Toquinho
14. Falsa Baiana - Gal Costa
15. Chuvas De Verão - Caetano Veloso
16. Retrato Em Branco E Preto - Elis & Tom
17. Agua De Beber - Antonio Carlos Jobim
18. Consolacao - Baden Powell
19. Quem Quiser Encontrar O Amor - Tamba Trio
20. Influencia Do Jazz - Carlos Lyra

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Bossa n' Marley

Lounge Album. Several artist playing Bob Marley in different ways. Some of bossa nova here, some electronic stuff there. If you ever heard Rita Lee playing The Beatles you know what this album is about.

Track List:

01 - Redemption song
02 - No woman no cry
03 - Buffalo Soldier
04 - I Shot the Sheriff
05 - Stir it up
06 - Sun is shining
07 - Positive Vibration
08 - Is this Love
09 - Get up stand up
10 - One love
11 - Could you be loved
12 - Waiting in vain

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domingo, julio 15, 2007

Fela Kuti: Confusion & Gentleman

Fela Anikulapo Kuti (born Olufela Olusegun Oludotun Ransome-Kuti, October 15, 1938 - August 2, 1997), or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.

Genre: Afrobeat Occupation: Singer-songwriter, instrumentalist Instrument: Saxophone, singing, keyboards, trumpet, guitar, drum Years active: 1958 - 1997

Track List:

1. Confusion Parts 1 & 2
2. Gentleman
3. Fefe Naa Efe

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Henderson, Smith and Wooten: Vital Tech Tones

The Vital Tech Tones were an American fusion supergroup formed in the mid-1990s. It was composed of Vital Information drummer Steve Smith, Tribal Tech guitarist Scott Henderson, and Béla Fleck and the Flecktones bassist Victor Wooten. The group released two albums before breaking up due to time constraints (the band was a side project for all three members). There is still some talk of a future reunion, but no official announcement has been made. The band never played live, although Henderson and Smith did perform a concert together. The band's music is almost entirely instrumental, focused on virtuostic, free flowing soloing on top of a complex, solid groove. It is considered to be more on the rock end of the fusion spectrum.

Track List:

  1. Crash Course
  2. Snake Soda
  3. Dr. Hee
  4. Everglades
  5. Two for One
  6. King Twang
  7. The Captors
  8. Giant Steps
  9. Lie Detector

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Lennie Tristano: Descent into the maelstrom

Like Edgar Allan Poe's story.

This hard-to-find LP starts off with the utterly unique title cut. On this completely atonal track (which predates Cecil Taylor by a few years), Lennie Tristano overdubbed several pianos and created picturesque and extremely intense music. The remainder of this album is mostly comprised of leftovers and rehearsal tracks which, considering Tristano's slim discography, is quite welcome. The pianist is heard solo in 1961 and 1965, in a trio with bassist Peter Ind and drummer Roy Haynes in 1952 and (in what might be his last recordings) performing a pair of originals with bassist Sonny Dallas and drummer Nick Stabulas in 1966. Tristano fans can consider this important release to be essential.

Source: Scott Yanow, All Music Guide

Track list:

1. Descent Into the Maelstrom 3:28
2. Dream: Paris 1965 6:27
3. Image: Paris 1965 4:33
4. Take 1 - Rehearsal From Recording Date 3:13
5. Take 2 - Rehearsal From Recording Date 4:06
6. Take 3 - Rehearsal From Recording Date 6:35
7. Stretch 6:11
8. Pastime 3:42
9. Ju-Ju 2:16
10. Con Con 8:47

