Various Artists – Krautrock 3 – Original Album Series (2017) {5CD Set Warner Music 5054197-4297-2-9 – Remastered}

Various Artists - Krautrock 3 - Original Album Series (2017) {5CD Set Warner Music 5054197-4297-2-9 - Remastered}

Various Artists – Krautrock 3 – Original Album Series (2017) {5CD Set Warner Music 5054197-4297-2-9 – Remastered}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.03 Gb | MP3 @320 -> 418 Mb
Full Artwork @ 600 dpi (png) -> 305 Mb | 5% repair rar | Remastered
© 2017 Warner Music | 5054197-4297-2-9
Krautrock / Experimental / Psychedelic Rock

The third part of the collection of classic 70-x rock-rock albums, released as part of the Original Album Series. Albums Doldinger’s Motherhood “Motherhood”, Diez & Bischof “Daybreak” and Dennis “Hyperthalamus” for the first time on CD.

Kraut-rock is the direction of experimental and psychedelic rock music that arose in the late 1960s and early 1970s in West Germany. The business card of the style was a mixture of rock music performed on standard instruments of a rock band (electric guitar, bass guitar, drums, synthesizer), with electronic music structures, and electronic sound processing. Among other things, music often has a pulsating rhythm, so-called. “Motoric”. Thus, Krautrock gave an impulse for the development of electronic music and ambient music. In addition, in kraut-rock, emphasis is placed on instrumental music, improvisation and experimentalism.

Continue reading “Various Artists – Krautrock 3 – Original Album Series (2017) {5CD Set Warner Music 5054197-4297-2-9 – Remastered}”

Various Artists – Krautrock 3 – Original Album Series (2017) {5CD Set Warner Music 5054197-4297-2-9 – Remastered}

Gilberto Gil – Gil Luminoso (1999) {DRG Records 31618 rel 2006}

Gilberto Gil - Gil Luminoso (1999) {DRG Records 31618 rel 2006}

Gilberto Gil – Gil Luminoso (1999) {DRG Records 31618 rel 2006}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 298 Mb | MP3 @320 -> 146 Mb
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© 1999, 2006 DRG Records / GeGe Prod / Sarapui Prod | 31618
Música popular brasileira / MPB / Brazilian Traditions / Brazilian Pop

Throughout his four-decades-plus career as one of Brazil’s most popular singers, Gilberto Gil has restlessly sought new avenues of expression, from the heady and fiery psychedelic Tropicalia of the ’60s to his 2002 album of Bob Marley covers, Kaya N’Gan Daya. But there was one thing Gil had never attempted until now, an album spotlighting nothing but his voice and guitar. Gil Luminoso is, by its very nature, one of the most intimate recordings he has ever made and, not surprisingly, one of the loveliest and most moving.

Gil’s tender, placid voice and understated guitar work project much warmth and soulfulness, and despite the lack of accompaniment it’s as whole as any music he’s made before. Gil, Brazil’s Minister of Culture at the time of this recording, reached into his considerable songbook for 15 songs that would be apropos for solo presentation, and chose material from as far back as the late ’60s: romantic, spiritual, political, philosophical. It’s quintessential Gil, at his finest, sans help. This CD was nominated for a Grammy award in 2007 for Best Contemporary World Music Album.

Gilberto Gil – Gil Luminoso (1999) {DRG Records 31618 rel 2006}

Sonny Stitt – Moonlight In Vermont (1977) {Denon Japan 38C38-7046 rel 1983}

Sonny Stitt - Moonlight In Vermont (1977) {Denon Japan 38C38-7046 rel 1983}

Sonny Stitt – Moonlight In Vermont (1977) {Denon Japan 38C38-7046 rel 1983}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 228 Mb | MP3 @320 -> 91 Mb
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© 1977, 1983 Denon / Nippon Columbia | 38C38-7046
Jazz / Bop / Saxophone

Sonny Stitt, doubling on alto and tenor, is in fine form on this quartet session (a Japanese import CD) with either Barry Harris or Walter Davis on piano, bassist Reggie Workman and drummer Tony Williams. The repertoire (bop standards, blues and ballads) is fairly typical and nothing too unusual occurs, but fans of straightahead jazz in general and Sonny Stitt in particular will be satisfied with this above-average effort, highlighted by “It Might as Well Be Spring” and “Constellation.”

