terça-feira, 22 de maio de 2018

The Passions ‎– Thirty Thousand Feet Over China (1981)

A1.   I'm In Love With A German Film Star
A2.   Something Special
A3.   The Swimmer
A4.   Strange Affair
A5.   Small Stones
B1.   Runaway
B2.   The Square
B3.   Alice's Song
B4.   Bachelor Girls
B5.   Skin Deep

segunda-feira, 21 de maio de 2018

Root 70 ‎– Heaps Dub (2006)

Style: Dub, Future Jazz, Downtempo
Format: CD, Vinyl
Label: Nonplace ‎– NON20

01.   Get Things Straight
02.   Designer Groove
03.   Five Star Group Travel
04.   Destination Unknown
05.   Revivitator (Tongs Of Love)
06.   Escape The Night
07.   Life Is Worth...
08.   It Ain't Rocket Science
09.   Bosco's Disposable Driver
10.   Nightbeat

Double Bass – Matt Penman
Drums – Jochen Rückert
Keyboards, Synthesizer [Korg Ms20], Edited By, Producer, Arranged By – Burnt Friedman
Recorded By – Wolfgang Stach
Saxophone, Clarinet, Clarinet [Bass], Melodica, Producer, Arranged By – Hayden Chisholm
Trombone – Nils Wogram

Back states: "Root 70 plays the music of Burnt Friedman & The Nu Dub Players and Flanger".

Liu Sola ‎– Blues In The East (1994)

Genre: Blues, Classical, Folk, World, & Country
Format: CD
Label: Axiom

The Broken Zither
01.   Introduction
02.   Boya's Adventures
03.   Meeting With The Woodcutter Ziqi
04.   A Discourse On The Zither
05.   The Appointment With Ziqi
06.   Boya's Lament
07.   Breaking The Zither
Married To Exile (A Story Of Wang Zhaojun)
08.   Beyond The Great Wall
09.   The Goose
10.   Looking Back
11.   The Nation's Boundaries
12.   Oh Mother

Artwork By [Costume Design] – Carol Chow
Artwork By [Layout, Design] – Aldo Sampieri
Bass – Fernando Saunders
Biwa [Pipa] – Wu Man
Drums – Jerome Brailey
Engineer – Oz Fritz, Robert Musso
Guitar – James Blood Ulmer
Lead Vocals, Backing Vocals – Liu Sola
Liner Notes – Liu Sola
Lyrics By – Liu Sola, Umar Bin Hassan (tracks: 2 to 4, 6, 7)
Mastered By – Howie Weinberg
Mixed By – Robert Musso
Mixed By [Assistant] – Imad Mansour, Layng Martine
Music By – Liu Sola
Narrator [Storyteller] – Umar Bin Hassan (tracks: 2 to 4, 6, 7)
Organ [Hammond B-3], Piano, Vocals – Amina Claudine Myers
Percussion [African] – Aiyb Dieng
Percussion [Japanese] – Yukio Tsuji
Photography – Ira Cohen
Producer – Bill Laswell
Saxophone – Henry Threadgill
Shakuhachi – Ralph Samuelson
Shakuhachi, Woodwind – Ned Rothenberg
Violin – Jason Hwang

domingo, 20 de maio de 2018

VA ‎– Best Of Acid Jazz Volume 2 (1997)

Style: House, Acid Jazz, Contemporary Jazz, Garage House
Format: CD, Cass.
Label: Global Television ‎– RADCD 52, Global Television ‎– RADCD52

Disc one
01. Jamiroquai - Virtual insanuty
02. The brand new heavies – Dream on dreamer
03. The blue boy – Remember me
04. Omar – There’s nothing like this
05. Martine Girault – Revival
06. The James Taylor quartet – Love the life
07. Corduroy – High havoc
08. Mica Paris – My one temptation
09. Incognito – Don’t you worry about a thing
10. Drizabone – Brighter star
11. Urbam species – Brother
12. Working week – Inner city blues
13. Raw stylus – Pushing against the flow
14. Galliano – Long time gone
15. Ronny Jordan – The jakcal
16. Dream warriors – My definition of a boombastic jazz style
17. Definition of sound – Pass the vibe
18. A tribe called quest – Can ‘ kick it?
19. Jason Rebello – Summertime
20. The aposties – Mercy mercy me

