Reid Anderson Quartet Dirty Sh

Reid Anderson, Dave King, Craig Taborn: the start of this intimate fellowship, also a narrative showing the invaluable role of friendship in music, is dated 1982. At the forefront are songs based on a pop sensibility, played live without sequencers and delivered by astound ing improvisers and virtuoso instrumentalists, eschewing the muscular gestures of soloist free-styling and improvisatory furore and thus making wisdom audible: the whole is greater than the sum of its parts.

The Velvet Lounge was a door that Fred Anderson opened continuously for decades, an access point through which the human soul could enter and explore the organization and chaos of the cosmos. Through this door the spirits outside also came into our little system. When the exchanges happened, it made a sound of joy, like el: those of us who weren't there are lucky that recording devices were. It's a generation removed and still we can feel their presence from the record.

Bill McHenry - Quartet Featuring Paul Motian (2003) {Fresh Sound New Talent FSNT160CD}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 304 Mb | MP3 @320 -> 118 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 2003 Fresh Sound New Talent | FSNT 160CD
Jazz / Post Bop / Saxophone

Any musician who works so effectively against a common language, and uses cliché so little in the process, is worth listening to. There are tons of young jazz saxophonists out there pursuing ideas of harmony and structure and rhythm, but he has something rare going for him. He has a sound. Mr. McHenry is a fresh new voice: He can play with un-orthodox structure and get as free as you want, but he maintains a ripe, lovely tone straight out of the 1950's. Lyrical is probably the most overused word in jazz criticism, but if anyone deserves the word, Mr. McHenry is the one.

Part string quartet, part radio play, part sound installation, Laurie Anderson and Kronos Quartet’s Landfall takes us on a journey through the aftermath of Hurricane Sandy, which battered the Caribbean and the mainland United States in October 2012. Anderson is a thoughtful sound artist, blending electronic and acoustic music with voice narration to tell her tale of loss and destruction. Poignant moments include “Thunder Continues in the Aftermath,” a haunting echo of the departing storm with stunning digital effects, and the vivid, spine-tingling “Helicopters Hang Over Downtown.” The simple, narrated “Everything Is Floating” transforms tragedy into unexpected beauty.