Continue reading “Sonny Stitt – Moonlight In Vermont (1977) {Denon Japan 38C38-7046 rel 1983}”

Sonny Stitt – Moonlight In Vermont (1977) {Denon Japan 38C38-7046 rel 1983}

Gerry Mulligan – Jeru (1962) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4024}

Gerry Mulligan - Jeru (1962) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4024}

Gerry Mulligan – Jeru (1962) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4024}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 235 Mb | MP3 @320 -> 85 Mb
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© 1962, 2014 Columbia / Sony Music Japan | SICP 4024
Jazz / Cool / West Coast Jazz / Baritone Saxophone

Reissue with latest 2014 DSD remastering. Comes with liner notes. Jeru was a favor that Gerry Mulligan did for his drummer, Dave Bailey, who owned a startup label called Jazzline. Mulligan was bet-ween recording contracts. The ensemble played together only once, during the four-and-a-half-hour session when Jeru was made in 1962. It features Tommy Flanagan on piano, Ben Tucker on bass, Bailey on drums and Alec Dorsey on congas. The album never appeared on Jazzline because CBS bought the master and released it on Columbia.

It was Mulligan’s first-ever experience of recording with a piano without the presence of other soloists. Not for a moment would you suspect that he is in uncharted waters. Jeru flawlessly swings with a relaxed, throbbing, positive life force. Mulligan’s guttural gliding and Flanagan’s pristine comping are almost too perfect for jazz. “Here I’ll Stay” and “You’ve Come Home” could roll and tumble forever. The concluding “Lonely Town” begins in poignant whispers but can’t resist the pull of sprightly double time.

The recorded sound, achieved by an unidentified engineer at Nola Penthouse Studio in New York City, has remarkable presence and three-dimensionality. Jeru is one of the quickest 30 minutes in jazz.

Gerry Mulligan – Jeru (1962) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4024}

Lim – Superlim (2006) {Kopasetic KOPACD010 rec 2004}

Lim - Superlim (2006) {Kopasetic KOPACD010 rec 2004}

Lim – Superlim (2006) {Kopasetic KOPACD010 rec 2004}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 217 Mb | MP3 @320 -> 108 Mb
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© 2006 Kopasetic Productions | KOPACD01
Jazz / Minimal / Avant-Garde Jazz / Sweden / Ambient Jazz

Superlim is lim´s second album (their first one was released on db-productions in 2002). This album was recorded in December 2004 and mixed, edited and produced by David Carlsson and lim in 2006. lim´s music is (still) based on rhytmic ideas, but the sound of the group has evolved into a more acoustic and suggestive one.

The jazz trio Lim, from Malmo, Sweden, display a proclivity for impromptu musical wanderings born from the imagination and bred through avant-garde techniques and Modern-free outgrowths. Their songs are mainly Blues-free tints moored by sparse rhythms and conditioned with bluesy wavelengths emitted from Henrik Frisk’s saxophone, David Carlsson’s bass, and Peter Nilsson’s drum strides. Their freelance quills and coiling textures have a common factor with avant-garde performances by Grachan Moncur III, Albert Ayler, and Pharoah Sanders. The absence of defining melodies gives the songs a free-for-all form with installations of dawdling notes, sauntering rhythms, and improvised musical ideas. The mobility and shapes of the sonic craters and composites are personally determined by their creator, crafting a plethora of disoriented and contorted sound constellations.

Lim’s current album, their sophomore release Superlim, is Sound Art at its highest level of freedom. The music has reflections of the experimental jazz phrases presented in the ‘60s avant-garde films made famous by director Federico Fellini and still practiced in many Parisian jazz parlors. From the start, the listener feels like an observer with tracks like “Shulaffel” and “Vito” spritzing drum strokes and pacifying bass tugs as sprinting saxophone notes poke through the rhythm links, sprouting tingling outgrowths along the chord progressions. There is a sense of uncertainty in the sax notes about what to play and where to go as the instrument pulses interact and act as a catalyst for each others frequencies and nebulas. The direction and progression of the instrument lines are unpredictable, testing the waters and taking risks, curiously venturing outside of the Blues-jazz discipline.

