Dom F. Scab & John Lakveet Silent Mars

In this album, composed from 1992 to 2007, John Lakveet offers us a gathering of fresh pieces, whose style ranges between Space Sequencer Music and Ambient. Some Techno traits are also perceived, as well as some Contemporary Instrumental Music touches. Most noteworthy are the romantic melodies, the ethereal, dreamy atmospheres, and the powerful rhythms. The magnetism of the music can be appreciated above all in "In Sublimi". In this composition, Lakveet has the strength of a painter from the Renaissance.

Epikus is a direct and overtly sequenced CD by John Lakveet. The graphic artwork parallels his musical sojourn as he wends his way on a path to examine "epic" events - past, present and future. The sci-fi accoutrements and metallic textures compliment each other as Lakveet surrounds them with deep atmospheric timbres. He uses heavy sequences and languid rhythms to complete the soundscapes and spacescapes. This is an essential space music CD. It will appeal to fans of Hemisphere, Rudy Adrian, Tangerine Dream and Ron Boots.

"Building Sequential Stones, Ecclesias Cathedrales Aedificans Vol. 1" is the great title of the second album (after "Epikus") on the Groove-label by the Spanish specialist of the sequencer John Lakveet. On this album he further manages to master his style, which is an own view on retro/Berlin School.
Big percussion opens the first track on the album, "Apellatio (Call)" which soon continues with John’s by now familiar sequencer work. What sets him apart from a lot of other retro/Berlin School-artists is that he creates rather short pieces. With 9:25 minutes, "Linsolent Promenade Nocturne Des Gargouilles (The Insulent Walk Nocturne Of Gargoyles") - by the way, again a fine title, is the longest track. Sometimes the sequences are absolutely great like in "Petra Super Petram (Stone On Stone)…

A new album release by guitarist John Williams is always cause for great anticipation, not only for another opportunity to marvel at his virtuosity, but also to experience music from unheralded areas of the repertoire. EL DIABLO SUELTO is a survey of the guitar music of Venezuela, a vibrant mixture of elements from the cultures of the indigenous Indians, Spanish colonists, and the Africans originally brought to the country as slaves. Williams demonstrates a thorough understanding of the music's heritage, and his commitment is evident in performances that are dynamic and incisive. Williams' remarkable technique allows him to easily negotiate the complexities of these intensely rhythmic pieces, but his keen musical intelligence renders these accounts more than exercises of technical expertise. He skillfully wields a broad palette of tonal colors to express the rich harmonic language and beautiful melodies in works arranged by his mentor, the great Venezuelan guitarist Alirio Diaz.

John Coltrane - Coltrane Time (1958) {LIBERTY, CP32-5189, Japan Early Press, Black Triangle}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 220 Mb | MP3 @320 -> 80 Mb
Full Artwork @ 300 dpi (png) -> 44 Mb | 5% repair rar
© 1958, 1986 Liberty / Toshiba-EMI | CP32-5189
Jazz / Avant-Garde Jazz / Hard Bop / Saxophone

This is a most unusual LP due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions, and Coltrane sounding somewhere in between. The results are unintentionally fascinating.

John Wetton's early-2003 album Rock of Faith appeared after a two-year string of concert releases. It was written at a crossroads in the singer/bassist's life, in the wake of his 50th birthday – it was also occasioned by his extended visit to Vienna, which stimulated him artistically, and recorded in the wake of the dire world events of 2001 halfway around the globe. The ex-Family/King Crimson/Asia member rises to the occasion here, with an album evocative of his progressive rock past, yet slightly leaner and more focused than most of those efforts ever were, and supported by Geoffrey Downes (keyboards), Clive Nolan (keyboards), John Mitchell (electric guitars), and Steve Christey (drums).

John Pizzarelli's singing has improved through the years, he has become a particularly strong guitarist (very adept at fast tempos), and his likable personality has remained as constant as his love for swing-era tunes. Joined by a swinging big band arranged by Don Sebesky in the style of Count Basie, Pizzarelli and his trio (with pianist Ray Kennedy and bassist Martin Pizzarelli) play enthusiastically on a set of swingers and ballads. Although the slower material is fine, it is the romps (particularly "Avalon," "Little Girl," "Rhythm Is Our Business" and the instrumental "Say Hey Kid") that are most memorable. An enjoyable outing.