Big I.d.e.a.s.

Emerging as a breath of fresh air in the 2010’s alternative scene, Alice Merton has never been one to shy away from personal subjects in her lyrics or to experiment with varying sounds in her arrangements…

Oliver Nelson - The Argo, Verve and Impulse Big Band Studio Sessions (1962-67) {6CD Box Set Mosaic MD6-233 rel 2006}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.57 Gb | MP3 @320 -> 944 Mb
Full Artwork @ 300 dpi (png) -> 167 Mb | 5% repair rar
© 1962-67, 2006 Mosaic Records / UMG | MD6-233
Jazz / Hard Bop / Post Bop / Big Band

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage.

4 CDs with the very best 90's Party and Retro Classics! The biggest 90's bangers of the 90s from. Fiocco, 2 Unlimited, Gigi D'Agostino, Culture Beat, Snap !, Virtual Zone, Sash, Gala, Vengaboys… I Love The 90's is the ultimate 90's collector. An unforgettable trip to the heyday of the legendary 90's Dance.

Originally recorded in 1957, these sessions turned out to be the last the legendary Big Bill Broonzy would record; only a little over a year later, he succumbed to lung cancer. This collection consists not of fan or producer favorites, but Broonzy favorites, and includes a variety of blues, folk, and devotional music. Though he was instrumental to the development of the blues and the Chicago sound, much of the material on this three-disc set reaches back to the music that the blues came from, with a lot of drop-in help from Broonzy's friends, of which there were many. That makes these recordings not only recordings, but documentation, a testament to a bluesman who was at once musician and historian.

Whether called Dixieland, traditional jazz or New Orleans jazz, it is the happiest music in the world, a music that exudes joy and found its perfect symbol and world ambassador in Louis Armstrong. Originating out of the south (particularly New Orleans), the style in its various forms was a major force in the 1920s. While overshadowed by swing in the 1930s, Dixieland made a comeback in the early 1940s with Lu Watters Yerba Buena Jazz Band being one of the first revival bands. Whether played by veterans such as Bunk Johnson and Kid Ory or newcomers of the time such as Pete Fountain and the Dukes of Dixieland, the music has been a permanent part of the jazz landscape ever since.

Die Hamburger Jazzszene ihre Vielfalt und Lebendigkeit bringen so manchen Musikliebhaber zum Schwärmen. Nach dem Zweiten Weltkrieg fanden sich in der Stadt an der Elbe hunderte spielhungriger Bands zusammen, für die bald auch unzählige Auftrittsorte entstanden. Der Cotton Club oder Dennis Swing Club wer kennt sie nicht? Für die Fans des Hamburger Jazz und alle, die mehr darüber erfahren möchten, entstand diese umfangreiche Kollektion. In Wort, Bild und Ton wird der Werdegang einer einmaligen Szene lebendig: von der Zeit, als die Hafenstadt in Trümmern lag, bis hin zum Sound von heute. Sie halten ein Set in Händen, das aus 18 CDs und einem 300 Seiten starken Buch besteht.

A new release from Big Big Train is never just another release in the world of prog. Since 2009’s The Underfall Yard, the band has been one of the leading bands of third-wave prog, the signal marker and bellwether. Indeed, every release from Big Big Train for the past decade has manifested itself as a fundamental shift—a very rethinking of who and what we are as a community—of the genre itself. While there are innumerable great prog acts out there, none quite match Big Big Train when it comes to innovation, to creativity, and to cohesion…

Rolando Villazón as Nemorino exhibits a real gift for comic acting, manipulating his rubber face into dozens of hilarious poses, flawlessly turning stock comic gestures into laugh-out-loud moments, and even juggling apples with the panache of a circus performer. More important, he uses his lyric tenor to sing the part with impressive subtlety, suggesting Nemorino's desperation while singing of his love for Adina. His big show-stopper, "Una furtiva lagrima," features melting pianissimos and a breathtaking decrescendo in its final phrase. Netrebko's Adina is every bit as good, with deft acting and a lovely lyric soprano voice that makes you understand why she's the only girl for Nemorino.