The drifts in the series of notes are extemporized and inventively orchestrated, making the listener a mere watcher of this expedition. At times, the music has an opiate feel like “Nephilim” and “Getting’ Tage,” possessing a Stoner-jazz inflection, and at other times, the music is like Math-jazz manipulating the notes configurations and brightness like on the tracks “Captain Anna (And His Crew)” and “TraneBird.” Sax notes are inverted, exaggerated, elongated, and shortened at whim, fluxing between languid and dizzying motions. The final track “Re: Happy” tests different sonic combinations, varying the tempo and stanza ranges and thickening up the textures. Notes are more stressed and hurried creating a formation of bristling dynamics.

Lim’s tooling with rhythms and notes resonance explores organic movements and shapes of sounds. The band which formed 10 years ago, builds a forum for rhythmical freedom and contorted structures that bend and twist in ways that are completely unique and avant-garde. Ancient folk tales insist that the power of three is extremely potent and lim shows that to be certifiably true.

Lim – Superlim (2006) {Kopasetic KOPACD010 rec 2004}

Anima Mea – Sacred Music Of The Middle Ages – Ensemble Cosmedin (2011) {Naxos 8.572632}

Anima Mea - Sacred Music Of The Middle Ages - Ensemble Cosmedin (2011) {Naxos 8.572632}

Anima Mea – Sacred Music Of The Middle Ages – Ensemble Cosmedin (2011) {Naxos 8.572632}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 275 Mb | MP3 @320 -> 153 Mb
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© 2011 Naxos | 8.572632 | Early Music Collection Series
Classical / Early Music / Medieval / Choral

Anima mea explores the Christian concept of the soul through these masterpieces of medieval Sacred Music. Hildegard of Bingen’s beautifully exalted harmonies represent God’s order in the music of the spheres. The recently rediscovered Erfurt Ritual contains sung music from Master Eckhart’s historical context. These antiphons are performed here for the first time since 1525, along with chants from the liturgy of the Roman mass, music from the Notre Dame School, and a glorious Magnificat. The German duo Ensemble Cosmedin, who take their name from a church in Rome, are considered one of the leading ensembles for medieval and modern sacred music. Music of the soul—gentle and luminous.

Anima Mea – Sacred Music Of The Middle Ages – Ensemble Cosmedin (2011) {Naxos 8.572632}

Richard & Linda Thompson – Sunnyvista (1979) {Chrysalis CCD 1247}

Richard & Linda Thompson - Sunnyvista (1979) {Chrysalis CCD 1247}

Richard & Linda Thompson – Sunnyvista (1979) {Chrysalis CCD 1247}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 260 Mb | MP3 @320 -> 108 Mb
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© 1979 Chrysalis Records | CCD 1247
Rock / Folk Rock / British Folk / British Folk Rock

1978’s First Light marked Richard & Linda Thompson’s first time in a recording studio after three years away from music, and it suggested they were still getting warmed up as performers; a year later, Sunnyvista found them in much stronger form and a significantly more upbeat frame of mind. Sunnyvista is the wittiest and most joyous album Richard & Linda made together; while several of Richard Thompson’s trademark meditations on romance at it’s least successful are on hand, “Why Do You Turn Your Back” manages to generate an unusually soulful groove, “Lonely Hearts” captures the melancholy country feel that First Light never quite caught, and “Traces of My Love” finds a winning warmth in its sadness.

Richard Thompson’s satirical eye gets an airing on the darkly witty title cut, and he displays his rarely aired politically conscious streak on the rabble-rousing “Borrowed Time” and “Justice in the Streets.” Linda Thompson’s vocals are in superb form on “Sisters,” a lovely duet with Anna McGarrigle. And you’d have to go back to Hokey Pokey to hear the Thompsons having as much fun as they do on the rollicking “Saturday Rolling Around” and the wildly passionate “You’re Going to Need Somebody.” With a big band of Fairport Convention and Albion Band associates and top UK session players on board, and Kate & Anna McGarrigle, Gerry Rafferty, and Glenn Tilbrook contributing vocals, Sunnyvista boasts the stylistic eclecticism of the Thompsons’ best work, with a healthy dose of added enthusiasm. Anyone who thinks Richard & Linda Thompson’s records are always depressing have obviously never heard Sunnyvista; if it isn’t quite as resonant as I Want to See the Bright Lights Tonight and Pour Down Like Silver, it still boasts great songs, great singing, and you can play it at a party.

Richard & Linda Thompson – Sunnyvista (1979) {Chrysalis CCD 1247}