Disc two
01. Carleen Anderson – Apparently nothin’
02. Count basic – Jazz in the house
03. Des’ree – You gotta be
04. Omar – Outside
05. The brand new heavies – Stay this way
06. The New-jersey kings – Dream waves
07. Jhelisa – Friendly pressure
08. D’note – The garden of eathly delights
09. Mother earth – Bad ass weed
10. The James Taylor quartet – Love will keep us together
11. Greenfinger – Dr bong
12. Milk – Beached
13. High steppers – Got to be
14. Outside – Big city
15. Night train – A bad trip
16. the beaujolais band – Ain’t no sunshine
17. Corduroy – The corduroy orgasm club
18. Society of soul – It only get better
19. Will Downing – A love supreme

Compiled By – Nic Moran

20. Tuck & Patty – Time after time

VA ‎– Best Of Acid Jazz (1996)

Style: House, Acid Jazz, Contemporary Jazz, Garage House
Format: CD
Label: Global Television ‎– RADCD 35
1.01.   Us3 - Cantaloop (Flip Fantasia)
1.02.   Jamiroquai - Space Cowboy
1.03.   The Brand New Heavies -Midnight At The Oasis (Radio Version)
1.04.   Incognito - Everyday (Bluey's 7" Mix)
1.05.   Freak Power - Turn On, Tune In, Cop Out (Radio Mix)
1.06.   Spearhead - People In Tha Middle
1.07.   Des'ree - Feel So High
1.08.   Digable Planets - Rebirth Of Slick (Cool Like Dat)
1.09.   Guru - Feel The Music
1.10.   Martine Girault - Been Thinking About You (Original Opaz Mix)
1.11.   Ronny Jordan - So What!
1.12.   Drizabone - Real Love (Nush Glamour Mix)
1.13.   The Brand New Heavies - Never Stop (Radio Edit)
1.14.   Urban Species - Spiritual Love (Natural 7")
1.15.   New Jersey Kings - Green Screen
1.16.   The James Taylor Quartet - Mission Impossible
1.17.   Omar - Keep Steppin'
1.18.   Vibraphonic - Heavy Vibes
1.19.   Leena Conquest & Hip Hop Finger - Boundaries (Radio Edit)
1.20.   Brooklyn Funk Essentials - Take The L Train (To 8th Avenue)
2.01.   Goldbug - Whole Lotta Love
2.02.   Young Disciples - Apparently Nothin' (Edit)
2.03.   Diana Brown & Barrie K Sharpe - Masterplan
2.04.   Corduroy - Something In My Eye
2.05.   Working Week - Venceremos
2.06.   Jhelisa - Whirl Keeps Turning (Radio Edit)
2.07.   The Brand New Heavies - Dream Come True
2.08.   D'Influence - Good Lover (Wow Original) (Dance Energy Edit)
2.09.   Repercussions - Promise Me Nothing (Album Version)
2.10.   Brooklyn Funk Essentials - The Creator Has A Masterplan
2.11.   D Note - Now Is The Time (Original Version)
2.12.   City Lix - Find Our Love
2.13.   Snowboy - 24 For Betty Page
2.14.   Corduroy - Follow That Arab
2.15.   This I Dig - Turn It All Around
2.16.   Xan - Watcha Gonna Do
2.17.   Groove Collective - Whatchugot
2.18.   TC 1992 - Funky Guitar (Sure Shot Deep Mix)
2.19.   Mother Earth - Jesse
2.20.   Carleen Anderson - Let It Last

Concept By, Compiled By – Nic Moran

sábado, 19 de maio de 2018

Véronique Vincent & Aksak Maboul With The Honeymoon Killers ‎– Ex-Futur Album (2014)

Style: Avantgarde, Europop
Format: CD, Vinyl
Label: Crammed Discs ‎– CRAM 014

01.   Chez Les Aborigènes
02.   Afflux De Luxe
03.   Je Pleure Tout Le Temps
04.   Veronika Winken
05.   Réveillons-Nous
06.   I'm Always Crying
07.   My Kind Of Doll
08.   Luxurious Dub
09.   Le Troisième Personnage
10.   The Aboriginal Variations

