Batman Ron Fish

Since forming in 2008, Chicano Batman have followed their own visionary impulses to tremendous heights—a journey that began at local dive bars and recently saw them co-headlining the legendary Hollywood Bowl. In the making of Notebook Fantasy, Chicano Batman worked with producer John Congleton (Erykah Badu, Death Cab For Cutie, St. Vincent) to double down on their hyper-creative tendencies, discovering new dimensions of their prismatic music while infusing the lyrics with an unflinching honesty.

Since forming in 2008, Chicano Batman have followed their own visionary impulses to tremendous heights—a journey that began at local dive bars and recently saw them co-headlining the legendary Hollywood Bowl. In the making of Notebook Fantasy, Chicano Batman worked with producer John Congleton (Erykah Badu, Death Cab For Cutie, St. Vincent) to double down on their hyper-creative tendencies, discovering new dimensions of their prismatic music while infusing the lyrics with an unflinching honesty.

Since forming in 2008, Chicano Batman have followed their own visionary impulses to tremendous heights—a journey that began at local dive bars and recently saw them co-headlining the legendary Hollywood Bowl. In the making of Notebook Fantasy, Chicano Batman worked with producer John Congleton (Erykah Badu, Death Cab For Cutie, St. Vincent) to double down on their hyper-creative tendencies, discovering new dimensions of their prismatic music while infusing the lyrics with an unflinching honesty.

The LA-based quartet, made up of Eduardo Arenas, Carlos Arévalo, Bardo Martinez and Gabriel Villa, follow-up the critically-acclaimed breakthrough Freedom Is Free (2017) with their most sonically-varied and most cohesive album to date. Mixed by Grammy-winning engineer Shawn Everett (Beck, Alabama Shakes) the 12-song set accentuates the group's high spirited synthesis of tropicália, west coast psychedelia and late-'60s/early-'70s soul.

Marin Marais published his last collection in 1725, eight years after the appearance of his Quatrième Livre de Pièces de Viole . He was no longer playing in the Chambre du Roi by that time and had moved to a house in the Faubourg Saint-Marceau where he cultivated plants and flowers in his garden. He continued, however, to give lessons to people who wanted to improve their viol playing. The Cinquième Livre de Pièces de Viole reflects this image of a peaceful life; today we regard it as the final testament of a musician who was looking back upon his past years as their undisputed master — and which he remains today.

Ron Boots is the most well-known and successful electronic musician from The Netherlands.
Hearing the first notes of the title track it is not hard to hear Ron’ recognizable signature: innovative rhythms, great sequences nice solos and a lot of room for the finest sounds around. "Save It For A Rainy Day" shows the melodically side of Ron, almost like symphonic rock. In the epic "Well! So What?" (with 18:25 minutes one of the longest tracks he has ever recorded) Harold van der Heijden plays drums in the middle part. "Well! So What?" gives us some of the best Boots-sequences ever. "Giants Of Once Before" is a live recording from the Gruga Park in Essen, Germany of Ron together with his friends Harold van der Heijden and Kees Aerts. It is a rather melancholically piece with a driven solo.
"Close, But Not Touching" really sets new standards in melodically electronic music.

"Area Movement", which was conceived during the last 15 years (with many long intervals), describes some special places in the world. This ranges from Ron’s own country The Netherlands (The "Wadden Sea") to Canada and the Serengeti National Park. The style on "Area Movement" is quite melodically, sometimes even symphonic. In this case, "Area Movement" sometimes bares some of the same fine atmospheres of his early albums. The first track "The Grand Banks" already shows it. Starting with a soft piano part, this piece really "rocks". It features Harold van der Heijden on drums. Also, the sequences are excellent again. Another great track is "Rapids" in which the sequences somewhat remind of Ron’s masterpiece "Tainted Bare Skin"…

Ron Boots: This is our third official live release and it gives an impression of the music we play as specials and encore pieces. In other words: This is all new music. You don't hear any familiar pieces from other CDs. That makes this CD unique, with music that was played once and will never be heard in this form again.
For us musicians this is the greatest way to perform; not being limited to studio versions, it gives us a feeling of freedom on stage and it certainly increases the amount of adrenalin in our vains during the performance…

After establishing himself as a science fiction hero in Planet of the Apes, Charlton Heston went on to do a string of films in this vein. One of the most beloved of these films is The Omega Man, a post-apocalyptic adventure that featured Heston as a scientist battling a vengeful group of mutants as he searched for fellow survivors in the ruins of Los Angeles. One of the most distinctive elements of the film was its score, which was composed by sci-fi vet Ron Grainer (The Prisoner, Dr. Who) and combined traditional orchestral film score elements with strong elements of pop and light jazz. A great example of this style is the film's main theme, "The Omega Man": its first part layers lush strings and gently jazzy horns over a pop-inflected rhythm section and its second part allows a mournful, jazzy trumpet solo to take the fore over a backdrop of acoustic guitar and spacey electronic keyboards. The score also features a preponderance of exciting action cues, like "On the Tumbril" and "Surprise Party," which combine the regal horn arrangements of traditional film music with spacey synths and exciting rock-style drumming. Elsewhere, Grainer shows a gift for crafting easy listening-style melodies on lighter cuts like "Bad Medicine for Richie," which mixes a string-sweetened melody with acoustic guitar and a subtle rhythm section.

2 complete albums ("The Master Trio" and (Blues In The Closet") on 1 CD. Only previously available on 2 separate limited Japanese editions.
On June 16 & 17, 1983, three legendary instrumentalists recorded what would be their only collaboration as a unit. While the group's instrumentation consisted of a standard piano trio, the combination of Flanagan together with Carter and Williams was anything but standard. The studio sessions produced 14 tracks of superlative music - mostly modern jazz standards (including Rollins' "St.Thomas", Monk's "Misterioso", Davis' "Milestones", Dameron's "Good Bait" and many more great choices). The date also featured three classic standards as well as an original by each member of the trio.