Honegger’s Une Cantate de Noël is a Christmas number with a difference. His last work and one of his most popular compositions, it was written for the Basle Chamber Choir and Orchestra in 1953. The text of the cantata is derived from liturgical and popular texts— including Psalms and part of the Latin Gloria. A notable feature is the intertwining of traditional carols in French and German: appropriate for multilingual Switzerland and also perhaps symbolizing peace among nations seven years after the conclusion of World War II. Honegger scored the cantata for solo baritone, mixed chorus, children’s choir and an orchestra including organ. The combination of the different texts and forms creates a wonderfully uplifting effect.

Perfectly judged performances, intelligently planned recitals, informative booklet notes and, throughout, accompaniments from a true master of the art: this final release in the songs of Brahms epitomizes all the familiar virtues which have distinguished the series.

First time reissue of this forgotten album of Don Cherry. This album was recorded in 1978 in Paris and released only in France in 1981. That was the first meeting between Don Cherry and Indian percussionist Latif Khan and the result is an incredible mixture of jazz and Indian music. This unsung album is only known by hardcore fans of Don cherry who considered it as one of his best effort.

"What a Wonderful Town" was the motto of the traditional New Year's Eve Concert at the Berlin Philharmonie. The Berliner Philharmoniker, conducted by Sir Simon Rattle along with some of the most sought-after singers in this field including Thomas Hampson, Kim Criswell, Simone Sauphanor and Karl Daymond perform Leonard Bernstein's 'Wonderful Town'. 'Wonderful Town' was the second of Bernstein's trio of 'New York' musicals begun in 1944 with 'On The Town' and completed with 1957's 'West Side Story' and is a love letter to New York in the '30's. Bernstein's score combines witty pastiches of various popular musical styles of the 30s - Conga!, Swing! - and some of his most winning ballads. The program also includes George Gershwin’s songs ‘My Man’s Gone Now’, ‘Ask Me Again’ and ‘Fascinatin’ Rhythm’.

Formed in spring 2004, just as the Libertines were beginning to fall apart, Babyshambles became the main vessel for Pete Doherty's poetic, chaotic rock when he was ousted from the Libertines for his increasing drug use and erratic behavior. Babyshambles released their self-titled debut 7" in April 2004, and settled on the lineup of Doherty, guitarist Patrick Walden, bassist Drew McConnell, and drummer Gemma Clarke by that summer. That fall, things went relatively smoothly for the band, with a sold-out U.K. tour and the release of a second single, Killamangiro, on the Libertines' former label, Rough Trade. But by December, the band had to cancel or halt shows because Doherty was unable to perform; one of these sudden cancellations sparked a riot at the London Astoria. Clarke left the band early in 2005 and was replaced with new drummer Adam Ficek.

This 2CD set by Chick Corea - recorded in Quebec - contains several tracks called Chick Talks. During the first, he explains, "I have to begin by getting a feel for this piano…I have no plan for this evening", so I was prepared for free improvisations and a scholarly lecture. But when Corea says "Welcome to my living room" we are transported from the concert hall to an intimate solo recital that is coloured by his relaxed, conversational introductions. How Deep is the Ocean? eventually emerges empirically from a collection of apparently unrelated phrases, after which Corea comments, "I don’t know where that came from". Although there is a lot of improvisation in this piece, all of the other pieces are premeditated. Corea prefaces each batch of tunes with background details and personal reminiscences.

It says much for Malian music that two of its greatest players, kora masters Toumani Diabaté and Ballaké Sissoko, are among its most determined innovators. Not content with weighty family legacies (the two are cousins), they have won international recognition for their instrument, the 21-string west African harp, in part through cross-culture collaborations. Diabaté’s latest, with the London Symphony Orchestra, is imminent, while here Sissoko has sought out an assortment of guests. Among them is cellist Vincent Ségal, with whom he has already cut two sublime albums, and who joins clarinet player Patrick Messina for a sprightly take on Berlioz’s Symphonie Fantastique.

