terça-feira, 23 de janeiro de 2018

Taproban - Progressive Rock (Italy)


Formed in 1996 in Rome, Italy by keyboardist Gianluca De Rossi, drummer Fabio Mociatti, singer Paolo Cedrone and bassist Stefano Proietti, the group's name is taken from Taprobana, the ancient name of Ceylon Island (Sri-Lanka). Their main influences back then were 70's British bands like Genesis, Gentle Giant and King Crimson. They recorded two demos before changing musicians, Valter Strappolini (drums) and Roberto Pizzi (bass guitar) entering the band at this point. Their new sound added a strong E.L.P influence with prominent keyboards.

Due to lack of enthusiasm, the band became inactive for two years until reuniting in 2001, with yet additional line-up changes, Davide Guidoni entering on drums/percussions and Guglielmo Mariotti on bass, both having past experience playing in bands. They released three strong studio albums and contributed to several Colossus Project albums ("7 Samurai" and "Spaghetti Epic"), filled with long compositions.

In 2012 the band was renewed with the addition of Roberto Vitelli on bass and guitars and Francesco Pandico (to also be replaced by Fabio Agresta in September 2013) on drums/percussion, who collaborated with Gianluca De Rossi to compose the new tracks for TAPROBAN's fourth studio album 'Strigma', issued in December 2013 on the Musea Records Label.






Thanks Magal!

segunda-feira, 22 de janeiro de 2018

Jimi Hendrix - Message From Nine to the Universe


Nine to the Universe is a posthumous compilation album by American guitarist Jimi Hendrix. It was released in March and June 1980 in the United States and the United Kingdom respectively. It was the third album of Hendrix recordings to be produced by Alan Douglas. The album contains five jam sessions, edited by Douglas. It only charted in one country – the United States – and even then only, briefly, reaching 127th on the Top 200 Billboard chart, before dropping out quickly. Various versions of the jams on the LP had previously circulated widely on bootlegs.

These jams were recorded at a time when Hendrix had become acquainted with Miles Davis (Hendrix' girlfriend Devon Wilson had a close friendship with Miles' wife Betty Davis a funk, rock and soul artist), who had begun to "cross over" to jazz fusion with In a Silent Way (recorded February 18, 1969) which featured the English electric jazz guitar player John McLaughlin as well as bassist Dave Holland. Hendrix had previously used a jazz influenced style from at least 1967, most notably on 'Up from the Skies' from Axis: Bold As Love and 'Rainy Day Dream, Away' / 'Still Raining Still Dreaming' from Electric Ladyland.



Hendrix and Davis had discussed music and, it is claimed by Alan Douglas [a jazz producer, introduced by Devon Wilson who was already friendly with clothing designer Stella Benabou (then married to Douglas)], that he, eventually, attempted arranging recording sessions with Davis and Tony Williams, with a view to a possible album. But this came to naught, again according to Douglas, through exorbitant demands for upfront cash from both Davis and Williams. Davis, from 1969, hired John McLaughlin, and latterly others who have been described as "sharing Hendrix's fascination with noise."

Hendrix recorded only once with Davis' sidemen Dave Holland and McLaughlin, and Larry Young, who was playing in Lifetime (as had McLaughlin, recently), but this was just an informal jam session on 25 March. Young was soon to record one track with Davis for 1970's Bitches Brew and four years later played with Carlos Santana and John McLaughlin on Love Devotion Surrender. These three are the only artists involved in the recordings that are recognized as "jazz" artists, and only two of them are featured here, on one jam 'Young/Hendrix'. Buddy Miles along with ex-Buddy Miles Express bassist Billy Rich and Larry Young, later played on John McLaughlin's 1970 "fusion" LP Devotion produced by Alan Douglas and Stephan Bright. McLaughlin later complained that the production was poor, and that he was inadequately recompensed for his efforts.


Douglas and Bright were attempting to produce Hendrix' Band of Gypsies from early October until November 28 when Douglas (and therefore his employee Bright) resigned as producer, "citing his own busy schedule, constant pressure from Jimi's manager Michael Jeffery and Hendrix' own indifference." During his & Bright's month and half as Hendrix' producers, the only thing Hendrix considered "finished" was the basic backing track of "Room Full Of Mirrors", Billy Cox had voted with his feet, walking out of the sessions and going back to Nashville after a furious row with Bright, he was only coaxed back two weeks later. He said: "We were just goofing around during those sessions at Juggy, the atmosphere at Juggy's didn't allow Jimi to create. It was a lousy deal with a lot of bad vibes around. I had words with Alan's partner, Stephan Bright. I hated that guy with a passion. Jimi sensed it and nothing we did there ever worked out. I didn't think they were necessary. I didn't think they were on Jimi's level. They weren't needed for the production, Jimi was well equipped to do that."

