The Artist in The Circus Dome: Clueless Die Artisten in Der Zirkuskuppel: Ratlos by Alexander Kluge (1968)

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically…

Right at the height of popularity for Paul Revere and the Raiders, the band s core power trio of Phil (Fang) Volk (bass), Drake (The Kid) Levin (guitar) and Mike (Smitty) Smith (drums) left to pursue their own more ambitious musical goals. Subsequent lawsuits and a run of bad luck meant that the first, self-titled album by their new band, Brotherhood, would be delayed, and received little notice at the time. Yet, by mixing a wealth of socially-conscious original numbers with hard-rocking reinterpretations of tunes by the Mamas and the Papas and Joe South, Brotherhood was a band brimming with promise…

One of the great latin jazz lps of the 60s and featuring who else but Sabu Martinez. Latin Kaleidoscope is comprised of two suites, with the band swinging on well-written parts to a panoply of well-used percussion elements. Boland recruited drummers Kenny Clare, Al "Tootie" Heath" and Sabu Martinez to add their percussion talents. Gary McFarland’s six-part "Latin Kaleidoscope" is a joy to discover - much as it was to first hear his solo creations and offers much evidence of his gifts. Boland, who added his own touches to this suite, never takes a solo throughout and is occasionally heard on harpsichord; a sensitive touch to sensitively considered music. And excellent solos are taken by Sahib Shihab ("Duas Rosas"), Ronnie Scott ("Uma Fita de Tres Cores") and Aki Persson ("Othos Negros") Francy Boland’s "Cuban Fever" is like a musical postcard of Cuba: powerful, colorful, exciting…

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically…

Herbie Hancock - Hear, O Israel: A Prayer Ceremony In Jazz (1968) {Jonny Records JBH025CD rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 212 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 6 Mb | 5% repair rar
© 1968, 2008 Jonny Records / Trunk | JBH025CD
Jazz / Post Bop / Modal Music / Soul Jazz / Modern Creative

In 1965, encouraged by his rabbi, the 17-year-old Jonathan Klein wrote a selection of jazz themes for a Jewish Sabbath concert. Originally recorded in 1968 by an all-star cast of musicians that included Herbie Hancock, Thad Jones, and Ron Carter, the collection is a unique, free-flowing series of pieces that perfectly complement the accompanying Jewish Sabbath prayers, and provides a rare opportunity to hear these talented musicians performing in a unique setting that's at once creative and intensely devotional.

When an ensemble seeks to record a complete body of work, there will inevitably be some works of lesser quality among the masterpieces. In the second volume of the Singphoniker's collection of Schubert's complete part-songs for male voices, there are the masterpieces the sublime early version of Gesang der Geister über den Wasser (D. 538) and the transcendent choral version of Sehnsucht (D. 656) and then there are the composition exercises that Schubert wrote for Salieri when he was in his early teens.

One of the great latin jazz lps of the 60s and featuring who else but Sabu Martinez. Latin Kaleidoscope is comprised of two suites, with the band swinging on well-written parts to a panoply of well-used percussion elements. Boland recruited drummers Kenny Clare, Al "Tootie" Heath" and Sabu Martinez to add their percussion talents. Gary McFarland’s six-part "Latin Kaleidoscope" is a joy to discover - much as it was to first hear his solo creations and offers much evidence of his gifts. Boland, who added his own touches to this suite, never takes a solo throughout and is occasionally heard on harpsichord; a sensitive touch to sensitively considered music. And excellent solos are taken by Sahib Shihab ("Duas Rosas"), Ronnie Scott ("Uma Fita de Tres Cores") and Aki Persson ("Othos Negros") Francy Boland’s "Cuban Fever" is like a musical postcard of Cuba: powerful, colorful, exciting…

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically…