It might be more concise to list what musical genres Marc Ribot hasn't explored than the ones he has, but his approach to the guitar has often reflected the freedom, reinvention, and elastic boundaries of jazz, no matter what the specific context. On this date, recorded in mid-2012 during a handful of shows at one of New York's most iconic venues, Ribot gives himself the luxury of stretching out with a pair of gifted accompanists, bassist Henry Grimes (who worked with Albert Ayler, one of Ribot's key influences) and drummer Chad Taylor (a veteran of the Chicago Underground Duo and Trio), and the result is one of Ribot's most explicitly jazz-focused dates in some time.
The name Young Guns seems ironically amiss until one learns that this recording dates from 1968-69 when organist Gene Ludwig was thirty years old, guitarist Pat Martino twenty-three and drummer Randy Gelispie somewhere in that neighborhood, long before he became fondly known as "Uncle G." The organ trio was in its heyday then, and this one was caught on tape during an exciting live date at Club 118 in Louisville, KY. How many other such performances have been lost forever owing to the absence of a tape recorder or the failure to turn it on is anyone's guess. But this one, thank goodness, has been preserved for present-day ears to appreciate.
As the titular anagram of Interpol's name suggests, El Pintor refocuses and realigns the fundamentals of the band's music. Where their 2010 self-titled album split the difference between back-to-basics post-punk and lavish experiments, on their fifth album – and first without former bassist Carlos Dengler – Paul Banks, Daniel Kessler, and Sam Fogarino hone things even further.
Recorded live in Sweden on 24 July, 2014, this 2-disc set (video DVD and audio CD) captures the trio during their 25th Anniversary tour. The concert includes material from their "Mindset" collection plus some old favorites. Both discs contain the full, two-set performance. The DVD also features interview footage. (DVD is Swedish with English subtitles optional, format is NTSC playable worldwide, 16:9 aspect ratio, running time is just over 90 minutes).
Director Steven Soderbergh and composer Cliff Martinez have been collaborating together for over 25 years, but Martinez was shocked when Soderbergh asked him to create the music for his current series on Cinemax, “The Knick.” Set in 1900s New York City, the former rock drummer (Red Hot Chili Peppers) turned one of the most sought-after composers working today was pessimistic about how his electronica-focused sound would work for the show, a period hospital drama set during the turn of the 20th century. Then Soderbergh had Martinez watch a rough cut of the show, which included a temporary score filled with music Martinez created for movies like “Spring Breakers,” “Drive,” and “Contagion"…
The film scores of Iranian-born/U.S.-educated Nima Fakhrara (Exists, Gatchaman, The Courier) are known for their experimental bent, the product of a composer informed not only by Persian classical music but university studies in anthropology and ethnomusicology. To score William Eubank’s thought-provoking sci-fi movie, Fakhrara says he "wanted to achieve a certain sense of mystery and tension throughout the film. Our characters are being pulled and pushed in many directions, so the music had to feel the same. We also wanted keep the audience guessing throughout the film by scoring scenes in unconventional ways.” Fakhrara’s expansive sensibilities also drive him to craft new instruments from industrial scraps…
2014 compilation album featuring 50 tracks from likes of Roxette, Foreigner, Kate Bush, Fleetwood Mac & many more.
In the mid-50s, as rock’n’roll swept across the USA, the Cajun youth of South Louisiana and South East Texas absorbed the R&B sounds emanating from New Orleans. This was reflected in their music, making it so distinctive. They thrilled to the sound of Fats Domino, Smiley Lewis and Huey Smith and performed their songs with the bands they formed, while the area’s new breed of songwriters – Bobby Charles, Jimmy Donley, Jivin’ Gene, etc – assimilated the Crescent City style in their work. Swamp pop was born, although the genre had yet to be named.