Hendrix recorded many jam sessions over his career which were only loosely organized, often started late and even went on into the late morning. He also recorded several jams in clubs on his portable Teac deck, a notable one being with a very "out of it" Jim Morrison ranting obscenities, Jimi encouraging him to "sing" into the correct mic'. The jams that ended up on Nine to the Universe were not written, played, or recorded as individually named songs; with the exception of "Message ['from Nine' - there is no record of this part in the original title] to the Universe" (an early version of what would become "Message of Love," and which also contains the seeds of "Earth Blues",[1] both songs he would record later that year with the same line-up, who had by then become the Band Of Gypsies). All song titles were made up during the production of the final album.

'Easy Blues' was recorded during the aborted August sessions at the Hit Factory with his short lived 'Woodstock' band (variously titled: 'Gypsy Sun & Rainbows'/'Band Of Gypsies'/'Sky Church')and originally featured a guitar solo by Larry Lee. McLaughlin's recollection of the session, many years later (he only played for a short part of the session due to his semi-acoustic guitar's faulty pick up, which made a loud distorted buzzing and the volume of Jimi's guitar which almost drowned him out anyway): "We played one night, just a jam session. And we [the various other musicians that played] played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!... The music wasn't all that great, I'm sorry to say. I love Jimi, but the music wasn't that great. We played some good things. Just because it was my name and Jimi Hendrix' name is no excuse. Only since Mahavishinu came out was it transformed into something other."

Larry Young on the session: "I'm not quite sure why I was called, but I was real happy to do it. It was a lot of fun and very informal. Nothing was really planned. It was real loose"

Jim McCarty's comment on the LP: "None of that stuff was ever intended to be released. To me it was embarrassing. I'm sure that Jimi would have said, "You're out of your f...ing mind and never let it happen [i.e., the recordings being released, not the actual jams happening]. It was all about people trying to make a buck out of Hendrix." (i.e., Douglas and Warners who employed him and released the LP.)...






Metamorfosi - Progressive Rock (Italy)


Another little known but excellent Italian progressive band. Their roots were in psychedelia, but their sound wasn't quite developed on their debut. Close to BANCO DEL MUTUO SOCCORSO, early PREMIATA FORNERIA MARCONI and also EMERSON, LAKE & PALMER or LE ORME. Two classics for any fan of seventies Progressive. "INFERNO", however, was a great development, a complex dynamic conceptual suite, heavy on the keyboards, and full of surprises.




Thanks Magal

domingo, 21 de janeiro de 2018

Agnostic Front - Punk Rock (USA)


Agnostic Front is an American hardcore punk band, pioneer of the crossover thrash genre, formed in 1980. The band began playing hardcore punk similar to their contemporaries, and were thrust to the forefront of the burgeoning New York hardcore scene in the mid-1980s with their widely regarded 1984 classic Victim in Pain before incorporating thrash metal elements into their music.


1983- United Blood EP



1984- Victim In Pain Ep



1986- Cause For Alarm




1987- Liberty & Justice For...




1992- One Voice


SPACE CIRCUS - Jazz Rock/Fusion • Japan


A surprisingy unknown group from Osaka that released two albums in the 70's; SPACE CIRCUS was a quartet where the members on both albums were bassist Hajime OKANO, drummer Yoshikazu OGAWA and guitarist Yukinao SANO . Except switching keyboard players, between the two albums they also changed their sound as well, going from clasic fusion to giving a nod to space rock on the second album. Okano Hajime's guitar playing can also be very reminiscent of Andrew LATIMER, so SPACE CIRCUS can be recommended to fans of CAMEL and even DIXIE DREGS. To OKANO we can be thanful for the recent reissuing of these excelent albums and adding some bonus live material. 











Thanks Magal!

sábado, 20 de janeiro de 2018

Guardians of the Galaxy Soundtrack


Guardians of the Galaxy: Awesome Mix Vol. 1 (Original Motion Picture Soundtrack) is the soundtrack album for the Marvel Studios film Guardians of the Galaxy. Featuring the songs present on Peter Quill's mixtape in the film, the album was released by Hollywood Records on July 29, 2014. A separate film score album, Guardians of the Galaxy (Original Score), composed by Tyler Bates, was also released by Hollywood Records on the same date, along with a deluxe version featuring both albums. The soundtrack album reached number one on the US Billboard 200 chart, becoming the first soundtrack album in history consisting entirely of previously released songs to top the chart.

The album topped the Billboard Top Soundtracks for 11 consecutive weeks and 16 weeks in total. As of April 2017, it has sold over 1.75 million copies in the United States alone, and has been certified Platinum by the RIAA. The album was the US's second best-selling soundtrack album of 2014, behind only the soundtrack to Frozen.



