标清23'42'' 管啸天 Guanxiaotian

Better known as a dynamic conductor with a large repertoire of 19th and 20th century orchestral music, Myung Whun Chung is also a noted pianist, though he is seldom heard in this capacity. On his 2013 ECM New Series release, he presents ten greatest hits of the piano, and while they may be surprisingly easy for a musician of Chung's abilities, their simplicity is deceptive.

China Crisis underwent a complete change in sound for their third album, completely ditching the heavy dub rhythms and challenging arrangements of 1982's Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain and 1983's Working with Fire and Steel (Possible Pop Songs, Vol. 2) with an altogether smoother and less aggressive sound. That doesn't equal a commercial capitulation, however; if anything, the choice of Walter Becker (of the then-unfashionable Steely Dan) as producer was a more commercially daring maneuver than anything the group had previously attempted.

Gary Burton, Jan Garbarek, Pat Metheny - Hommage A Eberhard Weber (2015) {ECM 2463}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 394 Mb | MP3 @320 -> 167 Mb
Full Artwork @ 300 dpi (png) -> 108 Mb | 5% repair rar
© 2015 ECM Records / SWR | ECM 2463 / 473 2342
Jazz / Modern Big Band / Modern Creative / Progressive Jazz / Bass

In January 2015 musicians and listeners converged upon Stuttgart’s Theaterhaus for two consecutive nights to celebrate the 75th birthday of Eberhard Weber. The concerts centered around a specially commissioned 35-minute suite by Pat Metheny, with whom Weber had played and recorded back in the 1970s. Featuring Metheny, the SWR Big Band conducted by Helge Sunde, Gary Burton, bassist Scott Colley and Danny Gottlieb on drums, the composition was arranged around recordings of solos by Weber. Other performers during the two nights playing selections from Weber’s vast body of work were Weber’s longtime companions Jan Garbarek, Paul McCandless and arranger Michael Gibbs, all drawing ovations from the packed house.

Lange Zeit arbeitete er mit Michael Weisser zusammen, mit dem er insgesamt 14 Alben auf dem vom Elektroniksolisten Klaus Schulze gegründeten Label IC/Innovative Communication veröffentlichte, zuerst unter dem Namen Mergener & Weisser, dann unter dem Namen Software. Die Musikformation Software setze sich konzeptionell mit dem aufkommenden Thema „Computerkultur“ auseinander. Software-Cover und das Artwork aller Tonträger (LP, MC, CD) zeigen Grafiken von Computerkünstlern wie MAPART (Heinz-Otto Peitgen), Herbert W. Franke, Jürgen Brickmann, Able Image Research, Yoichiro Kawaguchi, Nelson L. Max, David Sherwin, Andy Kopra, Mental Images.

Initially a British folk-rock combo called Tyrannosaurus Rex, T. Rex was the primary force in glam rock, thanks to the creative direction of guitarist/vocalist Marc Bolan (born Marc Feld). Bolan created a deliberately trashy form of rock & roll that was proud of its own disposability…

Peter Mergener is one of the artists you might like to refer to if you want to prove that the music business is unfair. His first formation Software was musically equally groundbreaking as German compatriots Tangerine Dream and their 80s output possibly better than that of direct inspiration Klaus Schulze. Still, even though they did manage to become an underground sensation, their music never made it to those big concert halls and only occasionly to the radio. After the breakup of his band, Mergener continued as an acclaimed solo artist, who again won the hearts of a dedicated group of music lovers with a prolific body of works. It would be well deserved, for if you haven't heard of Peter Mergener, you haven't heard of electronic music!

China Crisis underwent a complete change in sound for their third album, completely ditching the heavy dub rhythms and challenging arrangements of 1982's Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain and 1983's Working with Fire and Steel (Possible Pop Songs, Vol. 2) with an altogether smoother and less aggressive sound. That doesn't equal a commercial capitulation, however; if anything, the choice of Walter Becker (of the then-unfashionable Steely Dan) as producer was a more commercially daring maneuver than anything the group had previously attempted.