Exposure From No.76, November 2014 Pdf

Today marks the 70th birthday of one of the greatest drummers of this, or any generation; the remarkable Billy Cobham. From his earliest recordings with Horace Silver, Miles Davis and Milt Jackson, to his scintillating and seminal work with John McLaughlin's Mahavishnu Orchestra, keyboardist George Duke, and his own groups, like Culture Mix, Asere and the Spectrum 40; Cobham has thrilled audiences around the world by bringing his incomparable talents as a composer, drummer, and producer to the forefront of jazz, rock, fusion and world music. His latest effort is the eagerly awaited "Tales from the Skeleton Coast", part 3 of a series dedicated to his Panamanian parents.

Coming off his Grammy-nominated 2013 album, The World According to Andy Bey, vocalist/pianist Andy Bey delivers the equally compelling 2014 release Pages from an Imaginary Life. As with its predecessor, Pages finds the jazz iconoclast returning to his roots with a set of American Popular Song standards done in a ruminative, stripped-down style. This is Bey, alone at the piano, delving deeply into the harmony, melody, and lyrics of each song. But don't let the spare setting fool you. Bey is a master of interpretation. In his seventies at the time of recording, and having performed over the years in a variety of settings from leading his own swinging vocal trio, to working with hard bop pioneer Horace Silver, to exploring the avant-garde with Archie Shepp, Bey has aged into a jazz oracle who doesn't so much perform songs as conjure them from somewhere in the mystical ether of his psyche.

The 'Lobgesang' or Hymn of Praise, commissioned by the city of Leipzig from its Kapellmeister Mendelssohn to commemorate the 400th anniversary of the invention of printing in 1840, has elements of all three categories. But, at the opposite pole from Beethoven s Ninth, we have here a symphonic miniature in three movements, intended to act as the overture to the sung part of the work, which is twice as long. Thus this splendid Symphony-Cantata expands into a sweeping vocal and choral epic.

Kevin Ayers - Yes We Have No Mananas (1976) {2014 Remaster Japanese Mini LP SHM-CD Edition WPCR-15529}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 473 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 600 dpi (png) -> 362 Mb | 5% repair rar
© 1976, 2014 Parlophone / Warner Music Japan | WPCR-15529
Rock / Art Rock / Canterbury Scene

Cardboard sleeve reissue from Kevin Ayers features remastering in 2014 and the high-fidelity SHM-CD format (compatible with standard CD players). The cover faithfully replicates the original UK LP artwork. Includes an obi featuring design of original Japanese limited edition's LP (subject to change). Comes with a description and lyrics. Part of eight-album Kevin Ayers cardboard sleeve reissue series features the albums, "Joy Of A Toy +5," "Shooting At The Moon +6," "Whatevershebrings Wesing +10," "Bananamour +7," "Odd Ditties +3," "Yes We Have No Mananas. So Get Your Mananas Today +9," "Rainbow Takeaway +7," and "That's What You Get Babe +4." Bonus tracks.

Urbie Green - Urbie: East Coast Jazz Series No.6 (1955) {2014 Japanese Bethlehem Album Collection 1000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 121 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 600 dpi (png) -> 220 Mb | 5% repair rar
© 1955, 2014 Solid Records / Bethlehem | CDSOL-6128 | LP BCP-14
Jazz / Bop / Trombone

One of the strongest albums ever cut by trombonist Urbie Green – a player who had a heck of a lot of talent, but who unfortunately could sometimes end up in some schmaltzy settings. Fortunately, this isn't one of them – as the group includes players like Jimmy Lyon on piano, Oscar Pettiford on bass, Osie Johnson on drums, and Ike Horowitz on tenor – actually a nom-du-date for Al Cohn! The arrangements are tight, but never too much so – and there's a good degree of spirit in both the playing, and the compositions – some of which are by arranger Marion Evans. Titles include "Sneaky Pete", "Sassafras", "Melody In Bb", "How About You", and "Mutation".

It is with much pleasure that Glossa is able to announce the release of a further new recording featuring the marvellous vocal talents of that queen of Baroque music, Roberta Invernizzi: La bella più bella. Known for her dazzling and elegant displays in the music of the later Baroque – Handel and Vivaldi come to mind, but also her Naples-related travelogue on the recent I Viaggi di Faustina – the Milanese singer has also nurtured, across her career, the more delicate and nuanced art of the Italian song repertory from the early 17th century, a time when courtly and polyphonic expression were giving way to the “moving of the emotions” by a solo singer accompanied by a single instrument. Renato Dolcini guides us through the musical evolution of this form in his illuminating booklet essay.