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Django Reinhardt: Nuages

Part of the Jazz in Paris series by the Gitanes label, this compilation draws from Django Reinhardt's last pair of recording sessions in 1953 (the first eight tracks make up the original Nuages album and served as a precursor for a Norman Granz Jazz at the Philharmonic world tour), which were two of his strongest ever. Gone was the shimmering but funky acoustic guitar of his gypsy swing youth, and in its place was a spanking new electric Gibson that, with its extended quick action, allowed him further flights of fancy not only on the fretboard but also sonically. Along with bassist Pierre Michelot, pianist Maurice Vander, and drummer Jean-Louis Viale (the rhythm section was considered to be avant-garde at the time), Reinhardt was off and running, carrying his new depth and breadth of intonation and electric harmonics to funky extremes -- check the end of "Night and Day," with its razor-wire chords and inverted arpeggios. Reinhardt's form was reckless and wild -- and impeccable -- on these sessions. He had thrown away his own songbook and turned to his restlessness to guide him to a new place musically -- and it did. Here, "Blues for Ike," "September Song," the title cut, "Brazil," and "Confessin'" are reinvented harmonically. Reinhardt stretched intervals to make one or two notes, or perhaps a chord, fall on the seam, splitting the rhythm section in two between passages. Much like a singer improvising, he took the plectrum style to a new extreme, playing runs so extended one wondered where melody ended and improvisation began -- particularly when he'd enter into an Eastern scale to branch out of the color palette. And all the while, his trademark high swinging style never once collapsed under the weight of his preeminent sophistication. The last four cuts feature a new band save for Michelot. The pianist was a very young Martial Solal, and Reinhardt engaged Solal's own gift for odd textures, phrasing, and tonalities on tunes such as "I Cover the Waterfront" and "Chez Moi," along with "Deccaphonie," where the band turns in a full-on loose-rail performance where rhythm is dictated by Reinhardt's falling fingers, hammering with both quickness and uncanny weight against a rhythm section that included vibist Fats Lallemand -- check the end of the first minute where Reinhardt cuts into his solo with feedback! The sound on this CD is remarkably good considering that the last four tunes were recorded in a makeshift studio -- the rest is excellent. The liner notes are sketchy but offer basic information, and the purchase price is fair. This may not be the place to start with Reinhardt, but it is a hell of a place to end up.

Source: Thom Jurek, All Music Guide.

Track List:

01. Blues for Ike
02. September Song
03. Night and Day
04. Insensiblement
05. Manoir de Mes Rêves
06. Nuages
07. Brazil
08. Confessin'
09. Le Soir
10. Chez Moi À Six Heures
11. I Cover the Waterfront
12. Deccaphonie

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Sweet and Lowdown Soundtrack

The music performed on screen in the new movie Sweet and Lowdown -- written and directed by Woody Allen -- is collected in this swinging new set of jazz standards recorded by the best musicians of today.
For the soundtrack to this touching farce, Dick Hyman (Woody's long-time musical collaborator) has assembled an all-star line-up of jazz greats to lovingly recreate the sound of the small group swing era depicted in the film in a set of new recordings of classic tunes from the era.
The band features Howard Alden, whom Jazz Times says "may be the best guitarist of his generation"


Track List:

1. I'll See You In My Dreams - Dick Hyman Group/Howard Alden
2. Caravan - Bunny Berigan & His Orchestra
3. Sweet Georgia Brown - Dicky Hyman Group/Howard Alden
4. Unfaithful Woman - Dick Hyman Group/Howard Alden
5. Viper Mad - Sidney Bechet/Noble Sissle's Swingsters
6. Wrap Your Troubles In Dreams (And Dream Your Troubles Away) - Dick Hyman Group/Howard Alden
7. Old-Fashioned Love - Dick Hyman Group/Howard Alden
8. Limehouse Blues / Mystery Pacific - Dick Hyman Group/Howard Alden
9. Just A Gigolo - Dick Hyman Group/Howard Alden
10. 3:00 AM Blues - Dick Hyman Group/Howard Alden
11. All Of Me / The Peanut Vendor - Dick Hyman Group/Howard Alden
12. It Don't Mean A Thing (If It Ain't Got That Swing) - Dick Hyman Group/Howard Alden
13. Shine - Dick Hyman Group/Howard Alden
14. I'm Forever Blowing Bubbles - Dick Hyman Group/Howard Alden
15. There'll Be Some Changes Made - Dick Hyman Group/Howard

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Mafia: City of lost Heaven Soundtrack

The soundtrack to the game features Django Reinhardt and the Hot Club de France, The Mills Brothers, Louis Armstrong, Louis Prima, Duke Ellington, Lonnie Johnson, and one track by Louis Jordan and his Tympany Five. The main theme to Mafia, along with the original score, was composed by Vladimir Šimůnek, and performed by the Bohemia Symphonic Orchestra conducted by Adam Klemens. The ending credits music is a cover of the song Lake of Fire, performed by the Lordz of Brooklyn. Ironically, the last verse of the song borrows the musical arrangement of the theme song for the Godfather movies.

Track List (some of them):

"Belleville"-Django Reinhardt - Heard in Central Island
"Caravan"-The Mills Brothers - Heard in Oakhill
"Chinatown, My Chinatown"-The Mills Brothers - Heard in Chinatown
"Cavalerie" - Django Reinhardt - Heard in Little Italy
"Manoir de Mes Reves" - Django Reinhardt - Heard in Hoboken
"Minor Swing"-Django Reinhardt - Heard in New Ark
"The Mooche"-Duke Ellington - Heard in Works Quarter
"Vendredi 13"-Django Reinhardt - Heard in Down Town

