Fans of Gustav Mahler's joyous Symphony No. 4 in G major will relish this buoyant performance by Ivan Fischer and the Budapest Festival Orchestra, featuring soprano Miah Persson, for it is wholly in keeping with the light tone and merry spirit of the score and is as delightful as any other recording on the market.
Basic Blues Magoos (1968) – the final long-player with the lineup of Ralph Scala (keyboards), Ronnie Gilbert (bass), Emil "Peppy" Thielheim (guitar), Mike Esposito (lead guitar) and Geoffrey Daking (drums) – is arguably their best and easily most progressive outing. Perhaps this can partially be credited to the combo's retreat from creating in the comparatively uninspired environs of a studio. Instead, they essentially cocooned themselves into their legendary Bronx, New York digs, which at one time had been inhabited by none other than Gram Parsons…
King Tubby's studio and Channel One – two of the great Jamaican studios that produced so many of the great reggae rhythms in Kingston – find themselves here battling for the trophy. Bunny Lee threw rhythms over to Channel One, which had enlisted the great DJ Jah Stitch to return the fire. So sit back and enjoy two great institutions of the reggae sound, battling it out for supremacy. The winner? That's for the listener to decide. But in this Dub Soundclash there is no loser. CD includes six bonus tracks.
Is not a déjà vu, not, is the new 2014 release (for compare with original).
Appearing South-American hippie hymn "Todos Juntos" and the beautiful ballad "Mira Niñita"
In terms of prog-rock sophistication, this wonderful 1972 album is not the best place to start investigating Los Jaivas, but it is the most important album of Los Jaivas' earliest and folkiest phase. Here we see the early fusion of psychedelic rock with bona fide Andean music. While some songs are merely good, and others intriguing, it is the brilliant title track that happens to be my all time favourite Spanish language song.*
Founded in 1978 by Trombonist/Vocalist Joseph Bowie (brother of Association for the Advancement of Creative Musicians and Art Ensemble of Chicago co-founder/trumpeter Lester Bowie), Defunkt has existed as somewhat of an anomaly, a Black band that initially gained notoriety while being active in New York’s No Wave Punk scene. Musical circles alongside noisy Punk legends like James Chance and The Contortions, DNA and Teenage Jesus & The Jerks while remaining steeped in the deep reservoirs of Jazz, Funk and the Avant Garde.
"…A lot of bang for the buck."
Having come to the U.S. from his native Nigeria to study medicine, percussionist Babatunde Olatunji eventually became one of the first African music stars in the States. He also soon counted jazz heavyweights like John Coltrane ("Tunji") and Dizzy Gillespie among his admirers (Gillespie had, a decade earlier, also courted many Cuban music stars via his trailblazing Latin jazz recordings). And, in spite of it being viewed by some as a symbol of African chic, Drums of Passion is still a substantial record thanks to Olatunji's complex and raw drumming.
Why do some rhythms get our toes tapping, while others make us feel mellow? How does a love song bring tears to our eyes? What links African drumming to J S Bach?In this new four-part series composer Howard Goodall strips music down to its essential parts to find out how music works.