Hace más de treinta años que estos dos músicos iniciaron un camino de investigación en aquella formación pionera que fue Dolores, eran los 70 y en este país, mas que ahora la música no lo tenía fácil. Conozco mucho mas la trayectoria de Jorge Pardo, nunca olvidaré una noche de jazz en que Ramón Cardó "Sebo" y él, podían haber "incendiado" un local que ahora son los cines Verdi, dos jóvenes saxos que recordaban lo que debió ser Gillespi y Parquer cuando juntos inventaron el bop. Después todo su trabajo con Paco de lucía y por supuesto toda su obra personal. Tomás San Miguel más centrado en el folk vasco, sus trabajos centrados en la txalaparta vasca, en fin dos mundos intensos. Este es su tercer trabajo juntos y desde el Tango en Ibiza que abre hasta un remix de su Jaleo mezclado con los ingredientes mas Chill del momento es un discazo a tener en cuenta.

Ballake Sissoko opens his new album, “At Peace,” with “Maimouna,” his solo showcase for the kora, the West African harp with 21 strings rising vertically from a huge calabash gourd. For those unfamiliar with the instrument, its broad range, sparkling tone and shimmering effects are vividly displayed here. For those who do know the kora, Sissoko is a virtuoso who can run through a blur of speeding notes and then brake for a crisply articulated theme. On this piece, Sissoko repeats the same descending figure, but with the melodic path and rhythmic organization slightly altered each time.

E via, tutti a dire: "il jazz incontra la classica" e viceversa, "Fresu lirico", "il trombettista sardo improvvisa sui canoni classici" e così ruzzolando nella banalità menzognera. La prima verità è che "Vinodentro" è una colonna sonora dell'omonimo film di Ferdinando Vicentini Orgnani, che ha nel cast Giovanna Mezzogiorno e Vincenzo Amato. La seconda è che Fresu non è nuovo a lavori di questo tenore musicale: l'elenco sarebbe troppo lungo e tedioso.

Depeche Mode claimed to be punks with synthesizers, but it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents – Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk…

While most serious listeners already have their favorite sets of J.S. Bach's Brandenburg Concertos and the Orchestral Suites, newcomers searching for respectable recordings at a reasonable price would do well to start with this triple-CD set by Neville Marriner and the Academy of St. Martin-in-the-Fields. These recordings were made in 1984 and 1985, and still offer fine sound for early digital recording and exceptional musical value. Marriner's performances may not be as exacting and scrupulous about Baroque performance practice as those of Gustav Leonhardt or Trevor Pinnock, but they are informed by serious scholarship and have sufficient appeal to make the finer points debatable.

The present album, number nine in Eric le Sage’s valiant Schumann edition, is devoted to the trios with piano, a favourite formation of the 19th Century that combines the economy of chamber music with the prestige of instrumental music. He is accompanied by regular partners Gordan Nikolitch and Christophe Coin with a guest appearance from Paul Meyer on clarinet for Op. 56.

Dieterich Buxtehude is one of the key figures of the baroque period. Other musicians and composers like the young Johann Sebastian Bach came from all over Europe to listen to and to learn from him, since his virtuosi abilities on the organ and his knowledge of compositions were legendary. When he was quite old Buxtehude published two collections of instrumental chamber music. Apart from a few occasional works, these are the only examples of his art that were printed during his lifetime. Opus 1, containing seven sonatas for violin and viola da gamba with harpsichord continuo, is undated but probably appeared in 1694.

A lounge electronica compilation series by french DJ Stéphane Pompougnac.
Alif Tree's “Belle,” Soundstream’s remix of Rhythm & Sound's “Free for All,” Freedom Dub's hushed cover of the Rolling Stones' “Emotional Rescue,” Gotan Project's “Diferente,” and Status IV's “You Ain’t Really Down” highlight Stéphane Pompougnac's ninth commercial mix for Paris’ Hôtel Costes. Pompougnac opens the disc with his version of Ennio Morricone's “The Ballad of Sacco and Vanzetti” and gently settles into another assortment of contemporary dance tracks that mirrors his lush, downtempo aesthetic.

Continuing with the stylistic developments of Stranded, Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock…

Nancy Wilson - But Beautiful (1969) {Capitol Jazz CDP 7928682 rel 1989}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 209 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 1969, 1989 Capitol Jazz | CDP 7 92868 2
Jazz / Classical Jazz / Vocal Jazz / Ballads

One of the greatest Nancy Wilson albums of the 60s – a small combo jazz date, done with a style that's different than some of Wilson's larger sessions of the time! The group has a relaxed, easygoing feel – and Wilson slides in with a style that's a lot more laidback and subtle than on other Capitol dates – almost the mellow feel of a late 50s Dakota Staton date, but still song with all the careful class that Nancy brings to her vocals! The group's a quartet, led by pianist Hank Jones – and featuring Gene Bertoncini on guitar, Ron Carter on bass, and Grady Tate on drums.

La musique d’Orgue de Nicolas de Grigny constitue un sommet dans la musique pour clavier de la fin du XVIIe siècle. Le texte musical du présent enregistrement est fondé sur la première édition de 1699. Les conventions de l’époque, telles que nous les avons comprises grâce aux recherches des musicologues, ont été prises en considération, notamment en ce qui concerne la pratique de la musica ficta des altérations rétroactives. On mentionne toujours l’influence de de Grigny sur le jeune Bach. L’anecdote de la copie de Bach est bien connue.

Various Artists - Archives GRM, INA 30th Anniversary (2006) {5CD Set, INA-GRM ina c 1030}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.69 Gb | MP3 @320 -> 862 Mb
Full Artwork @ 300 dpi (jpg) -> 140 Mb | 5% repair rar
© 2006 INA-GRM | ina c 1030
Modern Classical / Electronic / Musique Concrète / Experimental / Electroacoustic

For the 30th birthday of INA, the GRM has decided to present in this CD box some of his archives. INA - GRM (Institut National de l'Audiovisuel - Groupe de Recherches Musicales) in Paris, France, is the pioneering organisation of electroacoustics, acousmatics and musique concrète, with a history going back many decades, as active today as ever, recording and releasing a long string of historically important, but also new and innovative, electracoustic works, while also engaging in research into new techniques and teaching. The Acousmonium of the GRM is utilized giving renowned concerts of electroacoustic music.