Diez Minutos From 7 Septiembre 2016 Pdf

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1984 and 1990 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

Various Artists - Lorca Vivo (2016) {Universal Music Spain 0602557132892}
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© 2016 Universal Music Spain | 0602557132892
Flamenco / World Music / Vocal / Guitar / Latin / Western European Traditions

El País launches for sale LORCA VIVO, a unique CD-book in which the poetry of Lorca is performed by great flamenco artists and also in which great prestigious firms such as José Manuel Caballero Bonald and Cristina Cruces-Roldán write about the most iconic poet of twentieth century literature. The passion of Lorca and flamenco united in an unprecedented book-CD. An exclusive edition.

Bobby "Blue" Bland - Further On Up The Road: The Duke Recordings 1955-1962 (2016) {2CD Set Southern Routes SR-3002}
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© 1955-62, 2016 Duke Records / Southern Routes | SR-3002
Blues / Rhythm & Blues / Soul / Electric Texas Blues / Soul-Blues

There's nobody like Bobby Blue Bland on Duke Records – especially during the early years that are featured on this collection! Bland came out of Memphis with a very unique, really amazing sound right from the start – an approach to blues that was a lot more sophisticated than most of his contemporaries, even those on the LA scene – with lots of jazz in his phrasing, and his backings as well – and this sublime vocal approach that often had Bobby growling in a way that seemed to come from deep down in the depths of his soul, but never in any sort of gimmicky sort of style. Bland was always the perfect balance of cool, class, and outright blues power – and that was never more true than on these sides.

This is the incredible story of Uther Pendragon, a lost psychedelic band from San Francisco whose music has remained buried until now. Formed in the Bay Area in 1966 as a teen garage group called Blue Fever, Uther Pendragon lasted from 1966 until 1978. During that time, the band went through different names and phases, as their music evolved from garage to psychedelia to hard rock, but the core of the band always remained the same: Mark Lightcap (rhythm guitar, vocals), Bruce Marelich (lead guitar, vocals), and Martin Espinosa (bass, vocals). After finding their ultimate drummer in Mike Beers, the group finally settled on the Uther Pendragon name in the early '70s. But despite being active for all that time and recording at numerous studios (including their own in Palo Alto), Uther Pendragon never released any recordings…

Instrumental 4-piece Tides From Nebula are back with their new studio album Safehaven. Contrary to their former work with Zbigniew Preisner (Earthshine) and Christer Cederberg (Eternal Movement) the album is completely self-produced this time. "This is going to be our 4th release and we are extremely happy to share it with our fans", states the band. "In the past we have worked with acclaimed producers who taught us so much that this time we felt we were ready to take that task upon ourselves. The creative process was smooth and spontaneous similarly to when we were writing our debut album Aura. We are sure that you will be able to hear it all: honesty, darkness, experience and energy…"

Wolfgang Amadeus Mozart - Horn Concertos - Günther Högner, Karl Böhm (2016) {Deutsche Grammophon 413 792-2}
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© 1980, 2016 Polydor / Deutsche Grammophon | 413 792-2
Classical / Viennese School / Concerto / Horn

The Originals Series offers listeners the opportunity to explore key albums from the Yellow Labels LP era and experience the power and passion of performances by a host of visionary artists. Now DG welcomes ten new titles to the range, including some of Karl Böhms recordings of Mozart wind concertos which have always been considered among the best. Here, the Wiener Philharmoniker principal Gunter Hogner demonstrates his skill and agility on the Viennese horn in Mozarts four horn concertos. Günter Högner plays with much character, and no-one will be disappointed with the DG issue, which is beautifully recorded and has splendid accompaniments from the WP under Böhm.

Bamako-based producer/educator Paul Chandler has been documenting the sonic and cultural complexities of Malian traditional music for more than a decade and “Every Song Has Its End” is an out-of-time, visceral collection of sounds from Chandler’s unparalleled archive.

With Your Wilderness, Bruce Soord's the Pineapple Thief shift their musical focus away from their exploration of polished rock so evident on 2012's All the Wars and 2014's Magnolia, and back toward contemporary prog. Drummer Dan Osborne, who made his debut with the band on Magnolia, proved short-lived in his role; he has been replaced by Porcupine Tree/King Crimson kit man Gavin Harrison. Soord also enlisted guests including Supertramp's John Helliwell on clarinet, Caravan's string player/arranger Geoffrey Richardson, Godsticks' guitarist Darran Charles, and a four-voice choir. Harrison's addition can't be overstated. His playing extends the reach of their musicality exponentially.
The album title denotes themes of isolation, loneliness, and alienation - not unfamiliar ones in PT's oeuvre. That said, they've never been explored with such a brooding focus as they are here…

As a unit, this must be one of the best piano trios ever, and certainly as instantly recognisable as any of its great predecessors. Charlap’s touch on the keyboard is light, almost stealthy, even when playing full chords, but always firm, clear and beautifully articulated. With the spirited support of bassist Peter Washington and drummer Kenny Washington (famously unrelated), the total effect is just perfect. As always, Charlap’s playing provides convincing proof that it is still possible to create fresh but pertinent treatments of well-known standard songs. The son of a songwriter and a singer, he has an instinctive feel for the idiom. His versions here of I’ll Remember April and A Sleepin’ Bee are masterly.