Guardians of the Galaxy (Original Score)




Guardians of the Galaxy Awesome Mix Vol. 1

 1. Hooked on a Feeling (Blue Swede)
  2. Go All the Way (Raspberries)
  3. Spirit in the Sky (Norman Greenbaum)
  4. Moonage Daydream (David Bowie)
  5. Fooled Around and Fell in Love (Elvin Bishop)
  6. I Want You Back (Jackson 5)
  7. I'm Not in Love (10cc)
  8. Come and Get Your Love (Redbone)
  9. Cherry Bomb (The Runaways)
  10. Escape (The Piña Colada Song) (Rupert Holmes)
 11 - The Five Stairsteps - O-O-H Child
  12. Ain't No Mountain High Enough (Marvin Gaye and Tammi Terrell)

Yoshiko Goto - Vocal Jazz (Japan)


Born in Tokyo in 1933, Yoshiko Goto started singing in 1952 with Eiji Kitamura and Kiyoshi Yamaya. She visited the States in 1967 and returned for a longer stay from 1970 to 1972, at which time she recorded Yoshiko Meets Ray Brown for Nippon Columbia.




Thanks Magal

sexta-feira, 19 de janeiro de 2018

Al Kent Presents The Million Dollar Orchestra (Funk & Disco)


The Million Dollar Orchestra is the crazy project of Al Kent, an avid record collector and self-confessed disco geek. It all started sometime in 2005 when Al, bored with chopping up disco loops to bosh over house drums, and even more bored with the deluge of pointless disco re-edits flooding the shops, decided to take things a step further and create something that sounded like the music he loved, something authentically disco.

So he knocked up some rhythm tracks using drums and percussion sampled from some old disco records and set about looking for musicians to jazz things up a bit… After recruiting Charlie Milne (keys), Stephen Westwater (bass), Kev McShane (guitar), Colin and Alan Train (sax), Gary Kainth and Ryan Buchanan (percussion), Jim Gash (drums), Douglas West (trumpet) and a few guest vocalists, the band played their first triumphal gig at the Glasgow Jazz Festival. The Million Dollar Orchestra was now officially complete! They all headed towards the studio a set out to record what would become a cult album: Better Days.

The Million Dollar Orchestra is a big band from Scotland idealized by producer Al Kent. In the midst of so many bands reviving the funk of the 60s and 70s, the guy thought of a band in which disco music would be revisited. Not in electronic form, because that's what else it has. Projections doing a house mixuruca and calling the new disco music. The guy joined twenty musicians and built a real orchestra to play themes that refer to the beginning of the disc, when it was still done with bands. In the debut album, "Better Days" the result is overwhelming. Groove first with the right violins, cellos and a suit of helluva metal.



ZAUBER - Prog Folk • Italy


A somptuous mixing between Progressive baroque, Italian classical and medieval musics. ZAUBER is an itaprog band from Torino with an interesting melodic sound, long instrumental suites and great keyboards and flute. The arrangements are full and lush. In addition to the standard instruments they augment their sound with chimes, xylophone, glockenspiel, flute, harmonica, viola, cello, recorder and oboe. Close to JETHRO TULL or FRUUPP but more clever and baroque. Worth to be discovered.




Thanks Magal

quinta-feira, 18 de janeiro de 2018

Bill Evans - Piano Jazz


William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. During that time, Evans was also playing with Chet Baker for the album Chet.

In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby albums, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.

In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many successful albums followed, in trio, duo, and solo settings, such as Bill Evans at the Montreux Jazz Festival, Alone, and The Bill Evans Album, among others.

Many of Evans's compositions, such as "Waltz for Debby", have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards and was inducted into the Down Beat Jazz Hall of Fame.





SPETTRI - Heavy Prog • Italy


SPETTRI was a five-piece band from Florence, formed by brothers Ugo and Raffaele Ponticiello in 1964. They had a fairly long career and released several singles during the height of the Italian beat era although their sound gradually evolved and by the turn of the decade they had turned to performing covers of songs by contemporary heavy rock groups from the UK and USA. The band also underwent a number of personnel changes during the intervening years and among the musicians who came and went was drummer Mauro Sarti of CAMPO DI MARTE fame. The youngest member of the Ponticiello clan, Vincenzo, joined in 1971 thus making the venture a real family affair.

Between 1970-71 the band had also written enough original material for a full-length album that was later recorded in a single session on 13 October 1972, with a sound that is rather primitive and badly produced. However, the album never saw the light of day until 2011 when Black Widow Records released a re-mastered version of the self-titled work almost on the eve of its 40th anniversary. It's a concept album that portrays one man's search for his inner self by means of a séance, although it's also an allegory on the selfishness and hypocrisy of modern society and the erosion of humanity. The protagonist's journey to the abyss is aptly accompanied by a dark atmosphere of heavy guitar riffs and Hammond organ that together sounds like a collision of BLACK SABBATH and DEEP PURPLE. 

SPETTRI had a good live activity but eventually disbanded in 1975; according to the album's liner notes the various band members followed different musical paths due to ''growing public indifference to refined music'' around that time. Describing SPETTRI as ''refined'' might strain the listener's credulity somewhat as the main appeal of this band seems to be characterised by its very defects, its rawness and its sheer exuberance. 






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