Bonus Tracks
11.   Réveillons-Nous (Live)
12.   Mit Den Eingeborenen (Live)
13.   I'm Always Remixing

How unique, Véronique 
Over and above the rose tint imparted by cyclical fads, whereby the formerly derided music and moustaches of a given decade briefly become perceived as cool again, there’s a particular strain of early 80s pop which would appear to have weathered the years very robustly indeed. For a shining moment, anarchic avant-gardoids walked arm-in-arm with Smash Hits readers, and neither side found anything remotely remarkable about it. 
In just such a manner, Ex-Futur Album represents the time-capsule of a project that could – and should – have brought home plenty of bananas in 1983, but which instead was destined to languish, incomplete, on a studio shelf – until now. After making two coolly uncompromising, come-with- Zappa-to-the-casbah albums with his band Aksak Maboul, Crammed Discs founder Marc Hollander entered into fecund collaboration with coltish chanteuse Véronique Vincent and her band The Honeymoon Killers. The too-few results constitute electro-pop ambrosia, combining the scampering drum-machine textures and gamine charm of Young Marble Giants with sexy, supple, “ethnological forgery” rhythms. Afflux De Luxe and Veronika Winken are lighter than helium, Réveillons-Nous has a whirling groove you could draw out snake venom with – particularly the percussive live version – and the facetious English lyrics of My Kind Of Doll (“We make love in the back of his pram”) are adorably abstruse. 

Source:  recordcollectormag.com

Jon Hendricks ‎– Evolution Of The Blues Song (1959)

A1.   Introduction
A2.   Amo
A3.   Some Stopped On De Way
A4.   Swing Low, Sweet Chariot
A5.   New Orleans
A6.   I Had My Share
A7.   Please Send Me Someone To Love
B1.   Sufferin' Blues
B2.   That's Enough
B3.   Aw, Gal
B4.   See See Rider
B5.   Jumpin' With Symphony Sid
B6.   Sun Gonna Shine In My Door
B7.   W.P.A. Blues
B8.   Sometimes I Feel Like A Motherless Child

Jon Hendricks ‎– A Good Git-Together (1969)

A1.   Everything Started In The House Of The Lord
A2.   Music In The Air
A3.   Feed Me
A4.   I'll Die Happy
A5.   Pretty Strange
A6.   The Shouter
B1.   Minor Catastrophe
B2.   Social Call
B3.   Out Of The Past
B4.   A Good Git-Together & Everything Started In The House Of The Lord

System Planning Korporation ‎– Information Overload Unit (1981)

A1.   Emanation Machine R. Gie 1916
A2.   Suture Obsession
A3.   Macht Schrecken
A4.   Berufsverbot
B1.   Ground Zero: Infinity Dose
B2.   Stammheim Torturkammer
B3.   Retard
B4.   Epilept: Convulse
B5.   Kaltbruchig Acideath

quinta-feira, 17 de maio de 2018

Africa Express ‎– Terry Riley's In C Mali (2015)

1.   In C Mali

Format: CD, Vinyl
Style: Contemporary, Minimal, African
Label: Transgressive Records 

Co-producer, Mixed By – Andi Toma
Composed By [Uncredited] – Terry Riley
Executive-Producer [Executive Producers] – Ian Birrell, Marc Antoine Moreau, Robin Aitken, Stephen Budd
Featuring, Balafon – Kalifa Koné, Mémé Koné
Featuring, Calabash – Alou Coulibaly
Featuring, Djembe, Percussion – Badou Mbaye
Featuring, Flute [Flutes] – Cheick Diallo
Featuring, Guitar – Jeff Wootton, Nick Zinner
Featuring, Kora – Djelifily Sako, Modibo Diawara
Featuring, Melodica – Damon Albarn
Featuring, Percussion [Additional], Kalimba – Andi Toma
Featuring, Strings [Imzad] – Guindo Sala
Featuring, Vocals – Bijou, Brian Eno, Olugbenga
Featuring, Xalam [Kamel N'Goni] – Adama Koita
Leader [Lead By], Violin, Baritone Guitar [Baritone-Guitar], Kalimba – André de Ridder
Mastered By – Guy Davie
Photography By [Back-cover Photo] – Ian Birrell
Photography By [Cover Photo] – Roland Hamilton
Producer, Recorded By – André de Ridder
Recorded By [Additional Mali Recordings] – Stephen Sedgwick
Recorded By [Mali Recordings], Edited By [Mali Recordings] – Jeff Wootton

