A fabulous collection of rock numbers from Eddie Cochran to Wheatus by way of Status Quo and Black Sabbath that will appeal not only to the air guitarists among us, but to everyone who finds great rock music exhilarating and enjoyable. Whether you're giving the grand solo performance in the privacy of you own home or hammering down the motorway with the wind in your (remaining) hair this double album hits the spot. The exhausted will feel reinvigorated and the depressed can hardly fail to feel somewhat more cheerful after sampling a few of these tracks. A second volume is promised and I will be one of the first in line when it is released. A treat - don't miss it!

Electric Extension, c'est d'abord imaginer un orchestre qui permette de travailler sur des couleurs orchestrales et des associations de timbres originales, tout en proposant une musique puissante, énergique et électrisante. L'improvisation est abordée avec l'urgence du moment et une tension propice à la transe, en prenant le temps de mûrir des mélodies que l'on suit comme des fils qui se laisseraient dérouler naturellement.

This recent release from Mayflower presents the sessions from 1969 through October 1970 generally known as Sticky Fingers Sessions (hence this collection s name) but that have songs that will end up further on in the Stones history from Exile through Goat s Head Soup.

Marion Brown - Back To Paris (1980) {Free Lance–Harmonia Mundi FRLCD002 rel 1990}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 255 Mb | MP3 @320 -> 113 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1980, 1990 Free Lance / Harmonia Mundi | FRL CD 002
Jazz / Bop / Mainstream Jazz / Saxophone

Marion Brown is frequently typecast as a free jazz player, yet this live set recorded in 1980 at Le Dreher in Paris is actually quite accessible. Brown and his band – pianist Hilton Ruiz (who studied with Mary Lou Williams), bassist Jack Gregg, and drummer Freddie Waits – seem quite inspired throughout this set of mostly originals. His opener, "Sunshine Road," blends Latin rhythms, gospel, and post-bop. His fragile-sounding alto sax is perfect for his lovely ballad "November Cotton Flower"; it is far removed from avant-garde and free jazz.

Quattro dischi all’attivo, premi vinti di qua e di là, partecipazioni a kermesse importanti: Térez Montcalm non avrebbe proprio bisogno di presentazioni. La cantante canadese, originaria del Quebec, anche conosciuta come la Janis Joplin del jazz, ha tale e tanta grinta da non risparmiarla per niente affatto nella sua espressività vocale. Che è dolce, nervosa, increspata e mai soverchiante. Sa passare dai momenti più intimistici (“Love”, “Growing Sronger”, “Parce que y a toi”, “Sorry Seems to Be the Hardest World” di Elton John) a quelli più rock (la versione “unplugged” di “Voodoo Child” di Jimi Hendrix, e “Sweet Dreams” degli Eurytmichs), questa gentile Tom Waits in gonnella si diletta con la chitarra, ma anche col contrabbasso.

On April 23, 2021, New Amsterdam will release "Vulture Prince," the third album from Brooklyn-based Pakistani composer Arooj Aftab. Championed by NPR, who praised her composition as one of the “Greatest Songs By 21st Century Women+,” and the The New York Times, who celebrated her work as one of the “Best Classical Music Tracks of 2018,” Aftab’s liminal sound floats between classical minimalism and new age, Sufi devotional poetry and electronic trance, jazz structures and states of pure being. On "Vulture Prince," the composer’s remarkable voice, backed by a team of renowned musicians, transports listeners to worlds once known.

THREE CELLO SUITES from clarinetist Joshua Ranz and Navona Records is a truly groundbreaking take on Bach’s legendary works; In this album, for the first time ever, listeners may enjoy three unabridged cello suites by Bach arranged for the bass clarinet. Ranz selected Suites 1, 4, and 2 for this recording because, together, they form a cohesive and dynamic whole. Ranz holds the chair of principal clarinet for the Los Angeles Chamber Orchestra, and has played on such blockbuster soundtracks as Toy Story 3 and 4, and Star Wars episodes VII and IX. He can be heard prominently featured in La La Land, Catch Me If You Can, and An American Pickle. Ranz lends a fresh voice to Bach’s profoundly-beautiful music in THREE CELLO SUITES.

Clifford Brown - The Complete Paris Sessions (1953) {3CD Set, Vogue 668 001 rel 1991}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.15 Gb | MP3 @320 -> 470 Mb
Full Artwork @ 300 dpi (jpg) -> 56 Mb | 5% repair rar
© 1953, 1991 Vogue | 668 001
Jazz / Bop / Hard Bop / Trumpet

While in Paris, Brown recorded a series of sides with mostly French rhythm sections for the Vogue label, several of which are reissued here. Half the cuts feature Brown as a featured soloist with a big band comprised of Hampton's bandmembers and led by alto saxophonist Gigi Gryce. Gryce's tunes are solid, but the date would be unmemorable without Brown, whose flair for spontaneous invention elevates the banality of the context.

This is awesome score of Sakamoto's for "Taboo" (Gohatto), from master filmmaker Nagisa Oshima with this revisionist Samurai epic…film is set in 1865 during critical times in Japanese history, a struggle between tradition and internationally minded government. With breath-taking cinematography by Toyomichi Kurita, takes on epic proportions with an outstanding cast of actors…this film was screened in competition at the 2000 Cannes Film Festival. Our composer, Ryuichi Sakamoto who gave us - "The Last Emperor" (1987) (Academy Award Winner)…"The Sheltering Sky" (1990)…"High Heels" (1991)…"Tokyo Decadence" (1991)…"Little Buddha" (1993) and "Wild Palms" (1993)…is up for another challenge with this captivating score. For "Taboo", Sakamoto uses every electronic sound from elaborate to technical for dramatic and mood swings for his cues…lightness in tone, softer, with mid-range support of counterpoints, rising and falling synthesized tones.

Patrick Gowers' score for the Grenada Television series about A. Conan Doyle's consulting detective has become almost as closely linked to Sherlock Holmes in the minds of fans as star Jeremy Brett (1933-1995). But those with no interest in Holmes can also enjoy this recording. Gowers' musical eloquence is richly displayed in these widely diverse, yet cohesive, tracks. Gowers begins the recording with "221B Baker Street," the vivacious theme (performed on Holmes' instrument, the violin, by Kenneth Sillito) that brings to mind Holmes' classic alarm call, "Come, Watson, come! The game is afoot. Not a word!" The cohesiveness of the album comes from Gowers' variations on this theme found throughout the rest of the recording. But the diversity within this cohesiveness is what is remarkable.