"Douce ambiance"-Django Reinhardt - Heard in Countryside
"Jet Black Blues"-Lonnie Johnson - Heard in Countryside
"I'm Living in a Great Big Way"-Buddy Clark (with Benny Goodman & his Orchestra) - Heard in Countryside Freeroam

"Coucou"-Django Reinhardt - Heard during mission "Happy Birthday"
"Gravesend"-Lordz Of Brooklyn - Heard in End credits

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Grim Fandango Original Soundtrack by Peter McConnel

Like the game that inspired it, the music from Grim Fandango is a seamless blend of many different styles. And while the soundtrack mostly stayed within the realm of traditional jazz (from swing to be bop), the many influences of the game also found their way into the music, from mariachi (the game was based on Mexican folklore) to surf (for a scene inspired by the '50s hot-rod designs of Ed "Big Daddy" Roth).

screenshotComposer Peter McConnell describes the challenge of tying such a wide variety of influences together. "The big challenge with scoring Grim came from the diversity of the game. With settings ranging from a glitzy, Vegas-like gambling city to a temple in the clouds, down to an underwater slave colony, it wasn't easy to come up with a style of music which could bring the whole game together sonically." He finally let the various styles become apart of the larger whole. "I decided on an approach that used a kind of backbone of orchestral music in the tradition of classic film composers like Max Steiner, with sections of smaller ensemble music in different styles, embedded like ribs in the backbone, if you will."

Grim Fandango found most of its inspiration in film noir, and it is fitting that its music did the same. The music evokes not only the scores of famous noirs, but the era as well. McConnell explains his influences: "The single biggest influence had to be Duke Ellington. I studied his music both in recordings and on paper. Max Steiner, too - I got scores to study from Treasure of Sierra Madre, and the Big Sleep, among others. I must have watched those movies, plus The Maltese Falcon (scored by Adolph Deutsch) a hundred times."

Like all soundtracks, though, the most important thing is how well it enhances the game itself. Just listening to the soundtrack alone is not only an enjoyable experience, it is made more so because it reminds you of moments in the game and help evoke the game's strange world where seemingly disparate elements create a unique and enjoyable whole.

Source: Gamespot

Track List:

1. Casino Calavera (1:06)
2. Swanky Maximino (2:15)
3. Smooth Hector (2:00)
4. Mr. Frustration Man (2:19)
5. Hector Steps Out (0:55)
6. Hi - Tone Fandango (1:22)
7. She Sailed Away (0:23)
8. High Roller (1:43)
9. Domino's in Charge (1:02)
10. Trouble with Carla (1:07)
11. Blue Casket Bop (1:10)
12. Manny's Office (1:14)
13. Rubacava (1:07)
14. Blue Hector (1:59)
15. This Elevator is Slow (1:02)
16. Domino (1:07)
17. Don Copal (1:00)
18. Neon Ledge (1:07)
19. Nuevo Marrow (1:27)
20. Gambling Glottis (2:11)
21. Raoul Appears (0:18)
22. Scrimshaw (0:53)
23. Talking Limbo (0:54)
24. Coaxing Meche (1:09)
25. Lost Souls' Alliance (2:13)
26. Los Angelitos (0:59)
27. The Enlightened Florist (1:24)
28. Temple Gate (1:43)
29. Ninth Heaven (1:17)
30. Companeros (1:08)
31. Manny & Meche (2:16)
32. Bone Wagon (1:28)
33. For I am the Grim Reaper (0:51)

Bonus: Compatibility Patch for those who want to play GF with Windows xp.

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Charles Mingus: The Black Saint and The Sinner Lady (1963)

The Black Saint and the Sinner Lady is a 1963 jazz composition and album by bassist Charles Mingus. The piece consists of a single six-part suite performed by an eleven-piece band. An intensely emotional work, it displays Mingus' skill as composer, orchestrator, and technician. Written as ballet, the work borrows from Ellingtonian and Latin sources, but creates a unique orchestral style that Mingus called "ethnic folk-dance music". The orchestrations (described as "one of the greatest achievements [...] by any composer in jazz history" by the All Music Guide) are rich and multi-layered. Mingus' perfectionism led to extensive use of studio overdubbing techniques, the first for a jazz album. The album liner notes were provided by Mingus' psychotherapist, Dr. Edmund Pollock.

