Best known for being the keyboardist in La Maschera Di Cera, but mostly being a very versatile musician/composer who happens to be involved in several groups, Agostino Macor founded Zaal in 2002 as a jazz-prog project. Joining forces with a host of musicians that filled duties on violin, bass/cello/contrabass and drums, plus some guests, Macor managed to deliver a delicately colorful type of progressive-oriented jazz-rock, highly melodic and yet mysterious. The fluid incorporation of elements from symphonic prog, space-rock and chamber-rock gives the overall sound a rich set of atmospheres; simultaneously, the old school jazz factor helps the band to keep things lyrical.
In a musical first for the band, they wrote, arranged and recorded music with specific collaborators in mind. They held sessions with two of their heroes; a congregation with two musical and spiritual father figures from opposite ends of The Apples rich spectrum: Fred Wesley - Pioneer of funk trombone in particular and funk horn arranging in general with James Brown, The JBs, Parliament-Funkadelic and The Horny Horns. SHLOMO BAR - Vocalist, Percussionist, Godfather of Israeli world music. Figurehead of the highly influential ethno-fusion ensemble HaBrera HaTeevit. The exciting process of these recordings exposed the band's many roots and influences; elements of The JB's funky foundations, African, Cut & Paste, Soul, Middle Eastern, and Dub are all clearly displayed on KINGS, strained through the band's unique Decks-Horns-Soundboard Effects-Double Bass-Drums lineup.
En Vivo Conciertos España is the first release of new material in seven years, and first live album in 18, by the flamenco guitar god par excellence. While de Lucía's output has slowed down considerably in the past two decades, the same cannot be said of his prodigious dexterity, in light of this two-CD set culled from his 2010 Spanish tour. De Lucía performs extended variations of eight of his compositions (almost every track surpasses the ten-minute mark) together with his new band of guitarist Antonio Sánchez, bassist Alain Pérez, singers David de Jacoba and Duquende, harmonica player Antonio Serrano, and dancer Farru, all eminently up to de Lucía's notoriously high standards. A DVD with the "making-of" documentary La Inmortalidad del Concierto completes the release.
Most rock & roll bands are a tightly wound unit that developed their music through years of playing in garages and clubs around their hometown. Steely Dan never subscribed to that aesthetic. As the vehicle for the songwriting of Walter Becker and Donald Fagen, Steely Dan defied all rock & roll conventions.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Flamenco is not improvised: everything is carefully rehearsed. Every falseta, every step of the dance, although it may appear spontaneous is based on conscientious preparation. Flamenco artists are not fans of improvisation in their public performances; only in the dance are small spaces left. In the singing and above all the guitar there is no place for improvisation.
In the early 70's a band named Catalyst was formed in the heart of Philadelphia. The core of the group was Odean Pope, Sherman Ferguson, Eddie Green and Al Johnson (who was replaced by Tyrone Brown after their first album). The band drew from a wide range of musical styles; jazz, funk, R&B, avant garde and fusion all found their way into the creative sonic tapestry of Catalyst. With the given talents of Catalyst they could have and should have been bigger but sadly they found themselves with little promotion or recognition outside the proximity of Philadelphia. Thankfully Catalyst were able to leave behind four extraordinary recordings that will appeal to both jazz heads and those in the hip hop community.
Hailing from Buenos Aires, Argentina, Deformica are a five-piece band playing a highly energetic, King-Crimson-inspired, yet original brand of progressive rock, with echoes of avant-garde, fusion, and even modern psychedelia. Their second release, Paramo (2010), is a vast improvement and therefore paves the way for them to be a force in this genre. Cesar Inca agrees, stating that “…the basic premise for the development of this album’s repertoire is the increase of the post-rock dose in the sonic amalgam that is also generous on Crimsonian schemes, math-rock tricks and psychedelic nuances.” You can most certainly hear the “Discipline” era of King Crimson there, but these guys take it in a whole new way. The band (led by Alejandro Carrau on keys, Leonardo Ghernetti and Nicolas Pedrero on guitars, Lyon Iglesias on bass and Martin Benito on drums) are flawless in their execution.