Damon Albarn’s Africa Express project, which over the years has fostered collaborations between a huge number of Western and West African musicians, puts a decidedly unique spin on Terry Riley’s minimalist landmark In C. 
Terry Riley’s minimalist landmark In C turned 50 years old in 2014. In that time, it’s become one of the most well-known and oft-performed minimalist compositions, and the reasons for this seem clear enough: The piece’s heterophonic structure is harmonically unusual, but uniformly consonant, and the piece’s insistent rhythm and devotion to melody, however fragmentary, give it a sense of unstoppable motion. It is friendly music, and a lot of music that challenges compositional traditions is not. 
The basic structure of In C is simple: Someone plays a simple, droning pulse on the note C, usually on a piano or marimba, and the other performers, whose number and instrumentation Riley did not specify, have 53 melodic phrases from which to choose. The musicians select the phrases they want to play and decide how long to play them. The effect is that the phrases overlap in unpredictable ways, creating shifts in harmony, evolving polyrhythms, tonal and timbral changes and the sense that nothing is constant, even though the same note repeats insistently under the whole performance at the exact same tempo. 
There are dozens of recordings, starting with Riley’s own from 1968. Some are kinetic and exciting, others never seem to come together, but the piece is so dramatically different from performance to performance that it never grows old. Damon Albarn’s Africa Express project, which over the years has fostered collaborations between a huge number of Western and West African musicians puts a decidedly unique spin on In C. With an ensemble of 17 musicians—including Albarn on melodica, Brian Eno, Bijou and Olugbenga on vocals, Jeff Wootton and the Yeah Yeah Yeahs’ Nick Zinner on guitar, Cheick Diallo on flute, Badou Mbaye, Alou Coulibaly and Mouse on Mars’ Andi Toma on percussion, Modibo Diawara and Defily Sako on kora, Guindo Sala on imzad, Kalifa Koné and Mémé Koné on balafon, Adama Koita on kamel n’goni, and André de Ridder on several instruments and conducting—they have an earthy collective sound, and their dynamic interplay is quite distinct from any other version of In C I’ve heard. 
For one thing, the non-tonal percussion included in the ensemble layers a dance vibe under the piece’s usual trance vibe. Diallo’s flute in particular is so dissimilar from every other sound on the recording that he stands out and shifts the emphasis briefly to melody, while the three voices lend it an ethereal quality. The mellow tone of the koras, kalimbas, and balafons, meanwhile, have a strange effect during the period cooldowns over the course of the piece; they lend it an odd, cool darkness that I usually don’t hear in In C. These passages lend it a suite-like feel where the piece most often is structured as a giant crescendo followed by a long diminuendo. The most bold decision here comes just past the halfway mark, though, when the ensemble goes nearly silent, including the pulse, leaving just guitars and koras playing the slowest melodic phrases in a strange kind of canon, and then we’re treated to a brief spoken word passage (not in English) before the larger ensemble dives back in with even more rhythmic insistence than before. 
This willingness to play with the form and shape of an iconic piece of music is one of the things that most fully sets this recording of In C apart from most others. It’s unexpected and enlivens the music just as much as the djembe that lends the evolving beat its weight. The overall form of the piece may be more premeditated than Riley originally intended, rather than the independently reached and unforeshadowed consensus of a large group of musicians, but this mostly serves to make it an engaging performance and worthy interpretation of a piece of music that’s so eternal it could literally be played eternally if someone was able to get musicians to keep showing up to play it. Africa Express keeps it to a bite-sized 41 minutes, and every one of them includes something to savor.
Source: Pitchfork