Track List:
  1. "Track A — Solo Dancer" –6:20
    "Stop! Look! and Listen, Sinner Jim Whitney!"
  2. "Track B — Duet Solo Dancers" –6:25
    "Hearts' Beat and Shades in Physical Embraces"
  3. "Track C — Group Dancers" –7:00
    "(Soul Fusion) Freewoman and Oh, This Freedom's Slave Cries"
  4. –17:52
    "Mode D — Trio and Group Dancers"
    "Stop! Look! and Sing Songs of Revolutions!"
    "Mode E — Single Solos and Group Dance"
    "Saint and Sinner Join in Merriment on Battle Front"
    "Mode F — Group and Solo Dance"
    "Of Love, Pain, and Passioned Revolt, then Farewell, My Beloved, 'til It's Freedom Day"
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Medeski, Martin and Wood: Uninvinsible (2002)

Uninvisible is a 2002 album by experimental jazz fusion trio Medeski Martin & Wood. Medeski, Martin and Wood (1992) is an american trio of jazz consisting of John Medeski on keyboards, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar. They're music is avant-garde jazz; their style es a mix of jazz fusion, funk and soul. They're work is based on experimental improvisation and accesible music for all kinds of public which made them popular.

Track List:

1. "Uninvisible" – 3:37
2. "I Wanna Ride You" (Medeski) – 3:28

3. "Your Name is Snake Anthony" (Hampton, MMW) – 3:12
4. "Pappy Check" – 2:46
5. "Take Me Nowhere" – 4:06
6. "Retirement Song" – 4:47
7. "Ten Dollar High" – 3:42

8. "Where Have You Been?" – 3:37
9. "Reprise" (Medeski) – 0:35

10. "Nocturnal Transmission" – 6:37
11. "Smoke" – 2:46
12. "First Time Long Time" – 2:52
13. "The Edge of Night" – 3:53

14. "Off The Table" – 4:15

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Medeski Martin and Wood with John Scofield: Out Louder (2006)

Out Louder is an album of 2006 produced as a collaboration between Medeski Martin & Wood and John Scofield. It is the first album released under the name "Medeski Scofield Martin & Wood," since 1998's A Go Go was released under Scofield's name alone. "A Go Go was John's record and we were essentially sidemen, where Out Louder musically comes from all of us" explains Wood.

Track List:

1. "Little Walter Rides Again" (Scofield) – 3:55
2. "Miles Behind" – 2:53 3. "In Case the World Changes Its Mind" – 3:41
4. "Tequila and Chocolate" (Wood) – 6:25
5. "Tootie Ma Is a Big Fine Thing" (public domain) – 4:42
6. "Cachaça" (Wood) – 4:14 7. "Hanuman" – 6:24
8. "Telegraph" – 3:55
9. "What Now" – 4:54
10. "Julia" (Lennon, McCartney) – 5:18
11. "Down the Tube" – 11:40
12. "Legalize It" (Tosh) – 3:55

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John Scofield: Überjam (2002)

Überjam is an album by the John Scofield Band which was released on January 29. 2002 on verve records. Many unique musical styles are performed throughout Überjam, including Jazz Fusion, Jazz-funk, drum n bass, and Acid Jazz. It was produced by John Scofield and Jason Olaine and recorded and mixed by Joe Ferla, executive producer was Susan Scofield. A follow-up to Überjam, entitled Up All Night, included contributions by Bortnick and Deitch, but bass player Jesse Murphy was replaced by Andy Hess, drastically changing the sound of the band.

Track List:
  1. Acidhead (Scofield-Bortnick-Murphy)
  2. Ideofunk (Scofield)
  3. Jungle Fiction (Scofield)
  4. I Brake 4 Monster Booty (Scofield-Bortnick-Murphy-Deitch)
  5. Animal Farm (Scofield)
  6. Offspring (Scofield)
  7. Tomorrow Land (Bortnik)
  8. Überjam (Scofield-Bortnick-Murphy-Browden-Rodgers-Hart)
  9. Polo Towers (Scofield)
  10. Snap Crackle Pop (Scofield)
  11. Lucky For Her (Scofield-Bortnick-Murphy)
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John Scofield: Hand Jive (1994)

Concept of Hand Jive: Hand jive is a kind of dance game to rock and roll and rhythm and blues music in 1950s. It involves complicated patterns of hand moves and claps at various parts of the body, following and/or imitating the percussion instrument while sitting at the concerts or crowding around jukeboxes. It could also be a highly elaborate version of Pat-a-cake. Hand moves include thigh slapping, cross-wrist slapping, fist pounding, chest slapping and pounding, hand clapping, elbow touching, hitch hike moves, etc.

Musicians: John Scofield (guitar); Eddie Harris (tenor saxophone); Larry Goldings (piano, organ); Dennis Irwin (bass); Bill Stewart (drums); Don Alias (percussion).

Track List:
  1. I'll Take Les
  2. Dark Blue
  3. Do Like Eddie
  4. She's So Lucky
  5. Checkered Past
  6. 7th Floor
  7. Golden Daze
  8. Don't Shoot The Messenger
  9. Whip The Mule
  10. Out Of The City
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