A Robot Named Fight! Free Download (v16.10.2020)

This is the definitive reissue of ‘Free Yourself,’ lacquered directly from the original master tapes by legendary Los Angeles mastering engineer Bernie Grundman. In a move that the band would find fitting, its tapes were placed next to the original Track Records mono masters for Hendrix’s ‘Axis: Bold As Love’ during their cutting session; Grundman was lacquering both concurrently. So, with this issue, Black Fire’s story burns forth into its fifth decade, its message not tempered, its sound pure. Its cycle, once again, complete.

Ulrich Schnauss presents ‘Now is a Timeless Present’, a career-spanning retrospective encompassing key works from the past two decades. The German electronic composer will be selecting fundamental music from his back catalogue.

Luca Fanfoni (born 1964 in Parma), is an Italian violinist. He began the study of the violin in his native town at an early age with Giuseppe Alessandri and continued at the Giuseppe Verdi Conservatory in Milan with Gigino Maestri. At a very young age he won the first prize at the International Competition of Stresa, the first prize at the National Competition of Pescara and the first prize at the National Competition of Vittorio Veneto.

If you haven't experienced the last jazz attack of the year, you've really missed something. On Thursday, the young trumpeter and flugelhornist Ryan Carniaux from New York introduced himself in the Jazzkeller, and he did so accompanied by the no longer unknown Mike Roelofs on electric piano, his compatriot Jasper van Hulten on drums, also represented for the first time in the Jazzattack, and the host Stefan Rademacher on bass.

Vienna. 1803: George Bridgetower, a violinist of Afro-European descent, caused a furore with his virtuosity and captivated Beethoven, who was fascinated by his unique and exotic character and wrote a hellishly difficult and magnificent sonata for him. Despite the enormous success of the premiere by Beethoven and Bridgetower, a clumsy remark by the violinist about a friend of the composer led to this famous sonata finally being dedicated to Rodolphe Kreutzer, by whom, however, it was never to be played because of its enormous difficulty.

Musicians did not wait for the contemporary era to illustrate the chirping, trilling and squawking of birds. In the midst of the Renaissance, at the beginning of the 16th century, Clément Janequin was already creating the basis of their re-composition by mankind, with the polyphonic song Le chant des oyseaulx ("The Song of the Birds"). The composer stylized animal song using onomatopes and noise-based sounds.But it is without contest during the 20th century, with Olivier Messiaen, that we find the first true transcriptions of birdsong as a structural element of the score. In his wake, other composers borrowed the same path, with diverse objectives, means and results. All of them confessed to having a common reference point, upstream of their master, in the tutelary figure of Claude Debussy, inventor of a new style, free, ductile and natural – in a single word, modern.

Wilhelm Backhaus, born 1884 in Leipzig, studied with Eugen d'Albert in Frankfurt. After his successful 1900 debut in London, Wilhelm Backhaus - promoted by such conductors as Muck, Nikisch and Richter - made a career in Europe.