Micro Mart 2 June 2016 Pdf

Masabumi Kikuchi - Black Orpheus (2016) {ECM-Universal Music Japan UCCE-1160}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 236 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 600 dpi (png) -> 453 Mb | 5% repair rar
© 2016 ECM Records / Universal Music Japan | UCCE-1160
Jazz / Modern Creative / Modern Jazz / Piano

A document of a 2012 Japanese solo recital – not only the last in his homeland but the last anywhere – by idiosyncratic improviser Masabumi Kikuchi (1939-2015). One of the uncategorisable greats, Kikuchi occupied his own musical universe and in his final years was quietly and systematically severing his ties to jazz, drifting instead towards what he called ‘floating sound and harmonies’, introspective and poetic improvisations. Song forms still sometimes materialized. Kikuchi revisits “Little Abi”, a ballad for his daughter, which the pianist once recorded with Elvin Jones. And there is a surprising and very touching version of the wistfully yearning theme from the 1959 Brazilian film Black Orpheus.

Before they were Fleetwood Mac, they were John Mayall's Bluesbreakers. Never before heard live performances from 1967. In 1967, before there was a Fleetwood Mac, Peter Green, John McVie and Mick Fleetwood were John Mayall's Bluesbreakers. The four musicians were only together for three months, which makes it even more remarkable that a staunch fan from Holland was able to sneak a one channel reel to reel tape recorder into five London clubs and capture this exciting glimpse into music history. For almost fifty years these tapes have remained unheard until John recently got them and began restoring them with the technical assistance of Eric Corne of Forty Below Records. Corne adds "While the source recording was very rough and the final result is certainly not hi-fidelity, it does succeed in allowing us to hear how spectacular these performances are." Volume 2 showcases three John Mayall originals including the opening track, all-time blues classic "Tears In My Eyes"; "Chicago Line", complete with John McVie bass solo; and "Please Don't Tell", a great example of the power blues The Bluesbreakers were revered for. Thanks to dedicated fan Tom Huissen who took his one channel reel-to-reel tape recorder into various London clubs in 1967, these historical performances were captured for all time.

'Here We Go 1, 2, 3' is Heidi Talbot's fifth solo album. Produced by musical partner and husband, John McCusker, (himself recently the recent recipient of the Good Tradition honour at the BBC Radio 2 Folk Awards) Heidi's new album crosses the ages, jumps into the unknown, traverses oceans and musical styles – from folk, through Americana, to classic pop, and back again…

Masabumi Kikuchi - Susto +2 (1981) {2016 Japan Crossover & Fusion Collection 1000 Series SICJ 169}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 411 Mb | MP3 @320 -> 131 Mb
Full Artwork @ 600 dpi (png) -> 289 Mb | 5% repair rar
© 1981, 2016 Columbia / Sony Music Japan | SICJ 169
Jazz / Fusion / Jazz Funk / Keyboards

Reissue with the latest DSD remastering. Comes with liner notes. A great album of funky Japanese fusion – one of the few sets from the Japanese scene of the late 70s that got any sort of wider release in the US – and a treasure that we've loved for years! The set's got a really great sound – soulful and funky, but sharp too – in a lineup that features a variety of keyboards from Masabumi Kikuchi, plus work by Terumasa Hino on trumpet, Steve Grossman and Dave Liebman on saxes, and James Mason on guitar! The best cuts have a funky feel that's in the CTI/Kudu mode – perhaps mixed with a bit of Herbie Hancock keyboard jamming – and the album's a surprisingly lost funky gem in the Columbia catalog of the early 80s, with a much harder edge than some of the other work on the label at the time!

"Un progetto su Jimi Hendrix è come un progetto su Mozart: tanto complesso quanto entusiasmante. Abbiamo accettato la sfida, partendo dal presupposto che dovessimo cercare in Hendrix le caratteristiche che sottostavano al suo modo di intendere la musica, provare ad assimilarle e tradurle usando i nostri linguaggi. Abbiamo deciso di utilizzare un organico il più possibile lontano da quello che era solito usare per i suoi gruppi: una voce femminile e un violoncello (Naomi Berrill), un fender Rhodes, un synth e un pianoforte (Simone Graziano e Alessandro Lanzoni), una batteria (Stefano Tamborrino) e due sax tenori (Francesco Bigoni e Dimitri Grechi Espinoza).