Clifford Jordan - Two Tenor Winner (1985) {Criss Cross Jazz Criss1011CD rec 1984}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 288 Mb | MP3 @320 -> 121 Mb
Full Artwork @ 300 dpi (jpg) -> 40 Mb | 5% repair rar
© 1985 Criss Cross Jazz | Criss 1011 CD
Jazz / Hard Bop / Saxophone

Clifford Jordan and Junior Cook make for a perfectly compatible team on this 1984 CD. While assisted by pianist Kirk Lightsey, bassist Cecil McBee, and drummer Eddie Gladden, the very distinctive tenors inspire each other on originals, obscurities, Charles Davis' "Half and Half," and "Groovin' High." High-quality hard bop with a bit of competitiveness resulting in some fiery moments.

Sal Nistico - Heavyweights (2002) {Milestone MCD-47096-2 rec 1961-1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 455 Mb | MP3 @320 -> 179 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb | 5% repair rar
© 1961-62, 2002 Jazzland / Riverside / Milestone / Fantasy | MCD-47096-2
Jazz / Hard Bop / Modal Music / Saxophone

Not every young tenor saxophonist who started recording as a leader in the early '60s took the modal post-bop plunge or explored avant-garde free jazz. Sal Nistico, for example, was very much a '40s/'50s-style bebopper, and his primary influences were Charlie Parker, Sonny Rollins, Sonny Stitt, and early Gene Ammons. Assembled by Fantasy in 2002, this 75-minute CD contains two albums that Orrin Keepnews produced for Nistico in the early '60s: 1961's Heavyweights (the saxman's first album as a leader) and 1962's Comin' on Up.

Art Ensemble of Chicago - Phase One (1971) {America Records–Universal 067 866-2 rel 2004}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 250 Mb | MP3 @320 -> 106 Mb
Full Artwork @ 300 dpi (jpg) -> 28 Mb | 5% repair rar
© 1971, 2004 America Records / Universal Music France | 067 866-2
Jazz / Avant-Garde Jazz / Modern Creative

By 1971, the Art Ensemble of Chicago had become true denizens of the city of Paris and its environ. Regularly playing and recording, they were able to delve deeply into their Great Black Music aesthetic and explore not only the boundaries of free jazz, but also the intricate demands of African folk forms in improvisation. Dynamic, long a part of the AEC's M.O., had become a dominant methodology for the group, as had textural interplay, and nowhere are these more evident than on Phase One. Issued in 1971 on the French America Records imprint, this set has been reissued over a dozen times on LP and CD.

Michael Musillami Trio + 3 - From Seeds (2009) {Playscape Recordings PSR#020109}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 355 Mb | MP3 @320 -> 131 Mb
Full Artwork @ 300 dpi (jpg) -> 32 Mb | 5% repair rar
© 2009 Playscape Recordings | PSR#020109
Jazz / Post-Bop / Modern Creative / Guitar

Connecticut-based Michael Musillami is a guitarist firmly rooted in the modern post-Coltrane jazz tradition but not above applying a rock-ish tone and aggression at times to good effect, as heard on the title track to From Seeds. His early work with the late saxophonist Thomas Chapin is worth seeking out but he really came into his own around 2000 when he formed a trio with bassist Joe Fonda and drummer George Schuller.

Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove…

LIMITED EDITION CD BOX SET A chronicle of rare & unreleased studio, radio & live recordings. Almost four hours of music. Includes booklet with color photos, track history and more!

There is a saying that youth is wasted on the young, not so here as Syncage have presented a piece of work that is mature and confident, all delivered with that youthful vitality. The music is an experimental fusion of jazz, metal, rock, ambience, with some touches of classic Italian prog. As they put it themselves, "Syncage are a musical project which aims to sting listeners’ resonance through various psycho emotional devices".
This is certainly a varied and well constructed album, from the art rock opening track "School" you are immediately engaged as the band take you on a journey of discovery which delivers a sparkling array of songs.