Charles Tolliver Music Inc. Live At Slugs Vol. 1&2

Firma Melodiya and the Moscow State Tchaikovsky Conservatory with support of the All-Russian Non-governmental Organization The Union of Russia’s Composers present the first release from the large-scale project Anthology of Contemporary Choral Music by Russian Composers performed by the Chamber Choir of the Moscow State Conservatory.

Nearly two decades after the first volume, the second installment of the Beatles BBC recordings arrives and, like its predecessor, On Air: Live at the BBC, Vol. 2 condenses the Fab Four's voluminous BBC sessions into an easily digestible double-disc of highlights…

Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music.
"Royal Festival Hall Vol. 1" is the first album in a trilogy that includes a second volume, also recorded at Royal Festival Hall, as well the third album entitled The Dome Event. On Volume 1, Schulze's 45-minute keyboard suite called "Yen" is broken up into ten different subtitles, but the songs are all fused together by way of single-toned electronic streams and the faint pulsations of analog synthesizer riffs. Any rises or subtle explosions of brightness are few and far between, but the grouping of songs as a whole has a pleasant, mind-numbing effect. This music is extremely trying, and patience is crucial when hearing two straight minutes of a single note…

Mose Allison - The Mose Chronicles: Live In London, Vol. 1 (2001) {Blue Note 7243 5 29747 2 6}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 405 Mb | MP3 @320 -> 160 Mb | Artwork | 5% repair rar
© 2001 Blue Note | 7243 5 29747 2 6
Jazz / Hard Bop / Jazz Blues / Vocal Jazz / Piano

On this first volume of The Mose Chronicles, singer-songwriter and pianist Mose Allison brings his idiosyncratic brand of southern comfort to London for this well-cheered live session. Flanked by a crowd that wholeheartedly embraces both his sardonic drollery and the supple rhythm section of bassist Roy Babbington and drummer Mark Taylor, Allison is in top form in this enthralling program that's characteristically wry and full of sharp wisdom. Mose is always divinely swinging, too, leveraging the hundreds of gigs he's played with this trio. Plain-folk advice marks the jumping "No Trouble Livin'," just as poetic social commentary rivets the sly "Everybody's Cryin' Mercy" and the joyfully apocalyptic "Ever Since the World Ended." Straight-ahead balladry comes to the fore on "Meet Me at No Special Place," an early favorite of Nat King Cole's trio. Allison's punchy piano style is as effervescent throughout the Chronicles as his singing is backwoods, and it makes for great listening.

At The Cafe Bohemia Vol. 1 (1956). This is Art Blakey's early period Jazz Messengers featuring trumpeter Kenny Dorham, saxophonist Hank Mobley, bassist Doug Watkins, and pianist Horace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters who signified its sound, and expanded on the language of modern jazz. There are three bonus CD tracks not on the original LP that further emphasize not only the inherent power of Blakey's band and drumming, but demarcate the simplicity of melodic statements that were a springboard for the fantastic soloing by these individuals who would follow those tuneful lines…

Known to fans as "Captain Fingers" for his uncommon dexterity on the guitar, Lee Ritenour is a noted jazz artist and session musician who has been one of the leaders in his field since the early '70s. Born in Los Angeles, California on January 11, 1952, Ritenour took up the guitar when he was eight years old, and decided to make music his career when he was 12. Ritenour's parents were supportive of his ambitions, and arranged for him to study with some of the best guitar teachers in Southern California.

Weighing in at four discs and 63 songs, Group Portrait offers an excellent, comprehensive overview of Chicago's prime period. Be forewarned: this does not dip into the group's early-'80s hits or post-Peter Cetera recordings, choosing to end the story before their 1982 comeback…