Tvynovelas From 16 Mayo 2016

The unexpected death of Prince has shook the musical world, not only because of dying at an early age, but mostly, because we have lost one of the greatest talents of pop culture of the last 50 years. The Many Faces Of Prince is a heartfelt tribute to his work, and shows the lesser known facets of his career, like his beginnings as part of the funk group 94 East. You will also find his songs in versions performed by pop stars like The Art Of Noise, Ice T, Gary Numan and Sheila E. Finally, the Many Faces also takes a tour through his influences. The Many Faces Of Prince is a compendium of fantastic music that will delight not only fans of the artist but also anyone who wants to dive into the legacy of one of the greatest artists of our time.

Ennio Morricone - Morricone 60 (2016) {Decca 570 007-1}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 400 Mb | MP3 @320 -> 173 Mb
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© 2016 Decca Records / Universal | 570 007-1
Classical / Film Music / Orchestral Music / Stage & Screen

‘Morricone 60’ is the first album of Ennio Morricone’s greatest hits conducted, recorded and curated by Morricone himself – and aims to create a legacy for his fans to enjoy. It sees the celebrated Maestro performing some of his greatest film music from The Good, the Bad and the Ugly to his recent Academy Award-winning score for Quentin Tarantino’s The Hateful Eight (released earlier this year on Decca). The album marks Ennio Morricone’s 60th anniversary as a composer and conductor and features brand new recordings with the Czech National Symphony Orchestra, with whom he’s collaborated on major international movie scores.

Don Ellis & Brad Fiedel - The French Connection Collection (2016) {2CD La-La Land LLLCD1408 Limited Collector's Edition rec 1971, 1975}
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© 1971, 1975, 2016 La-La Land Records | LLLCD 1408 | Limited Collector's Edition of 2000 units
Jazz / Stage & Screen / Soundtrack / Avant-Garde Jazz

Great thriller soundtracks back to back on one CD – the soundtracks for both French Connection films, both handled by funky jazzman Don Ellis – plus the even rarer score for the later Popeye Doyle film, by Brad Fiedel – packaged here with other rare bonus tracks too! The music by Don Ellis is really incredible – a real cut above other 70s cop and action soundtracks, with a dark edge that shows that Ellis had been listening to some of the hipper European soundtrack composers of the time, but was still also cool enough to kick in with a badass kind of groove whenever he could! The instrumentation on the tunes is very odd – familiar, yet askew – as trumpet, guitar, and keyboard bits come off with some very weird effects. The sound of Popeye Doyle is a bit different – given that the film was an 80s TV addition to the French Connection narrative – with Ed O'Neil in the lead role that was previously handled by Gene Hackman. But Brad Fiedel's score is still pretty nice – definitely more 80s in its instrumentation, but handled with a mode that echoes the Ellis years, with the flavor of a decade later. This 2CD package has way more material than the previous issue – with a total of 48 tracks from the first two films – and 29 more from Popeye Doyle – a whopping 77 tracks in all, with some great notes too!

As a composer of orchestral music, Alexander Scriabin is best known for his last two idiosyncratic symphonies, the Poem of Ecstasy and Prometheus: The Poem of Fire, which are essentially symphonic poems, not symphonies in the conventional sense. The Symphony No. 1 (1900) and the Symphony No. 2 (1901), however, are more recognizable as symphonies in their multiple-movement forms, and their durations are comparable to the expansive symphonies of Scriabin's contemporary, Gustav Mahler. They also share the post-Romantic tendency toward Wagnerian harmonies, rhapsodic melodies, and lush orchestration, which, in Scriabin's case, were developed to express heightened emotional states and mystical transcendence. This 2016 double SACD by Valery Gergiev and the London Symphony Orchestra presents each of the symphonies on its own disc, and the high-quality multichannel sound is ideal for bringing across the subtle nuances of tone color and the shifting of dynamics that are characteristic of his style.]

Smokie's final album, 1982's Strangers in Paradise was the ideal follow-up to the now three-year-old Other Side of the Road – musically and lyrically, it's as strong as Smokie ever were, with the title track and "Two Strangers Falling" surely ranking up there with the best of the band's output. But the production was distinctly old-fashioned, as though the entire album had been recorded four or five years earlier, then left in a box 'till the time was right. Or, in this case, wrong. Add a record label that really didn't raise a finger to promote the band, and a musical climate that had long since moved away from the standards that Smokie held so dear, and the band weren't simply out of time, they were out of place as well.

As a unit, this must be one of the best piano trios ever, and certainly as instantly recognisable as any of its great predecessors. Charlap’s touch on the keyboard is light, almost stealthy, even when playing full chords, but always firm, clear and beautifully articulated. With the spirited support of bassist Peter Washington and drummer Kenny Washington (famously unrelated), the total effect is just perfect. As always, Charlap’s playing provides convincing proof that it is still possible to create fresh but pertinent treatments of well-known standard songs. The son of a songwriter and a singer, he has an instinctive feel for the idiom. His versions here of I’ll Remember April and A Sleepin’ Bee are masterly.

Originally issued as the fouth LP in the limited edition box set Tandoori Dog, Jerusalaam follows Jaagheed Zarb, the title disc, and Libya Tour Guide with a CD reissue; finally, the long out of print box has been completely reissued. Again the increased space of its new medium has allowed unreleased material from the original tape to be included. This time, however, the extra material is neither alternate versions of Tandoori Dog material nor new songs intended for those releases; the two extra tracks here, clocking in at near 15 minutes and just under 8, make up unused material from the Return of Black September sessions.