2012 release, the sixth installment in the Cappuccino Grande Cafe series. This collection leaves the nocturnal realm the previous volume wandered around in and comes back to its natural surroundings. Sophisticated, real music that brightens up any moment, any day. The CD holds a great selection of hand-picked little gems, carefully organized to guide you through a wonderful, spiritual trip. The album travels into jazz, new folk music, bossa nova and other warm rhythms…
The Mystical Era is a harmonious collection. The best works from this series are strange, melancholic, but always attracting to their enchanting magical archaic romance. The collection contains all the gamut of mystical moods, from impressionistic tendencies with oriental shades to motives of ancient spiritual knowledge, from acoustic chamber academic music with a minimalist bias to ethnic music of different peoples and eras. All this magnificently shines with the names of the creators: Gregorian, Keiko Matsui, Era, Enigma, Dellirium, Lyra, etc.
Anders Trentemøller’s career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it’s his home port that’s inspired his latest project, the sprawling, stunning compilation mix ‘Harbour Boat Trips Vol. 02: Copenhagen’. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller’s own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young’s classic ’Transformer Man’.
Violinist Jenny Scheinman's instrumental companion recording to her eponymously titled vocal-emphasized effort of the same time period in 2008 is both an opposite reaction to pop styles and an extension of orchestral music with modern-day twists and turns. It reflects her time working with electric guitarist Bill Frisell, who appears on this date, and also gives a bigger picture of her classical influences via a huge string ensemble, while hinting at the modern creative jazz where her violin voicings take a firmer grip at the core.
Nusrat Fateh Ali Khan opens this album as he often opened his live shows, by calling upon God in the form of Allah to come and bless the gathering with His presence. For that is the sole purpose of the qawwal: to reach God through music, through his voice. And this collection of Devotional and Love Songs is set forth with that in mind. Unlike some of Khan's more Western-influenced releases, such as Mustt Mustt and Night Song, the songs are presented here with minimal instrumentation (mostly harmonium and tabla) in the traditional call and response form, with Khan singing a line that is echoed by the party of musicians that shares the stage with him.