Max Tegmark L'universo Matematico

The Charles Mingus Quintet & Max Roach is an album by Charles Mingus, recorded at the Café Bohemia in December 1955 and released in 1964. Further recordings from the concert were released under the title Mingus at the Bohemia. The Mingus/Roach/Mal Waldron dialogs overcome the ordinary stylings of Eddie Bert and George Barrow.

Mad Max is a German hard rock band from Münster. The "New Wave Of British Heavy Metal" was the starting point for Mad Max founder and guitarist Jürgen Breforth in 1982 to make his musical dreams come true. In 2022, after 15 albums and concerts around the world, Mad Max celebrates the band's 40th anniversary with the new album "Wings Of Time". But no trace of standstill, singer Michael Voss and bassist Thomas "Hutch" Bauer have left the band, with Julian Rolinger on lead vocals and Fabian "Fabs" Ranft on bass, Mad Max perfectly capture the style and vibe of their 80s, but also bring the Mad Max sound one step further.

There’s much to admire in Randall Goosby’s debut concerto recording. This star pupil of Itzhak Perlman possesses a beautifully warm and tender sound, as well as delivering technically immaculate playing that easily surmounts the most challenging daredevil passagework in the two Florence Price concertos.

Some people still see the name Reger and are afraid to listen to the music because of all the preconceptions about it: It is dense, it is highly contrapuntal, it is harmonically wandering, it is difficult. Certainly there are works written by the great Bavarian composer Hindemith called him “the last giant in music” that could be considered virtually all of those things. And there are works by him by virtually every great composer one can name—that are less inspired, less interesting, that simply work less well than others.

Gliding ambient serenity with hypnotic hand drumming. Max Corbacho's first CD drifts over the listener like soft sand and silk, weightless wafts and gossamer veils of synthetic tone rising and falling in delicate harmony. The tone is light and dreamy, floatational and airy - atmospheric rather than oceanic, skybound rather than subterranean. The percussive content is confined to the first four pieces - here gentle loops comprised of organic beats with an ethnic flavour roll round evenly, trance-inducing, repeating until a part of the fabric of the environment. As the album progresses the introspective nature of the music increases - the beautiful Erosion lulling and spacious leading into the final three beatless tracks. The shadows pull in somewhat toward the end, Vestiges opening with a twilight moodiness that seems to open into a clear night - the listener a solitary presence in a vast panorama.

Building on the musical material of the first record, Voices 2 extends the musical language into a purely instrumental and abstract direction. Where the first part of the project is very focused on the text of The Universal Declaration Of Human Rights, the 2nd part opens up a musical space to let these words and ideas sink in.