ad 2015

David Friedman - Winter Love, April Joy (1975) {2015 DSD Japan East Wind Masters Collection 1000 UCCJ-9149}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 227 Mb | MP3 @320 -> 105 Mb
Full Artwork @ 600 dpi (png) -> 123 Mb | 5% repair rar | DSD Mastering
© 1975, 2015 East Wind Music / Universal Japan | UCCJ-9149
Jazz / Post Bop / Cool / Modern Creative / Vibes

Reissue with the latest DSD remastering. A fantastic record from vibist David Friedman – spare, hip, modern, and very moody! Friedman's playing vibes and marimba alongside David Samuels, who plays the same – and this twin-vibes approach sounds fantastic – especially as the record has no drums, just additional bass, plus flute by Hubert Laws – a very loose, open style that comes across with a completely unique sound! The approach is super-dope for any fan of laidback 70s vibes – and the tracks are never too free or way out, just gliding with this airy quality that's really wonderful – one of the best demonstrations of Friedman's great talents on record. Titles include "Truce", "Nyack", "Brite Piece", "Island", and "Saraband".

John Mayall, OBE (born 29 November 1933) is an English blues singer, guitarist, organist and songwriter, whose musical career spans over sixty years. In the 1960s, he was the founder of John Mayall & the Bluesbreakers, a band which has counted among its members some of the most famous blues and blues rock musicians…

For the present disc, Accademia Daniel have chosen solo concertos for violin, viola d’amore and bassoon, as well as a concerto that combines three bass soloists (chalumeau – a popular instrument in Darmstadt, it seems – cello and bassoon), and one of several of the composer’s Entratas “per la Musica di Tavola”, to all intents and purposes an orchestral suite, though eschewing the French overture associated with that form. All of the concertos are in the fast-slow-fast three movement form and have little in common with the Vivaldian model; in fact, the solo instrument is more just another colour on the composer’s palette. With that idea in mind, the wanton addition of a recorder to the final movement of the suite is easily forgiven. Graupner’s music takes some getting used to – what seem like normal baroque movements take some unexpected harmonic twists and turns, and his melodies frequently surprise; these players are well used to his music now, and their easy facility is reflected in some delightful performances.

Ever since Gorguts spawned its unorthodox soul crushing "Obscura" onto the world in 1998 there has been an arms race of sort by adventurous tech death metal bands to take such otherworldly atonal entanglements of sonic terror ever further down a rabbit hole so riddled with avant-garde aggressiveness and tortuous labyrinthine nihilism that in comparison to established scenes of extreme metal, these new cutting edge wizards of convoluted complexity sounded like invading alien forces more than anything within the established metal universe…

Italian pop singer Antonella Ruggiero used to sing at parties as a child, her first step to becoming a local star years later. After attending the Fine Arts Academy, she started working as a designer for an advertising company. In 1975, Ruggiero joined Matia Bazar, a popular vocal group founded by Aldo Stilita, which achieved international recognition in the late '70s. In October 1989, she decided to leave the band. After an inspiring length of time in India, Ruggiero began her solo career with the release of an album called Libera in 1996. That was followed by 1997's Registrazioni Moderne, produced by Roberto Colombo. It included the song "Per Un'Ora d'Amore," which climbed the most important Italian charts. In 1998, she came in second place at the San Remo Festival for singing "Amore Lontanissimo."

This is a really great early '70s psychedelic album. It doesn't really do much that's ground breaking or anything but it's cool nonetheless…

Giovanni Paolo Colonna (1637-1695) was a native of Bologna and the music director of one of its major churches, dedicated to San Petronio, where he presided over a rich culture of sacred music distinguished by participation from names now far better known to us such as Torelli, Bononcini and Giovanni Gabrieli.