Jorge Díaz Cardiel

An Argentinian classical-trained violinist. He played both for La Cofradía de la Flor Solar and Billy Bond y la Pesada. On his 1973 experimental solo album, titled "Su Violin Magico Y La Pesada", he was assisted by Kubero Díaz (guitar), Claudio Gabis (guitar), Alejandro Medina (bass, vocals), Isa Portugheis (drums) and Billy Bond (effects and mixing). Side one is wholly instrumental with quite a lot of lengthy solos. Side two had lyrics but is notable for some excellent guitar work. When La Pesada split, Pinchevsky moved to Europe. He joined Gong, playing violin on their Shamal album.

In 1536, the Alsatian printer Johannes Sultzbach, renowned for having adopted in his work the most modern typographic techniques of his time, published in Naples two volumes of music dedicated to the work of Francesco Canova detto 'da Milano', Il Divino, under the title Libro della Fortuna (Book of Fortune). This fact, apparently normal in a country known for its solid printing tradition, was nevertheless surrounded by oddities and peculiarities of all kinds, and only an accumulation of coincidences made it possible. A good part of these coincidences had to do with Spain. Let us tell you this story.

With 'Zenith', the internationally renowned soloists Anna Stegmann and Jorge Jimenez follow up their successful debut album 'Lunaris'. As there, the experts in historically informed performance practice have created with 'Zenith' a new sound world all their own, in which, artistically at the highest level and beyond conventions and stylistic dictates, they confidently transcend their original habitat.

Gustavo Diaz-Jerez is one of the leading composers and pianists in Spain. His compositional output spans all genres, from solo works to opera. His works have been premiered by prestigious ensembles and orchestras. His orchestral work Ymarxa, commissioned by the XXVII Canary Islands Music Festival, was premiered by the Royal Philharmonic Orchestra, conducted by Charles Dutoit. In 2018, his first opera was premiered, La casa imaginaria. This album represents the culmination of more than ten years of compositional work. A unique endeavour in the history of music in the Canary Islands, it comprises seven symphonic poems almost two and a half hours of music which evoke the landscapes and natural beauty of the Canaries.

First released in 1967, O Bidú is Jorge Ben's fifth full-length album. It is in many ways a typical album for Ben in the '60s, full of sweet, sincere, and mainly upbeat songs, with the music mixing samba with elements of bossa nova, swing, pop, and soul. Compared to many other works by Ben, the string and horn sections are used very sparsely. The tone of the album is set right from the start with the catchy opening track "Amor de Carnaval," one of the best songs Ben has ever written. "Frases," with its soft groove and neat lyrics, and "Toda Colorida" are two other highlights on this highly enjoyable album, whose only real flaw is its brief playing time (only just over 31 minutes).

Melancholic, melodic, sensitive, passionate instrumentals. Mostly pure acoustic, from jazz to neoclassical, melodic minimalism and and instrumental pop-folk.